Pele and Hiiaka: A Myth From Hawaii in Modern English

This is a modern-English version of Pele and Hiiaka: A Myth From Hawaii, originally written by Emerson, Nathaniel Bright. It has been thoroughly updated, including changes to sentence structure, words, spelling, and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If you click on a paragraph, you will see the original text that we modified, and you can toggle between the two versions.

Scroll to the bottom of this page and you will find a free ePUB download link for this book.

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

PELE AND HIIAKA

A Myth From Hawaii

By
Nate B. Emerson, A. M., M. D.
HONOLULU, HAWAII
Author of The Long Voyages of the Ancient Hawaiians, and of Unwritten Literature of Hawaii, Translator of David Malo’s Hawaiian Antiquities

PRINTED BY
Honolulu Star-Bulletin Limited
1915

[__A_TAG_PLACEHOLDER_0__]

N. B. EMERSON.

N.B. Emerson.

Published March, 1915.

Published March 1915.

[__A_TAG_PLACEHOLDER_0__]

TO
HER MAJESTY LILIUOKALANI
AND
HER BELOVED HAWAIIAN
PEOPLE

TO
HER MAJESTY LILIUOKALANI
AND
HER CHERISHED HAWAIIAN
PEOPLE

[V]

[__A_TAG_PLACEHOLDER_0__]

PREFACE

The story of Pele and her sister Hiiaka stands at the fountain-head of Hawaiian myth and is the matrix from which the unwritten literature of Hawaii drew its life-blood. The material for the elaboration of this story has, in part, been found in serial contributions to the Hawaiian newspapers during the last few decades; in part, gathered by interviews with the men and women of the older regime, in whose memory it has been stored and, again, in part, it has been supplied by papers solicited from intelligent Hawaiians. The information contained in the notes has been extracted by viva voce appeal to Hawaiians themselves. These last two sources of information will soon be no longer available.

The story of Pele and her sister Hiiaka is at the heart of Hawaiian mythology and serves as the foundation for Hawaii's unwritten literature. The material for this story has come from several sources: some has been found in regular contributions to Hawaiian newspapers over the past few decades, some has been gathered through interviews with older generations, who carry these memories, and some has been provided by intelligent Hawaiians in written form. The information in the notes has been collected through direct conversations with Hawaiians themselves. These last two sources of information will soon be unavailable.

Merely as a story, this myth of Pele and her kindred may be deemed to have no compelling merit that should attract one to its reading. The cycle of world-myth already gathered from the rising to the setting of the sun, from the north pole to the south pole, is quite vast enough, and far in excess of the power of any one scholar to master and digest. It contains enough pretty stories, in all conscience, to satisfy the demands of the whole raft of storiologists and penny-a-liners, ever on the alert to cram the public with new sensations, without making it necessary to levy upon Hawaii for her little contribution.

As a story, this myth of Pele and her relatives may not seem particularly compelling to draw anyone in. The cycle of world myths already spans from sunrise to sunset, from the North Pole to the South Pole, and is so extensive that no single scholar can fully grasp or absorb it. It offers enough fascinating tales to satisfy the cravings of all the storytellers and writers looking to deliver fresh experiences to the public, without needing to rely on Hawaii for its small addition.

It is not from a disposition to pander to any such appetite that the writer has drudged through many long years in collecting and giving literary shape to the material herein presented. The people who settled the Hawaiian group of islands are recognized as having occupied a unique station, one so far removed from the center and vortex of Polynesian activity as to enable them to cast a highly important side-light on many of the problems yet unsolved, that are of interest to ethnologists and philologists and that still enshroud the Polynesian race.

The writer has not spent many years gathering and organizing the material presented here just to satisfy any particular desire. The people who settled in the Hawaiian islands are seen as having a unique position, so far from the center of Polynesian activity that they can provide valuable insights into many unresolved issues that interest ethnologists and philologists, and that still surround the Polynesian race.

Hawaii rejoiced in a Kamehameha, who, with a strong hand, welded its discordant political elements into one body and made of it a nation. But it was denied a Homer capable of voicing its greatest epic in one song. The myth of the volcanic queen, like every other important Hawaiian myth, has been handled by many poets and raconteurs, each from his own point of view, influenced, no doubt, by local environment; but there never stood [VI]forth one singer with the supreme power to symphonize the jarring notes and combine them into one concordant whole. This fact is a tribute to the independent attitude of Hawaii’s geographical units as well as to its scattered minstrelsy.

Hawaii celebrated Kamehameha, who skillfully united its conflicting political factions into a single nation. However, it lacked a Homer capable of capturing its greatest epic in one unified song. The myth of the volcanic queen, like many other important Hawaiian myths, has been interpreted by various poets and storytellers, each influenced by their local surroundings; yet, there has never been [__A_TAG_PLACEHOLDER_0__] one artist with the ultimate ability to harmonize the dissonant notes and merge them into a cohesive whole. This reality reflects both the independent nature of Hawaii’s geographic regions and its diverse traditions of storytelling.

This book does not offer itself as a complete history of Pele; it does not even assume to present all the oli, mele, and pule that deal with the great name of Pele. There were important events in her life that will receive but incidental mention. Of such is the story of Pele’s relations with the swine-god Kama-pua’a. As indicated in the title, the author confines his attention almost wholly to the story of Pele’s relations with Prince Lohiau of Haena, in which the girl Hiiaka became involved as an accessory.

This book doesn't claim to be a complete history of Pele; it doesn't even aim to cover all the oli, mele, and pule related to the great figure of Pele. There are significant events in her life that will only be mentioned briefly. One of these is the story of Pele's interactions with the swine-god Kama-pua’a. As suggested in the title, the author focuses primarily on the story of Pele's relationship with Prince Lohiau of Haena, in which the girl Hiiaka plays a supporting role.

It was inevitable that such a myth as that of Pele should draw to it and, like an ocean-reef, become the stranding ground of a great mass of flotsam and jetsam poetry and story. Especially was this true of those passional fragments of Hawaiian mele and oli, which, without this, would not easily have found a concrete object to which they might attach themselves.

It was unavoidable that a myth like that of Pele would attract and, like a coral reef, become the resting place for a huge collection of random poetry and stories. This was particularly true for those passionate fragments of Hawaiian mele and oli, which, without this context, would not have easily found a solid foundation to connect with.

It matters not whether the poet-philosopher, deep pondering on the hot things of love, hit upon Pele as the most striking and appropriate character to serve his purpose and to wear his garment of passionate song and story, or, whether his mind, working more objectively, took Nature’s suggestion and came to realize that, in the wild play of the volcanic forces, he had exemplified before him a mighty parable of tempestuous love. Certain it is that the volcano was antecedent to the poet and his musings, and it seems more reasonable to suppose that from it came the first suggestion and that his mind, as by a flash of inspiration, began its subjective work as the result of what he saw going on before his eyes.

It doesn't matter whether the poet-philosopher, deeply thinking about the intense feelings of love, chose Pele as the most striking and fitting character to express his passionate song and story, or if his mind, taking a more objective approach, was inspired by Nature and realized that the chaotic activity of volcanic forces represented a powerful metaphor for tumultuous love. What is clear is that the volcano existed before the poet and his reflections, and it seems more logical to think that it provided the initial inspiration, prompting his mind to engage in its creative process as a response to what he witnessed unfolding before him.

The Hawaiian to whose memory was committed the keeping of an old time mele regarded it as a sacred trust, to be transmitted in its integrity; and he was inclined to look upon every different and contradictory version of that mele as, in a sense, an infringement of his preserve, a desecration of that sacred thing which had been entrusted to him. It resulted from this that such a thing as a company of haku-mele (poets or song-makers) conferring together for the purpose of settling upon one authoritative version of a historic mele was an impossibility.

The Hawaiian who was responsible for preserving an old song viewed it as a sacred duty, to be passed down exactly as it was. He saw every different and conflicting version of that song as, in a way, a violation of his responsibility, a disrespect to the sacred thing that had been entrusted to him. Because of this, it was impossible for a group of songwriters (poets or song-makers) to gather and agree on a single official version of a historic song.

It is a misfortune when the myth-cycle of any people or country is invaded for exploitation by that class of writers whose sole object is to pander, or cater—to use a softer term—to the public [VII]taste for novelty and sensation, before that cycle has been canvassed and reported upon by students who approach it in a truthful yet sympathetic spirit. In other words: plain exposition should come before sensational exploitation. To reverse the order would be as undesirable as to have Münchausen gain the ear of the public before Mungo Park, Livingston, Stanley, Cook, or Vancouver had blazed the way and taken their observations.

It’s unfortunate when the story of any culture or nation is taken over for exploitation by writers whose only goal is to please— or to use a milder term— to cater to the public's craving for novelty and sensationalism, before that story has been examined and shared by scholars who approach it with honesty and empathy. In other words, straightforward explanation should come before sensational exploitation. To flip the order would be just as undesirable as letting Münchausen capture the public's attention before Mungo Park, Livingston, Stanley, Cook, or Vancouver had paved the way and made their observations. [__A_TAG_PLACEHOLDER_0__]

Fortunately for Hawaii, the spirit of the times has set its face like a flint against this sort of sensation-mongering, and if a Münchausen were now to claim the public ear he would have the searchlight of scientific investigation turned upon him as pitilessly as it was done in the case of an alleged claim to the discovery of the north pole.

Fortunately for Hawaii, the current mindset strongly opposes this kind of sensationalism, and if someone like Münchausen were to try to grab the public's attention now, he would face the harsh scrutiny of scientific investigation just like what happened with the supposed claim to the discovery of the North Pole.

It is a satisfaction to the author, after having accomplished his pioneer work of opening up a new domain, to bid the public enter in and enjoy the delicious lehua parks once claimed by the girl Hiiaka as her own; and he can assure them that there yet remain many coverts that are full of charm which are to this day unravaged by the fires of Pele.

The author is pleased, after finishing his groundbreaking work of exploring a new area, to invite the public to step in and enjoy the beautiful lehua parks that were once claimed by the girl Hiiaka as her own; and he can assure them that there are still many hidden spots full of charm that have yet to be touched by Pele's fires.

Thanks, many thanks, are due from the author—and from us all—to the men and women of Hawaiian birth whose tenacious memories have served as the custodians of the material herein set forth, but who have ungrudgingly made us welcome to these remainder biscuits of mythological song and story, which, but for them, would have been swallowed up in the grave, unvoiced and unrecorded.

Thanks a lot, and a big thanks go to the men and women of Hawaiian birth whose strong memories have helped preserve the material presented here. They have generously shared these remaining pieces of mythological song and story with us, which, without them, would have been lost forever, unheard and unrecorded.

N. B. EMERSON. [IX]

N. B. EMERSON. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

INTRODUCTION

According to Hawaiian myth, Pele, the volcanic fire-queen and the chief architect of the Hawaiian group, was a foreigner, born in the mystical land of Kuai-he-lani, a land not rooted and anchored to one spot, but that floated free like the Fata Morgana, and that showed itself at times to the eyes of mystics, poets and seers, a garden land, clad with the living glory of trees and habitations—a vision to warm the imagination. The region was known as Kahiki (Kukulu o Kahiki), a name that connotes Java and that is associated with the Asiatic cradle of the Polynesian race.

According to Hawaiian legend, Pele, the volcanic fire queen and the main creator of the Hawaiian Islands, was an outsider, born in the enchanted land of Kuai-he-lani, a place that wasn't fixed in one location but floated freely like a mirage, revealing itself at times to the eyes of mystics, poets, and visionaries. It was a lush land filled with vibrant trees and homes—a sight to inspire the imagination. This area was called Kahiki (Kukulu o Kahiki), a name that suggests Java and is linked to the Asian origins of the Polynesian people.

Pele’s mother was Haumea, a name that crops up as an ancestor in the hoary antiquity of the Hawaiian people, and she was reputed to be the daughter of Kane-hoa-lani.

Pele's mother was Haumea, a name that appears as an ancestor in the ancient history of the Hawaiian people, and she was said to be the daughter of Kane-hoa-lani.

Pele was ambitious from childhood and from the earliest age made it her practice to stick close to her mother’s fireplace in company with the fire-keeper Lono-makua, ever watchful of his actions, studious of his methods—an apprenticeship well fitted to serve her in good stead such time as she was to become Hawaii’s volcanic fire-queen. This conduct drew upon Pele the suspicion and illwill of her elder sister Na-maka-o-ka-ha’i, a sea-goddess, who, fathoming the latent ambition of Pele, could not fail to perceive that its attainment would result in great commotion and disturbance in their home-land.

Pele was ambitious from a young age and from the earliest days, she made it a habit to stay close to her mother’s fireplace, alongside the firekeeper Lono-makua. She was always watching his actions and learning from his methods—an apprenticeship that would serve her well when she became Hawaii’s volcano goddess. This behavior aroused the suspicion and resentment of her older sister Na-maka-o-ka-ha’i, a sea goddess, who, sensing Pele's underlying ambition, knew that if she achieved it, it would cause significant upheaval in their homeland.

Her fears and prognostications proved true. Namaka, returning from one of her expeditions across the sea, found that Pele, taking advantage of her absence, had erupted a fiery deluge and smothered a portion of the home-land with aä.

Her fears and predictions turned out to be right. Namaka, coming back from one of her trips across the sea, discovered that Pele, seizing the opportunity while she was away, had erupted in a fiery flood and covered part of the homeland with aä.

It would have gone hard with Pele; but mother Haumea bade her take refuge in the fold (pola) of Ka-moho-alii’s malo. Now this elder brother of Pele was a deity of great power and authority, a terrible character, hedged about with tabus that restricted and made difficult the approach of his enemies. Such a refuge could only be temporary, and safety was to be assured only by Pele’s removal from her home in the South land, and that meant flight. It was accomplished in the famed mythical canoe Honua-i-a-kea.

It would have been tough for Pele, but her mother Haumea instructed her to seek refuge in the fold (pola) of Ka-moho-alii’s malo. This older brother of Pele was a powerful and authoritative deity, known for being fierce, surrounded by tabus that made it difficult for his enemies to approach. Such a refuge could only be temporary, and Pele could only be safe by leaving her home in the South, which meant she had to escape. This was achieved in the legendary canoe Honua-i-a-kea.

The company was a distinguished one, including such godlike beings as Ka-moho-alii, Kane-apua, Kane-milo-hai and many [X]other relations of Pele, the youngest, but not the least important, of whom was the girl Hiiaka, destined to be the heroine of the story here unfolded and of whom it was said that she was born into the world as a clot of blood out of the posterior fontanelle (nunoi) of her mother Haumea, the other sisters having been delivered through the natural passage.

The company was notable, featuring divine figures like Ka-moho-alii, Kane-apua, Kane-milo-hai, and many [__A_TAG_PLACEHOLDER_0__]other relatives of Pele. The youngest and still significant among them was the girl Hiiaka, who was meant to be the heroine of the story being told. It was said that she was born as a clot of blood from the back of her mother Haumea's head (nunoi), while her other sisters were delivered through the traditional way.

The sailing course taken by Pele’s company brought them to some point northwest of Hawaii, along that line of islets, reefs, and shoals which tail off from Hawaii as does the train of a comet from its nucleus. At Moku-papápa Pele located her brother Kane-milo-hai, as if to hold the place for her or to build it up into fitness for human residence, for it was little more than a reef. Her next stop was at the little rock of Nihoa that lifts its head some eight hundred feet above the ocean. Here she made trial with the divining rod Paoa, but the result being unfavorable, she passed on to the insignificant islet of Lehua which clings like a limpet to the flank of Niihau. In spite of its smallness and unfitness for residence, Pele was moved to crown the rock with a wreath of kau-no’a, while Hiiaka contributed a chaplet of lehua which she took from her own neck, thus christening it for all time. The poet details the itinerary of the voyage in the following graphic lines:

The sailing route taken by Pele’s group led them to a point northwest of Hawaii, along that chain of islets, reefs, and shoals that extend from Hawaii like the tail of a comet from its core. At Moku-papápa, Pele found her brother Kane-milo-hai, as if to reserve the spot for her or to prepare it for human habitation, since it was barely more than a reef. Her next stop was the small rock of Nihoa, which rises about eight hundred feet above the ocean. Here, she tested the divining rod Paoa, but since the outcome was not favorable, she moved on to the tiny islet of Lehua, which sticks like a limpet to the side of Niihau. Despite its small size and unsuitability for living, Pele was inspired to adorn the rock with a wreath of kau-no’a, while Hiiaka added a garland of lehua that she took from her own neck, thus naming it forever. The poet describes the journey in the following vivid lines:

Ke Kaao a Pele i Haawi ia Ka-moho-alii i ka Haalele ana ia Kahiki

Ke Kaao a Pele was given to Ka-moho-alii when leaving for Kahiki.

Ku makou e hele me ku’u mau poki’i aloha,

Ka aina a makou i ike ole ai malalo aku nei,

A’e makou me ku’u poki’i, kau i ka wa’a;

A'e makou me ku'u poki'i, kau i ka wa'a;

No’iau ka hoe a Ka-moho-alii;

No’iau the paddle of Ka-moho-alii;

A’ea’e, kau i ka nalu—

Catch the wave—

He nalu haki kakala,

He rides a beautiful wave,

He nalu e imi ana i ka aina e hiki aku ai.

O Nihoa ka aina a makou i pae mua aku ai:

Lele a’e nei makou, kau i uka o Nihoa.

O ka hana no a ko’u poki’i, a Kane-apua,

O ka hooili i ka ihu o ka wa’a a nou i ke kai:

Waiho anei o Ka-moho-alii ia Kane-apua i uka o Nihoa.

No’iau ka hoe a Ka-moho-alii

No'iau the paddle of Ka-moho-alii

A pae i ka aina i kapa ia o Lehua.

[XI]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Pele’s Account to Ka-moho-alii of the Departure from Kahiki

Pele’s Story to Ka-moho-alii about Leaving Kahiki

We stood to sail with my kindred beloved

We got ready to sail with my beloved family.

To an unknown land below the horizon;

To an unfamiliar place beyond the horizon;

We boarded—my kinsmen and I—our craft,

We got on our boat—my relatives and I—

Our pilot well skilled, Ka-moho-alii.

Our skilled pilot, Ka-moho-alii.

Our craft o’ermounted and mastered the waves;

Our ship rose above and conquered the waves;

The sea was rough and choppy, but the waves

Bore us surely on to our destined shore—

Bore us surely to our destined shore—

The rock Nihoa, the first land we touched;

The rock Nihoa, the first land we encountered;

Gladly we landed and climbed up its cliffs.

Gladly, we landed and climbed up its cliffs.

Fault of the youngster, Kane-apua,

Kane-apua's fault,

He loaded the bow till it ducked in the waves;

He drew back the bow until it dipped in the waves;

Ka-moho-alii marooned the lad,

Ka-moho-alii stranded the kid,

Left the boy on the islet Nihoa

Left the boy on the island of Nihoa.

And, pilot well skilled, he sailed away

And the skilled pilot sailed away.

Till we found the land we christened Lehua.

Till we found the land we named Lehua.

When they had crowned the desolate rock with song and wreath, Ka-moho-alii would have steered for Niihau, but Pele, in a spasm of tenderness that smiles like an oasis in her life, exclaimed, “How I pity our little brother who journeyed with us till now!” At this Ka-moho-alii turned the prow of the canoe in the direction of Nihoa and they rescued Kane-apua from his seagirt prison. Let the poet tell the story:

When they had crowned the lonely rock with song and wreath, Ka-moho-alii would have headed for Niihau, but Pele, in a moment of tenderness that seemed like a refreshing break in her life, exclaimed, “I feel so sorry for our little brother who traveled with us until now!” Hearing this, Ka-moho-alii turned the canoe toward Nihoa, and they rescued Kane-apua from his sea-bound prison. Let the poet tell the story:

Hui1 iho nei ka wa’a a Ka-moho-alii

Hui1 is where the canoe of Ka-moho-alii is.

E kii ana i ko lakou pokii, ia Kane-apua, i Nihoa.

Pili aku nei ka wa’a o Ka-moho-alii i uka nei o Nihoa,

Kahea aku nei i ko lakou pokii, ia Kane-apua,

E kau aku ma ka pola o ka wa’a.

Hui iho nei ka ihu o ka wa’a o Ka-moho-alii—

He wa’a e holo ana i Niihau,

Kau aku nei o Ka-moho-alii i ka laau, he paoa,2 [XII]

Kau aku nei o Ka-moho-alii i ka lāʻau, he paoa,2 [__A_TAG_PLACEHOLDER_0__]

E imi ana i ko lakou aina e noho ai, o Kauai:

Aole na’e i loa’a.

Kau mai la o Ka-moho-alii i ka laau, he paoa;

O Ahu3 ka aina.

O Ahu__A_TAG_PLACEHOLDER_0__ the land.

Ia ka ana iho nei o lakou i Alia-pa’akai,

Aole na’e he aina.

TRANSLATION

Ka-moho-alii turned his canoe

Ka-moho-alii turned his boat

To rescue lad Kane from Nihoa.

To rescue the boy Kane from Nihoa.

Anon the craft lies off Nihoa’s coast;

They shout to the lad, to Kane-apua,

They shout to the guy, to Kane-apua,

Come aboard, rest with us on the pola.4

Come on in, relax with us on the pola.4

Ka-moho-alii turns now his prow,

Ka-moho-alii now turns his prow,

He will steer for the fertile Niihau.

He will head toward the fertile Niihau.

He sets out the wizard staff Paoa,

He sets down the wizard staff Paoa,

To test if Kauai’s to be their home;

To see if Kauai will be their home;

But they found it not there.

But they didn't find it there.

Once more the captain sails on with the rod,

Once again, the captain sets sail with the rod,

To try if Oahu’s the wished for land:

To see if Oahu is the desired place:

They thrust in the staff at Salt Lake Crater,

They pushed the staff into Salt Lake Crater,

But that proved not the land of their promise.

But that turned out not to be the land of their promise.

Arrived at Oahu, Ka-moho-alii, who still had Pele in his keeping, left the canoe in charge of Holoholo-kai and, with the rest of the party, continued the journey by land. The witchery of the Paoa was appealed to from time to time, as at Alia-pa’akai, Puowaena (Punchbowl Hill), Leahi (Diamond Head), and lastly at Makapu’u Point, but nowhere with a satisfactory response. (The words of Pele in the second verse of the kaao next to be given lead one to infer that she must for a time have entertained the thought that they had found the desired haven at Pele-ula—a small land-division within the limits of the present city of Honolulu.) Let the poet tell the story:

Arrived at Oahu, Ka-moho-alii, who still had Pele with him, left the canoe in Holoholo-kai's care and continued the journey by land with the rest of the group. They occasionally called upon the magic of the Paoa, as at Alia-pa’akai, Puowaena (Punchbowl Hill), Leahi (Diamond Head), and finally at Makapu’u Point, but they received no satisfactory response anywhere. (The words of Pele in the second verse of the kaao that follows suggest that she may have briefly thought they had found the desired haven at Pele-ula—a small land area within what is now the city of Honolulu.) Let the poet tell the story:

Ke ku nei makou e imi kahi e noho ai

A loa’a ma Pele-ula:

A loa’a with Pele-ula:

O Kapo-ula-kina’u ka wahine; [XIII]

O Kapo-ula-kina’u the woman; [__A_TAG_PLACEHOLDER_0__]

A loa’a i ka lae kapu o Maka-pu’u.

Ilaila pau ke kuleana;

Today is the time for responsibility;

Imi ia Kane-hoa-lani,

A loa’a i ka lae o Maka-hana-loa.—

He loa ka uka o Puna:

Elua kaua i ke kapa hookahi.

Akahi au a ike—haupu mau, walohia wale:

E Kane-hoa-lani, e-e!

Aloha kaua!

Aloha to us!

Kau ka hokú hookahi, hele i ke ala loa!

Kau the one star, go down the long road!

Aloha kama kuku kapa a ka wahine!

Aloha to all the amazing women!

He wahine lohiau, naná i ka makani;

He makani lohiau, haupu mai oloko!

TRANSLATION

Translation

We went to seek for a biding place,

We went to look for a place to stay,

And found it, we thought, in Pele-ula—

And we thought we found it in Pele-ula—

Dame Kapo—she of the red-pied robe—

Dame Kapo—she in the red-and-white robe—

Found it in the sacred cape, Maka-pu’u;

The limit that of our journey by land.

The limit of our journey by land.

We looked then for Kane-hoa-lani

We then searched for Kane-hoa-lani

And found him at Maka-hana-loa.

Far away are the uplands of Puna;

Far away are the highlands of Puna;

One girdle still serves for you and for me.

One belt still works for you and for me.

Never till now such yearning, such sadness!

Never before has there been such longing, such sadness!

Where art thou, Kane-hoa-lani?

Where are you, Kane-hoa-lani?

O Father Kane, where art thou?

O Father Kane, where are you?

Hail to thee, O Father, and hail to me!

Hail to you, O Father, and hail to me!

When rose the pilot-star we sailed away.

When the pilot star rose, we set sail.

Hail, girl who beats out tapa for women—

Hail, girl who stands out for women—

The home-coming wife who watches the wind,

The returning wife who watches the wind,

The haunting wind that searches the house!

The eerie wind that moves through the house!

The survey of Oahu completed, and Ka-moho-alii having resumed command of the canoe, Pele uttered her farewell and they voyaged on to the cluster of islands of which Maui is the center:

The survey of Oahu finished, and Ka-moho-alii took over command of the canoe again, Pele said her goodbye, and they set sail for the group of islands centered around Maui:

Aloha, Oahu, e-e!

Aloha, Oahu, let's go!

E huli ana makou i ka aina mamua aku,

Kahi a makou e noho ai.

[XIV]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Farewell to thee, Oahu!

Goodbye, Oahu!

We press on to lands beyond,

We keep moving to the lands ahead,

In search of a homing place.

In search of a place to call home.

Repeated trial with the divining rod, Paoa, made on the western part of Maui as well as on the adjoining islands of Molokai and Lanai proving unsatisfactory, Pele moved on to the exploration of the noble form of Hale-a-ka-la that domes East Maui, with fine hope and promise of success. But here again she was dissatisfied with the result. She had not yet delivered herself from the necessity of protection by her kinsman, Ka-moho-alii: “One girdle yet serves for you and for me,” was the note that still rang out as a confession of dependence, in her song.

Repeated attempts with the divining rod, Paoa, in the western part of Maui and the nearby islands of Molokai and Lanai were disappointing, so Pele moved on to explore the majestic Hale-a-ka-la that towers over East Maui, filled with hope and the promise of success. But once again, she was not happy with the outcome. She still felt the need for protection from her relative, Ka-moho-alii: “One girdle yet serves for you and for me,” was the refrain that echoed as a sign of her dependence in her song.

While Pele was engaged in her operations in the crater of Hale-a-ka-la, her inveterate enemy Na-maka-o-ka-ha’i, who had trailed her all the way from Kahiki with the persistency of a sea-wolf, appeared in the offing, accompanied by a sea-dragon named Ha-ui.

While Pele was busy with her activities in the crater of Hale-a-ka-la, her relentless enemy Na-maka-o-ka-ha’i, who had followed her all the way from Kahiki like a determined sea-wolf, showed up in the distance, accompanied by a sea-dragon named Ha-ui.

The story relates that, as Na-maka-o-ka-ha’i passed the sand-spit of Moku-papápa, Kane-milo-hai, who, it will be remembered, had been left there in charge as the agent of Pele, hailed her with the question: “Where are you going so fast?”

The story goes that as Na-maka-o-ka-ha’i passed the sandbar of Moku-papápa, Kane-milo-hai, who had been left there in charge as Pele's agent, called out to her, asking, “Where are you rushing off to?”

“To destroy my enemy, to destroy Pele,” was her answer.

"To take down my enemy, to take down Pele," was her response.

“Return to Kahiki, lest you yourself be destroyed,” was the advice of Kane-milo-hai.

“Return to Kahiki, or you’ll end up destroying yourself,” was the advice of Kane-milo-hai.

Pele, accepting the gage thrown down by Na-maka-o-ka-ha’i, with the reluctant consent of her guardian Ka-moho-alii, went into battle single-handed. The contest was terrific. The sea-monster, aided by her dragon consort, was seemingly victorious. Dismembered parts of Pele’s body were cast up at Kahiki-nui, where they are still pointed out as the bones of Pele (na iwi o Pele.) (She was only bruised). Ka-moho-alii was dismayed thinking Pele to have been destroyed;—but, looking across the Ale-nui-haha channel, he saw the spirit-form of Pele flaming in the heavens above the summits of Mauna-loa and Mauna-kea. As for Na-maka-o-ka-ha’i, she retired from the battle exultant, thinking that her enemy Pele was done for: but when she reported her victory to Kane-milo-hai, that friend of Pele pointed to the spirit body of Pele glowing in the heavens as proof that she was mistaken. Namaka was enraged at the sight and would [XV]have turned back to renew the conflict, but Kane-milo-hai dissuaded her from this foolhardy undertaking, saying, “She is invincible; she has become a spirit.”

Pele, taking on the challenge thrown down by Na-maka-o-ka-ha’i, with the reluctant approval of her guardian Ka-moho-alii, fought the battle alone. The fight was intense. The sea monster, supported by her dragon partner, seemed to be winning. Dismembered pieces of Pele’s body were washed up at Kahiki-nui, where they are still identified as the bones of Pele (na iwi o Pele.) (She was only bruised). Ka-moho-alii was upset, thinking Pele had been destroyed; but when he looked across the Ale-nui-haha channel, he saw Pele's spirit glowing in the sky above the peaks of Mauna-loa and Mauna-kea. Na-maka-o-ka-ha’i, pleased with her apparent victory, believed Pele was finished: but when she told Kane-milo-hai, a friend of Pele, about her win, he pointed out Pele’s spirit body shining in the sky as evidence that she was wrong. Na-maka was furious at the sight and would [__A_TAG_PLACEHOLDER_0__]have turned back to continue the fight, but Kane-milo-hai convinced her not to take that reckless step, saying, “She is unbeatable; she has become a spirit.”

The search for a home-site still went on. Even Hale-a-ka-la was not found to be acceptable to Pele’s fastidious taste. According to one account it proved to be so large that Pele found herself unable to keep it warm. Pele, a goddess now, accordingly bade adieu to Maui and its clustering isles and moved on to Hawaii.

The search for a place to call home continued. Even Hale-a-ka-la didn’t meet Pele’s picky standards. According to one story, it was so big that Pele couldn’t keep it warm. Now a goddess, Pele said goodbye to Maui and its surrounding islands and moved on to Hawaii.

He Kaao na Pele, i Haalele ai ia Maui

Aloha o Maui, aloha, e!

Aloha from Maui, aloha!

Aloha o Moloka’i, aloha, e!

Aloha from Moloka’i, aloha!

Aloha o Lana’i, aloha, e!

Aloha from Lana’i, hello!

Aloha o Kaho’olawe, aloha, e!

Aloha, Kaho’olawe!

Ku makou e hele, e!

Let's go!

O Hawaii ka ka aina

O Hawaii the land

A makou e noho ai a mau loa aku;

Ke ala ho’i a makou i hiki mai ai,

He ala paoa ole ko Ka-moho-alii,

Ko Pele, ko Kane-milo-hai, ko Kane-apua,

Ko Hiiaka—ka no’iau—i ka poli o Pele,

Ko Hiiaka—she's talented—at the heart of Pele,

I hiki mai ai.

I'm here now.

TRANSLATION

Pele’s Farewell to Maui

Pele's Goodbye to Maui

Farewell to thee, Maui, farewell!

Goodbye, Maui, goodbye!

Farewell to thee, Moloka’i, farewell!

Farewell to you, Moloka’i, goodbye!

Farewell to thee, Lana’i, farewell!

Goodbye, Lana’i, goodbye!

Farewell to thee, Kaho’olawe, farewell!

Goodbye, Kaho’olawe, goodbye!

We stand all girded for travel:

We’re all set for a journey:

Hawaii, it seems, is the land

On which we shall dwell evermore.

On which we will focus forever.

The route by which we came hither

The path we took to get here

Touched lands not the choice of Paoa;—

Touched lands are not Paoa's choice;—

’Twas the route of Ka-moho-alii,

It was the route of Ka-moho-alii,

Of Pele and Kane-milo-hai,

Route traveled by Kane-apua, and by

Hiiaka, the wise, the darling of Pele.

Hiiaka, the wise one, the beloved of Pele.

Pele and her company landed on Hawaii at Pua-kó, a desolate [XVI]spot between Kawaihae and Kailua. Thence they journeyed inland until they came to a place which they named Moku-aweo-weo—not the site of the present crater of that name, but—situated where yawns the vast caldera of Kilauea. It was at the suggestion of Ku-moku-halii and Keawe-nui-kau of Hilo that the name was conferred. They also gave the name Mauna-loa to the mountain mass that faced them on the west, “because,” said they, “our journey was long.”

Pele and her company arrived in Hawaii at Pua-kó, a desolate [__A_TAG_PLACEHOLDER_0__] spot between Kawaihae and Kailua. From there, they traveled inland until they reached a location they named Moku-aweo-weo—not the current site of the crater by that name, but located at the enormous caldera of Kilauea. It was at the suggestion of Ku-moku-halii and Keawe-nui-kau of Hilo that the name was given. They also named the mountain mass in front of them to the west Mauna-loa, saying, “because our journey was long.”

Night fell and they slept. In the morning, when the elepaio uttered its note, they rose and used the Paoa staff. The omens were favorable, and Pele decided that this was the place for her to establish a permanent home.

Night fell, and they went to sleep. In the morning, when the elepaio called out, they got up and used the Paoa staff. The signs were good, and Pele decided that this was the right place for her to set up a permanent home.

The people immediately began to set out many plants valuable for food; among them a variety of kalo called aweü, well suited for upland growth; the ulu (bread-fruit); the maiä (banana); the pala-á (an edible fern); the awa (Piper methysticum) and other useful plants.

The people quickly started planting many valuable food sources, including a type of taro called aweü, which thrives well in upland areas; the breadfruit; bananas; an edible fern called pala-á; kava (Piper methysticum); and other helpful plants.

The land on the Hilo side of Kilauea, being in the rain belt, is fertile and well fitted for tillage. The statement, however, that Kilauea, or its vicinity, became the place of settlement for any considerable number of people cannot be taken literally. The climatic conditions about Kilauea are too harsh and untropical to allow either the people or the food plants of Polynesia to feel at home in it. The probability is that instead of being gathered about Kilauea, they made their homes in the fat lands of lower Puna or Hilo.

The land on the Hilo side of Kilauea, located in the rain belt, is fertile and perfect for farming. However, the claim that Kilauea, or its surrounding area, became home to a significant number of people can't be taken at face value. The climate around Kilauea is too harsh and unwelcoming for either the people or the food plants from Polynesia to thrive there. It's more likely that instead of settling around Kilauea, they lived in the rich lands of lower Puna or Hilo.

Pele, on her human side at least, was dependent for support and physical comfort upon the fruits of the earth and the climatic conditions that made up her environment. Yet with all this, in the narrative that follows her relations to humanity are of that exceptional character that straddle, as it were, that border line which separates the human from the superhuman, but for the most part occupy the region to the other side of that line, the region into which if men and women of this work-a-day world pass they find themselves uncertain whether the beings with whom they converse are bodied like themselves or made up of some insubstantial essence and liable to dissolve and vanish at the touch.

Pele, at least on her human side, relied on the earth's resources and the climate around her for support and comfort. Yet, throughout the narrative that follows, her relationships with humanity are so unique that they straddle the line between human and superhuman. Most of the time, they exist on the other side of that line—a realm where, if everyday people venture in, they feel unsure whether the beings they interact with are physical like themselves or made of some ethereal essence that might dissolve and disappear at a touch.

THE HOME OF PELE. KILAUEA IN ACTION.

Copyright by R. K. Bonine.

[1]

[__A_TAG_PLACEHOLDER_0__]

1 Hui, an elided form of huli, the l being dropped. ↑

1 Hui, which is a shortened version of huli, with the l being omitted. ↑

2 Paoa. One Hawaiian says this should be pahoa. (Paulo Hokii.)

The Paoa mentioned in verse eight was a divining rod used to determine the suitability of any spot for Pele’s excavations. The land must be proof against the entrance of sea water. It also served as a spade in excavating for a volcanic crater.

The Paoa mentioned in verse eight was a divining rod used to check if a location was suitable for Pele’s excavations. The land had to be resistant to the intrusion of sea water. It also worked as a spade for digging out a volcanic crater.

When a suitable place was finally discovered on Hawaii, the Paoa staff was planted in Panaewa and became a living tree, multiplying itself until it was a forest. The writer’s informant says that it is a tree known to the present generation of men. “I have seen sticks cut from it,” said he, “but not the living tree itself.” ↑

When a good spot was finally found in Hawaii, the Paoa staff was planted in Panaewa and grew into a living tree, multiplying until it became a forest. The writer's source says it's a tree familiar to today's people. "I've seen branches taken from it," he said, "but not the actual living tree." ↑

3 O Ahu. The particle o is not yet joined to its substantive, as in Oahu, the form we now have. ↑

3 O Ahu. The particle o hasn't been connected to its noun yet, as in Oahu, the way we refer to it now. ↑

4 Pola, the raised platform in the waist of the canoe, a place of honor. ↑

4 Pola, the elevated platform in the middle of the canoe, a place of respect. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER I

PELE IN THE BOSOM OF HER FAMILY

Once, when Pele was living in the pit of Kilauea, she roused up from her couch on the rough hearth-plate and said to her sisters, “Let us make an excursion to the ocean and enjoy ourselves, open the opihi shells and sea-urchins, hunt for small squid and gather sea-moss.”

Once, when Pele was staying in the pit of Kilauea, she got up from her couch on the rough hearth-plate and said to her sisters, “Let’s take a trip to the ocean and have some fun, open the opihi shells and sea urchins, look for small squid, and gather sea moss.”

To this all joyfully assented, saying, “Yes, let us go.”

To this, everyone happily agreed, saying, “Yes, let’s go.”

The sisters formed quite a procession as they tramped the narrow downhill path until they came to the hill Pu’u-Pahoehoe—a place in the lower lands of Puna. Pele herself did not visibly accompany them on this journey; that was not according to her custom: she had other ways and means of travel than to plod along a dusty road. When, however, the party arrived at the rendezvous, there, sure enough, they found Pele awaiting them, ready for the business in hand.

The sisters created quite a scene as they walked down the narrow downhill path until they reached the hill Pu’u-Pahoehoe—a spot in the lower lands of Puna. Pele herself didn’t visibly join them on this journey; that wasn't her style: she had different ways of getting around than just trudging down a dusty road. However, when the group arrived at the meeting place, they found Pele there, ready for the task at hand.

In the midst of their pleasurings Pele caught sight of Hopoe and Haena as they were indulging in an al fresco dance and having a good time by the Puna sea. She was greatly pleased and, turning to her sisters, said, “Come, haven’t you also got some dance that you can show off in return for this entertainment by Hopoe and her companion?”

In the middle of their fun, Pele saw Hopoe and Haena enjoying an outdoor dance and having a great time by the Puna sea. She was really happy and turned to her sisters, saying, “Come on, don’t you have a dance you can show to return the favor for this entertainment from Hopoe and her friend?”

They all hung their heads and said, “We have no hula.”

They all lowered their heads and said, “We don’t have any hula.”

Hiiaka, the youngest, had stayed behind to gather lehua flowers, and when she came along laden with wreaths, Pele said to her, jestingly, “I’ve just been proposing to your sisters here to dance a hula in response to that of Hopoe and her fellow, but they decline, saying they have not the art. I suppose it’s of no use to ask you, you are so small; but, perhaps, you’ve got a bit of a song.”

Hiiaka, the youngest, stayed behind to gather lehua flowers, and when she returned with wreaths, Pele said to her playfully, “I’ve just been suggesting to your sisters here that they should dance a hula in response to Hopoe and her partner, but they refuse, saying they don’t have the skill. I guess it’s pointless to ask you since you’re so tiny; but maybe you’ve got a little song to share.”

“Yes, I have a song,” Hiiaka answered, to the surprise of all.

“Yes, I have a song,” Hiiaka replied, surprising everyone.

“Let us have it, then; go on!” said Pele.

“Alright, let’s hear it then; go ahead!” said Pele.

Then the little girl, having first decorated all of her sisters with the wreaths, beginning with Pele, sang as follows:

Then the little girl, after decorating all her sisters with the wreaths, starting with Pele, sang this:

Ke ha’a la Puna i ka makani;

Ha’a ka ulu hala i Keaau;

Ha’a Haena me Hopoe;

Ha'a Haena and Hopoe;

Ha’a ka wahine,

Ha'a ka wahine,

Ami i kai o Nana-huki, la—

Hula le’a wale,

Hula is fun,

I kai o Nana-huki, e-e!

I love Nana-huki, yay!

[2]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Puna’s a-dance in the breeze,

Puna's dancing in the breeze,

The hala groves of Keaau shaken:

The hala groves of Keaau shook:

Haena and Hopoe are swaying;

Haena and Hopoe are dancing;

The thighs of the dancing nymph

Quiver and sway, down at Nana-huki—

A dance most sightly and pleasing,

A dance that's beautiful and enjoyable,

Down by the sea Nana-huki.

Down by the beach Nana-huki.

Pele was delighted. “Is that all you have?” she asked.

Pele was thrilled. “Is that everything you have?” she asked.

“I have something more,” said the girl.

“I have something more,” the girl said.

“Let us hear it then.”

"Let's hear it then."

Hiiaka put even more spirit into the song as she complied:

Hiiaka poured even more energy into the song as she went along:

O Puna kai kuwá i ka hala;

Pae ka leo o ke kai;

Ke lu, la, i na pua lehua.

Nana i kai o Hopoe,

Nana at Hopoe's house,

Ka wahine ami i kai

The woman ate food

O Nana-huki, la;

Hula le’a wale,

Hula is carefree,

I kai o Nana-huki, e-e.

I eat at Nana-huki, okay.

TRANSLATION

The voice of Puna’s sea resounds

The voice of Puna's sea echoes

Through the echoing hala groves;

Through the echoing hala trees;

The lehua trees cast their bloom.

The lehua trees are in bloom.

Look at the dancing girl Hopoe;

Her graceful hips swing to and fro,

Her elegant hips sway back and forth,

A-dance on the beach Nana-huki:

Beach dance Nana-huki:

A dance that is full of delight,

A happy dance,

Down by the sea Nana-huki.

By the seaside Nana-huki.

At the conclusion of this innocent performance—the earliest mention of the hula that has reached us—Hiiaka went to stay with her friend Hopoe, a person whose charm of character had fascinated the imagination of the susceptible girl and who had already become her dearest intimate, her inspiring mentor in those sister arts, song, poesy and the dance.

At the end of this simple performance—the first reference to the hula that we have—Hiiaka went to stay with her friend Hopoe, someone whose charming personality had captivated the impressionable girl and who had already become her closest friend, her inspiring guide in the sister arts of song, poetry, and dance.

Pele herself remained with her sister Hiiaka-i-ka-pua-enaena (Hiiaka-of-the-fire-bloom), and presently she lay down to sleep [3]in a cave on a smooth plate of pahoehoe. Before she slept she gave her sister this command: “Listen to me. I am lying down to sleep; when the others return from fishing, eat of the fish, but don’t dare to wake me. Let me sleep on until I wake of myself. If one of you wakes me it will be the death of you all. If you must needs wake me, however, call my little sister and let her be the one to rouse me; or, if not her, let it be my brother Ke-o-wahi-maka-o-ka-ua—one of these two.”

Pele stayed with her sister Hiiaka-i-ka-pua-enaena (Hiiaka-of-the-fire-bloom), and soon she lay down to sleep [__A_TAG_PLACEHOLDER_0__] in a cave on a smooth surface of pahoehoe. Before she fell asleep, she gave her sister this instruction: “Listen up. I’m going to sleep; when the others come back from fishing, eat some fish, but don’t even think about waking me. Let me sleep until I wake up on my own. If one of you wakes me, it will be the end for you all. If you really need to wake me, though, call my little sister and let her be the one to wake me; or, if she’s not around, let it be my brother Ke-o-wahi-maka-o-ka-ua—one of those two.”

When Ke-o-wahi-maka-o-ka-ua, who was so closely related to Pele that she called him brother, had received this command and had seen her lapse into profound sleep he went and reported the matter to Hiiaka, retailing all that Pele had said. “Strange that this havoc-producer should sleep in this way, and no bed-fellow!” said Hiiaka to herself. “Here are all the other Hiiakas, all of equal rank and merit! Perhaps it was because my dancing pleased her that she wishes me to be the one to rouse her.”

When Ke-o-wahi-maka-o-ka-ua, who was so closely related to Pele that she called him brother, received this command and saw her fall into a deep sleep, he went and reported the matter to Hiiaka, sharing everything that Pele had said. “It’s strange that this troublemaker should sleep like this, without anyone by her side!” Hiiaka thought to herself. “Here are all the other Hiiakas, all of equal rank and worth! Maybe it’s because my dancing impressed her that she wants me to be the one to wake her up.”

The cavern in the hill Pahoehoe in which Pele lay and slept, wrapped in her robe (kapa-ahu), remains to this day.

The cave in the hill Pahoehoe where Pele lay and slept, wrapped in her robe (kapa-ahu), still exists today.

In her sleep Pele heard the far-off beating of hula drums, and her spirit-body pursued the sound. At first it seemed to come from some point far out to sea; but as she followed, it shifted, moving to the north, till it seemed to be off the beach of Waiakea, in Hilo; thence it moved till it was opposite Lau-pahoehoe. Still evading her pursuit, the sound retreated till it came from the boisterous ocean that beats against the shaggy cliffs of Hamakua. Still going north, it seemed presently to have reached the mid channel of Ale-nui-haha that tosses between Hawaii and Maui.

In her sleep, Pele heard the distant sound of hula drums, and her spirit-body followed the rhythm. At first, it sounded like it was coming from far out at sea; but as she chased it, it shifted northward until it seemed to be near the beach of Waiakea in Hilo. Then it moved again until it was across from Lau-pahoehoe. Still evading her, the sound retreated until it drifted from the crashing waves against the rugged cliffs of Hamakua. Continuing north, it eventually appeared to be in the middle of the Ale-nui-haha channel that lies between Hawaii and Maui.

“If you are from my far-off home-land Kahiki, I will follow you thither, but I will come up with you,” said Pele.

“If you’re from my distant homeland Kahiki, I’ll follow you there, but I’ll catch up with you,” said Pele.

To her detective ear, as she flitted across the heaving waters of Ale-nui-haha, the pulsing of the drums now located itself at the famous hill Kauwiki, in Hana; but, on reaching that place, the music had passed on to the west and sounded from the cliffs of Ka-haku-loa.

To her detective ear, as she moved across the choppy waters of Ale-nui-haha, the thump of the drums now pinpointed itself at the well-known hill Kauwiki, in Hana; but, upon arriving there, the music had shifted to the west and echoed from the cliffs of Ka-haku-loa.

The fugitive music led her next across another channel, until in her flight she had traversed the length of Moloka’i and had come to the western point of that island, Lae-o-ka-laau. Thence she flew to cape Maka-pu’u, on Oahu, and so on, until, after crossing that island, she reached cape Kaena, whose finger-point reaches out towards Kaua’i. In that desolate spot dwelt an aged creature of myth, Pohaku-o-Kaua’i by name, the personal representative of that rock whose body-form the hero Mawi [4]had jerked from its ocean bed ages before, in his futile attempt to draw together the two islands Kaua’i and Oahu and unite them into one mass.

The fleeing music guided her across another channel, and she moved swiftly, covering the length of Moloka’i until she reached the western tip of the island, Lae-o-ka-laau. From there, she flew to Cape Maka-pu’u on Oahu, and continued on until she crossed that island and arrived at Cape Kaena, where the point juts out toward Kaua’i. In that desolate place lived an ancient mythological being named Pohaku-o-Kaua’i, the embodiment of the rock that the hero Mawi [__A_TAG_PLACEHOLDER_0__] had pulled from the ocean floor ages ago, in his unsuccessful effort to connect the islands of Kaua’i and Oahu into one landmass.

Pele, arguing from her exasperation, said, “It must be my old grandfather Pohaku-o-Kaua’i who is playing this trick with the music. If it’s he that’s leading me this chase, I’ll kill him.”

Pele, fed up, said, “It must be my old grandfather Pohaku-o-Kaua’i who is messing with the music. If it’s him leading me on this wild goose chase, I’ll take him out.”

The old fellow saw her approach and, hailing her from a distance, greeted her most heartily. Her answer was in a surly mood: “Come here! I’m going to kill you to-day. So it’s you that’s been fooling me with deceitful music, leading me a wearisome chase.”

The old man noticed her coming and called out to her from afar, welcoming her warmly. She responded grumpily: “Get over here! I’m going to take you down today. So it’s you who’s been messing with me using tricky music and making me chase after you.”

“Not I, I’ve not done this. There they are, out to sea; you can hear for yourself.” And, sure enough, on listening, one could hear the throbbing of the music in the offing.

“Not me, I didn’t do this. There they are, out at sea; you can hear it for yourself.” And, sure enough, when you listen, you can hear the thumping of the music in the distance.

Pele acknowledged her mistake and continued her pursuit, with the parting assurance to the old soul that if he had been the guilty one, it would have been his last day of life.

Pele admitted her mistake and kept going, assuring the old soul that if he had been the one at fault, it would have been his last day alive.

The real authors of this illusive musical performance were two little creatures named Kani-ka-wí and Kani-ka-wá, the former a sprite that was embodied in the nose-flute, the latter in the hokeo, a kind of whistle, both of them used as accompaniments to the hula. Their sly purpose was to lure Pele to a place where the hula was being performed.

The true creators of this elusive musical performance were two tiny beings named Kani-ka-wí and Kani-ka-wá. The first was a spirit represented by the nose-flute, and the second by the hokeo, a type of whistle, both used as accompaniments to the hula. Their clever goal was to attract Pele to a location where the hula was being danced.

Pele now plunged into the water—from this point at least she swam—and, guided by the call of the music, directed her course to the little village of Haena that perched like a gull on the cape of the same name, at the northernmost point of the island of Kaua’i. It was but a few steps to the hall of the hula—the halau—where throbbed the hula drums and where was a concourse of people gathered from the whole island. [5]

Pele dove into the water—at least from this point she swam—and, following the sound of the music, made her way to the small village of Haena that sat like a gull on the cape of the same name, at the northernmost tip of the island of Kaua’i. It was only a few steps to the hula hall—the halau—where the hula drums pulsed and where a crowd of people had gathered from all over the island. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

CHAPTER II

PELE MEETS AND FASCINATES LOHIAU

As Pele drew near to the rustic hall where the hula was in full blast, the people in the outskirts of the assembly turned to look in wonder and admiration at the beauty and charm of the stranger who had appeared so unexpectedly and whose person exhaled such a fragrance, as if she had been clad with sweet-scented garlands of maile, lehua and hala. One and all declared her to be the most beautiful woman they had ever looked upon. Where was she from? Surely not from Kaua’i. Such loveliness could not have remained hidden in any nook or corner of the island, they declared.

As Pele approached the rustic hall where the hula was in full swing, the people at the edge of the gathering turned to gaze in awe and admiration at the beauty and charm of the stranger who had appeared so unexpectedly, radiating a fragrance as if she were adorned with sweet-scented garlands of maile, lehua, and hala. Everyone agreed she was the most beautiful woman they had ever seen. Where was she from? Surely not Kaua’i. Such beauty couldn't have gone unnoticed anywhere on the island, they insisted.

Instinctively the wondering multitude parted and offered a lane for her to pass through and enter the halau, thus granting to Pele a full view of the musicians and performers of the hula, and, sitting in their midst, Lohiau,—as yet seemingly unconscious of her presence,—on his either hand a fellow drummer; while, flanking these to right and left, sat players with a joint of bamboo in either hand (the kaekeeke). But drummer and kaekeeke-player, musicians and actors—aye, the whole audience—became petrified and silent at the sight of Pele, as she advanced step by step, her eyes fixed on Lohiau.

Instinctively, the curious crowd parted to create a path for her to walk through and enter the halau, allowing Pele to fully see the musicians and performers of the hula, and sitting among them was Lohiau—seemingly unaware of her presence—with a fellow drummer on either side. Surrounding them were players holding a piece of bamboo in each hand (the kaekeeke). But the drummer and kaekeeke players, along with the musicians, actors, and even the entire audience, froze in silence at the sight of Pele as she moved forward step by step, her eyes fixed on Lohiau.

Then, with intensified look, as if summoning to her aid the godlike gifts that were hers as the mistress of Kilauea, she reached out her hand and, in a clear tone, with a mastery that held the listeners spell-bound, she chanted:

Then, with an intense gaze, as if calling upon her divine powers as the mistress of Kilauea, she extended her hand and, in a clear voice, with a skill that captivated her audience, she began to chant:

Lu’ulu’u Hanalei i ka ua nui,

Lu’ulu’u Hanalei in the heavy rain,

Kaumaha i ka noe o Alaka’i,

I ka hele ua o Manu’a-kepa;

Uoi ku i ka loa o Ko’i-alana,

I ka alaka’i ’a a ka malihini, e!

Mai hina, mai hina au,

Mai palaha ia o-e.

Don't worry about it.

Imi wale ana au o kahi o ke ola,

O ke ola nei, e-e!

TRANSLATION

Tight-pressed is Hanalei’s throng,

Hanalei's crowd is tightly packed,

A tree bent down by heavy rain, [6]

A tree weighed down by heavy rain, [__A_TAG_PLACEHOLDER_0__]

Weighted with drops from the clouds,

When rain columns sweep through Manu’a-kepa,

When rain showers move through Manu’a-kepa,

This throng that has lured on the stranger,

This crowd that has drawn in the outsider,

Nigh to downfall, to downfall, was I,

Nearing my downfall, I was,

Laid flat by your trick—aye yours!

Laid flat by your trick—yep, yours!

My quest was for comfort and life,

My journey was about finding comfort and a fulfilling life,

Just for comfort and life!

The silence became oppressive. In the stillness that followed the song expectant eyes were focused upon Prince Lohiau, awaiting his reply to the address of the stranger who stood in their midst. No one knew who she was; no one imagined her to be Pele. That she was a person of distinction and rank was evident enough, one whom it was the duty and rare privilege of their chief to receive and entertain.

The silence felt heavy. In the quiet that followed the song, everyone’s eager eyes were on Prince Lohiau, waiting for his response to the stranger standing among them. No one knew who she was; no one thought she could be Pele. It was clear she was someone of importance and status, someone their chief had the duty and rare honor to welcome and host.

Presently there was wrinkling of foreheads, an exchange of glances, prompting winks and nods, inclinations of the head, a turning of the eyes—though not a word was spoken—; for his friends thought thus to rouse Lohiau from his daze and to prompt him to the dutiful rites of hospitality and gallantry. Paoa, his intimate friend, sitting at Lohiau’s right hand, with a drum between his knees, even ventured to nudge him in the side.

Right now, there were furrowed brows and exchanged looks that led to winks and nods, head tilts, and eye shifts—though not a word was said—; for his friends hoped to wake Lohiau from his stupor and encourage him to engage in the proper acts of hospitality and courtesy. Paoa, his close friend, sitting to Lohiau’s right with a drum resting on his knees, even dared to nudge him in the side.

The silence was broken by Pele:

The silence was shattered by Pele:

Kalakú Hilo i ka ua nui;

Kalakú Hilo in the heavy rain;

Kapu ke nu, ke i,

I ka puá o ka leo,

I ka hamahamau—hamau kakou—

I ka hamahamau—hamau kāko—

I ka hawanawana;

I ka belittling;

I ke kunou maka;

I hate that;

I ka awihi maka;

I’m watching you;

I ka alawa iki.

I wish for this.

Eia ho’i au, kou hoa,

Here I am, your friend,

Kou hoa, ho’i, e-e!

Hey friend, come back!

TRANSLATION

Bristling, frumpy, sits Hilo,

Bristling and frumpy, Hilo sits.

Drenched by the pouring rain,

Soaked by the heavy rain,

Forbidden to murmur,

No complaints allowed,

Or put forth a sound,

Or make a sound,

Or make utt’rance by speech: [7]

Or speak your mind: [__A_TAG_PLACEHOLDER_0__]

Must all remain breathless,

Must all stay breathless,

Nor heave an audible sigh,

Nor make a sound.

Withholding the nod, the wink,

Withholding the nod and wink,

And the glance to one side.

And the look to the side.

I pray you behold me now:—

I ask you to look at me now:—

Here stand I, your guest,

Here I am, your guest,

Your companion, your mate!

Your partner, your buddy!

Lohiau, once roused from his ecstacy, rose to the occasion and with the utmost gallantry and politeness invited Pele to sit with him and partake of the hospitalities of the halau.

Lohiau, once pulled out of his trance, rose to the occasion and with great courage and courtesy invited Pele to join him and enjoy the hospitality of the halau.

When Pele had seated herself on the mat-piled dais, Lohiau, following the etiquette of the country, asked whence she came.

When Pele settled on the mat-covered platform, Lohiau, following the customs of the land, inquired about where she was from.

“I am of Kaua’i,” she answered.

“I’m from Kauai,” she replied.

“There is no woman of Kaua’i your equal in beauty,” said Lohiau. “I am the chief and I know, for I visit every part of the whole island.”

“There’s no woman on Kaua’i as beautiful as you,” said Lohiau. “I’m the chief, and I know because I’ve been all over the island.”

“You have doubtless traveled about the whole island,” answered Pele; “yet there remain places you are not acquainted with; and that is where I come from.”

“You've definitely explored the entire island,” Pele replied. “But there are still places you don’t know about, and that’s where I come from.”

“No, no! you are not of Kaua’i. Where are you from?”

“No, no! You’re not from Kaua’i. Where are you from?”

Because of his importunity, Pele answered him, “I am from Puna, from the land of the sunrise; from Ha’eha’e, the eastern gate of the sun.”

Because of his persistent questioning, Pele replied, “I’m from Puna, the land of the sunrise; from Ha’eha’e, the eastern gateway of the sun.”

Lohiau bade that they spread the tables for a feast, and he invited Pele to sit with him and partake of the food. But Pele refused food, saying, “I have eaten.”

Lohiau asked them to set up the tables for a feast and invited Pele to join him and enjoy the food. But Pele declined, saying, “I have eaten.”

“How can that be?” said he, “seeing you have but now come from a long journey? You had better sit down and eat.”

“How can that be?” he said. “You just got back from a long trip. You should sit down and eat.”

Pele sat with him, but she persistently declined all his offers of food, “I am not hungry.”

Pele sat with him, but she consistently refused all his offers of food, “I am not hungry.”

Lohiau sat at the feast, but he could not eat; his mind was disturbed; his eyes were upon the woman at his side. When they rose from the table he led her, not unwilling, to his house, and he lay down upon a couch by her side. But she would favor him only with kisses. In his growing passion for her he forgot his need of food, his fondness for the hula, the obligations that rested upon him as a host: all these were driven from his head.

Lohiau sat at the feast, but he couldn't eat; his mind was troubled; his eyes were on the woman beside him. When they got up from the table, he led her, and she didn’t resist, to his house, where he lay down on a couch beside her. But she only gave him kisses. In his growing passion for her, he forgot his hunger, his love for the hula, and the responsibilities he had as a host: all of these thoughts vanished from his mind.

All that night and the following day, and another night, and for three days and three nights, he lay at her side, struggling with her, striving to overcome her resistance. But she would grant him only kisses. [8]

All through that night and the next day, and another night, for three days and three nights, he stayed by her side, battling with her, trying to break down her walls. But all she would give him were kisses. [__A_TAG_PLACEHOLDER_0__]

And, on the third night, as it came towards morning, Pele said to Lohiau, “I am about to return to my place, to Puna, the land of the sunrise. You shall stay here. I will prepare a habitation for us, and, when all is ready I will send and fetch you to myself. If it is a man who comes, you must not go with him; but, if a woman, you are to go with the woman. Then, for five days and five nights you and I will take our fill of pleasure. After that you will be free to go with another woman.”

And on the third night, as morning approached, Pele said to Lohiau, “I’m about to head back to my home in Puna, the land of the sunrise. You’ll stay here. I’ll arrange a place for us, and once everything is ready, I’ll send someone to bring you to me. If it’s a man who comes, you shouldn’t go with him; but if it’s a woman, then you should go with her. After that, we’ll enjoy five days and five nights of pleasure together. After that, you’re free to be with another woman.”

In his madness, Lohiau put forth his best efforts to overcome Pele’s resistance, but she would not permit him. “When we meet on Hawaii you shall enjoy me to your fill,” said she. He struggled with her, but she foiled him and bit him in the hand to the quick; and he grasped the wound with the other hand to staunch the pain. And he, in turn, in the fierceness of his passion, planted his teeth in her body.

In his madness, Lohiau tried his hardest to break through Pele’s resistance, but she wouldn’t allow it. “When we meet on Hawaii, you’ll enjoy me to your heart's content,” she said. He fought with her, but she outsmarted him and bit him hard on the hand; he grabbed the wound with his other hand to stop the pain. In the heat of his passion, he bit into her body in response.

At this, Pele fluttered forth from the house, plunged into the ocean and—was gone.

At this, Pele rushed out of the house, dove into the ocean, and—disappeared.

[__A_TAG_PLACEHOLDER_0__]

CHAPTER III

LOHIAU COMES TO HIMSELF—HIS DEATH—THE THREAT OF PAOA

When Lohiau came to himself, as from a dream, he looked for the woman who had lain at his side, but her place was vacant and cold. He went out into the open air, but she was nowhere to be found, and he turned back into the empty house.

When Lohiau regained consciousness, as if waking from a dream, he searched for the woman who had been lying next to him, but the spot was empty and cold. He went outside, but she was nowhere to be seen, so he returned to the vacant house.

Lohiau’s stay with Pele in the sleeping house had prolonged itself beyond all reason and his friends became concerned about him; and as night after night and day after day passed and they neither saw nor heard anything of him, their concern grew into alarm. Yet no one dared enter the house. Lohiau’s sister, however, made it her business to investigate. Opening the door of the house, she entered, and, lo, there hung the body of her brother, suspended from a rafter, his malo about his neck. Life had been gone for many hours and the body was cold. Her screams brought to her aid a group of Lohiau’s friends who at once lifted their voices in unison with hers, bewailing their chief’s death and denouncing the woman who had been with him as the guilty cause. [9]

Lohiau’s time with Pele in the sleeping house had dragged on for too long, and his friends started to worry. As night after night and day after day went by without any sign of him, their concern turned into panic. But no one was brave enough to go inside. Lohiau’s sister, however, decided to find out what was happening. She opened the door to the house and, to her horror, found her brother’s body hanging from a rafter, his malo around his neck. He had been dead for several hours, and his body was cold. Her screams brought a group of Lohiau’s friends to her side, and they all joined in mourning their leader’s death, blaming the woman who had been with him as the one responsible. [__A_TAG_PLACEHOLDER_0__]

Paoa was the most outspoken in his imprecations. Stripping off his malo, he stood forth in the garb of nature and declared he would not resume his loin cloth until he had sought out the woman and humiliated her by the grossest of insults. “I will not gird my loins with a malo until I have kindled a fire in Pele’s face, pounded her face as one pounds a taro, consumed her very eyes.” This was the savage oath with which Paoa pledged his determination to avenge the death of his friend, his chief, Lohiau. With universal wailing, amid the waving of kahilis, with tender care and the observance of all due rites, his people anointed the dear body of their chief with perfumed oil, wrapped it in scented robes of choicest tapa, and laid it to rest in the sepulcher.

Paoa was the most vocal in his curses. He stripped off his loincloth and stood bare, declaring he wouldn’t put it back on until he found the woman and humiliated her with the worst insults. “I won’t wear a loincloth again until I’ve lit a fire in Pele’s face, pounded her face like you would pound taro, and consumed her very eyes.” This was the fierce vow with which Paoa committed to avenging the death of his friend, his chief, Lohiau. Amid the collective wailing and the waving of kahilis, with great care and all the proper rituals, his people anointed their beloved chief’s body with scented oil, wrapped it in luxurious scented tapa, and laid it to rest in the tomb.

The favorite dog of Lohiau, who was greatly attached to his master, took his station at the grave and would not be persuaded to leave. Poha-kau, a cousin of Pele,—himself a kupua and possessed of superhuman powers,—having journeyed from Hawaii to Haena, found the faithful creature keeping his lonely vigil at the grave and he brought the dog with him to Pele.

Lohiau's favorite dog, who was very loyal to his master, stood by the grave and wouldn’t be convinced to leave. Poha-kau, a cousin of Pele—who was also a kupua with superhuman powers—traveled from Hawaii to Haena and discovered the devoted dog keeping its solitary watch at the grave. He took the dog with him to Pele.

“Your man is dead; Lohiau is dead,” said he. “But this animal—do you recognize him?—I found watching by the grave in Haena.”

“Your man is dead; Lohiau is dead,” he said. “But this animal—do you recognize him?—I found watching by the grave in Haena.”

“Yes, that is the dog I saw with Lohiau,” answered Pele; and she hid the dog away in her secret place.

“Yes, that’s the dog I saw with Lohiau,” Pele replied, and she hid the dog in her secret spot.

[__A_TAG_PLACEHOLDER_0__]

CHAPTER IV

PELE AWAKES FROM HER SLEEP

While the scene we have described was being enacted on Kaua’i, the spirit of Pele, returning from its long flight, hovered over the sleeping body at Lau-pahoehoe. Above it waved the kahilis, about it were gathered the sisters and other relatives, quietly sobbing. Though it was many days since Pele had lain down to sleep, and though they feared the consequences if she continued thus, they dared not disturb her. When that was proposed, the sister in charge objected. “If it must be done, we shall have to send for Hiiaka the beloved.”

While the scene we just described was happening on Kaua’i, the spirit of Pele, returning from its long journey, hovered over the sleeping body at Lau-pahoehoe. The kahilis waved above it, and her sisters and other relatives gathered around, quietly crying. Even though it had been many days since Pele had fallen asleep, and they worried about the consequences if she stayed that way, they did not dare to wake her. When someone suggested that they should, the sister in charge objected. “If it has to be done, we’ll need to send for Hiiaka, the beloved.”

Some of them suggested that Pele must be dead, she had remained so long without motion. But Hiiaka-of-the-lightning-flash scouted the idea: “How can that be? The body shows no signs of decay.” [10]

Some of them suggested that Pele must be dead since she hadn't moved in so long. But Hiiaka-of-the-lightning-flash rejected that idea: “How can that be? The body shows no signs of decay.” [__A_TAG_PLACEHOLDER_0__]

The girl Hiiaka saw the messenger that had been despatched to fetch her, while as yet she was in the dim distance,—it was her nurse, Paú-o-pala’e,—and there came to her a premonition of what it all meant, a vision, a picture, of the trouble that was to come; yet, overmastering her, was a feeling of affection and loyalty for her elder sister. Standing outside the house, that she might better watch the approach of Paú-o-pala’e and be on hand to greet her, she voiced her vision in song:

The girl Hiiaka saw the messenger sent to get her, even though she was still far away—it was her nurse, Paú-o-pala’e—and she suddenly got a sense of what it meant, a vision, a picture of the trouble that was coming; yet, she was overwhelmed by feelings of love and loyalty for her older sister. Standing outside the house to get a better view of Paú-o-pala’e’s approach and to be ready to greet her, she expressed her vision in song:

A ka lae ohi’a i Papa-lau-ahi,

I ka imu lei lehua o Kua-o-ka-la—

Lehua maka-nou i ke ahi—

Lehua looks at the fire—

A wela e-e, wela la!

A double wow, double yes!

Wela i ke ahi au,

I’m in the fire,

A ka Wahine mai ka Lua, e-e!

A ka Wahine from the Pit, let's go!

TRANSLATION

From the forest-tongue at Papa-lau-ahi

From the forest language at Papa-lau-ahi

To the garlands heaped at Back-o’-the-sun,

To the stacks of garlands at Back-o’-the-sun,

The beauteous lehuas are wilted,

The beautiful lehuas are wilted,

Scorched, burnt up, aye burnt,

Scorched, burned up, yeah burned,

Consumed by the fire of the Woman—

The fire that flows from the Pit.

The fire that comes from the Pit.

As the messenger, in the vibrating sunlight, thridded her way among the tree clumps and lava-knobs, which now concealed her and now brought her into full view, Hiiaka, with gaze intent to gain such snap-shots of her as these obstructions did not forbid, continued her song:

As the messenger, in the bright sunlight, weaved her way among the clusters of trees and lava formations that sometimes hid her and sometimes revealed her, Hiiaka, focusing on getting glimpses of her despite these obstacles, continued her song:

No ka Lua paha ia makani, o ka Pu’u-lena,

Ke halihali i ke ala laau,

Honi u ai ke kini i kai o Haena—

Haena aloha!

Haena, hello!

Ke kau nei ka haili moe;

Kau ka haili moe i ke ahiahi:

He hele ko kakahiaka:

He went home early.

Mana’o hele paha au e-e.

I might go.

Homai ka ihu a hele a’e au;

Aloha oe a noho iho, e-e!

Aloha to you and stay strong, okay!

[11]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

From the Pit, doubtless, breathes Pu’u-lena,

From the Pit, surely, breathes Pu’u-lena,

With its waft of woodland perfume—

With its scent of fresh forest air—

A perfume drunk in with rapture

A fragrance enjoyed with joy

On the beach of belovéd Haena.

On the beach of beloved Haena.

There wafts to me this premonition,

There’s a feeling that comes to me,

This vision and dream of the night:

I must be gone in the morning:

I have to leave in the morning:

I foresee I must travel to-morrow.

I see that I need to travel tomorrow.

A farewell kiss ere I journey;

A goodbye kiss before I leave;

Farewell, alas, to thee who remainest!

Farewell, sadly, to you who stay!

Her hostess, Hopoe, would not take the song or the farewell of Hiiaka seriously. “You are simply joking,” she said, “letting your gloomy imagination run away with you. Who in the world is driving you away, as if you had worn out your welcome?”

Her hostess, Hopoe, didn't take Hiiaka's song or her goodbye seriously. “You’re just joking,” she said, “letting your gloomy imagination get the best of you. Who on earth is pushing you away, like you’ve overstayed your welcome?”

The messenger, Paú-o-pala’e, when she had saluted Hiiaka, said, “I come from your sisters. They want to see you.”

The messenger, Paú-o-pala’e, after greeting Hiiaka, said, “I come from your sisters. They want to see you.”

Arrived at Lau-pahoehoe,1 Hiiaka found her sisters in great consternation, fearing for the life of Pele if she were allowed to continue her long sleep. Her spirit, it is true, had come back to her body; but it was merely hovering about and had not entered and taken possession, so that there were no signs of animation or life. It seemed to be waiting for the voice of Hiiaka, the belovéd, to summon it back and to make it resume consciousness.

Arrived at Lau-pahoehoe, 1 Hiiaka found her sisters very worried, fearing for Pele's life if she continued her long sleep. It's true that her spirit had returned to her body; however, it was just hovering around and hadn't actually entered and taken over, so there were no signs of life or movement. It seemed to be waiting for Hiiaka, the beloved, to call it back and bring it back to awareness.

Hiiaka demanded to know the cause of the wailing.

Hiiaka wanted to know what was causing the crying.

“We are lamenting our sister, the head of the family. You can see for yourself; she is dead.”

“We're mourning our sister, the head of the family. You can see for yourself; she’s gone.”

After carefully examining the body of Pele, Hiiaka stoutly declared, “She is not dead. That is evident from the absence of corruption.” Then, sitting close to Pele’s feet, she sang:

After examining Pele's body closely, Hiiaka confidently said, “She is not dead. That’s clear from the lack of decay.” Then, sitting near Pele’s feet, she began to sing:

O hookó ia aku oe

O ka hana ana a ke akua:

I kai o Maka-wai

I eat Maka-wai

Ke kiké la ka pohaku:

Ke kiké la ka pōhaku:

Wáhi kai a ke ’kua—

He akua, he kanáka;

He god, he person;

He kanáka no, e-e!

He’s a kanaka, no way!

[12]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Content you now with your god-work:

Down by the sea at Maka-wai

The rocks have smitten together;

The rocks have clashed together;

The sea has opened a channel.

The sea has created a passage.

Goddess you were, now human,

You were a goddess, now human.

Return to your human clay!

Return to your human form!

Pele slept on and gave no sign of waking. Hiiaka then chanted this serenade:

Pele kept sleeping and showed no sign of waking up. Hiiaka then sang this serenade:

E ala, e ala, e ala!

E ala, e Hi-ka-po-kuakini!

E ala, e Hi-ka-po-kuamáno!

E ala, e ke Akua, e ke Alo!

E ala, e ka Uwila nui,

Maka ehá i ka lani, la!

E ala, e, e ala!

Rise up, yes, rise up!

TRANSLATION

Awake now, awake, awake!

Wake up, wake up!

Wake, Goddess of multiple god-power!

Wake, Goddess of multiple powers!

Wake, Goddess of essence most godlike!

Wake, Goddess of the most divine essence!

Wake, Queen of the lightning shaft,

Wake, Queen of the lightning bolt,

The piercing fourth eye of heaven!

The sharp fourth eye of the sky!

Awake; I pray thee awake!

Awake! Please wake up!

The effect was magical: Pele’s bosom heaved; breath entered her lungs; a fresh color came to her face, and spread to the tips of her ears. She sighed, stretched herself and sat up: she was herself again.

The effect was magical: Pele's chest rose and fell; breath filled her lungs; color returned to her face and spread to the tips of her ears. She sighed, stretched out, and sat up: she was herself again.

1 This Laupahoehoe is to be distinguished from that in Hilo. ↑

1 This Laupahoehoe should be recognized as different from the one in Hilo. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER V

PELE MAKES A PROPOSITION TO HER SISTERS

That same day Pele and the other sisters returned to Kilauea, while Hiiaka went back to resume her visit with Hopoe, each party reaching its destination at about the same time. Early the next morning Pele called to her sister Hiiaka-i-ka-ale-i (Hiiaka-of-the-choppy-sea) and said, “I want you to go on an errand for me.” [13]

That same day, Pele and the other sisters went back to Kilauea, while Hiiaka returned to continue her visit with Hopoe, each group arriving at their destination around the same time. Early the next morning, Pele called to her sister Hiiaka-i-ka-ale-i (Hiiaka-of-the-choppy-sea) and said, “I need you to run an errand for me.” [__A_TAG_PLACEHOLDER_0__]

“No doubt I shall agree to go when you have told me what it is,” was the answer of the young woman.

“No doubt I’ll agree to go once you tell me what it is,” replied the young woman.

“You are to journey to Kaua’i and escort hither our lover—yours and mine. While on the way you are not to lie with him; you are not to touch noses with him; you are not to fondle him or snuggle close to him. If you do any such thing I will kill both of you. After your return, for five days and five nights, I will have him to myself, and after that he shall be your lover.”

“You're going to Kaua’i to bring back our lover—yours and mine. While you're traveling, you can't sleep with him; you can't even touch noses with him; you can't cuddle or snuggle with him. If you do any of that, I'll kill both of you. Once you get back, I'll keep him to myself for five days and five nights, and after that, he will be your lover.”

On hearing this, the young woman hung her head and wept.

On hearing this, the young woman looked down and cried.

Pele then made the same proposal to each of the other sisters in turn. Not one of them would consent to undertake the mission. They knew full well the perils of the undertaking: the way was beset with swarms of demons and dragons, with beings possessed with powers of enchantment; and Pele did not offer to endow them with the power that would safeguard them on their journey.

Pele then made the same offer to each of the other sisters one by one. Not a single one of them would agree to take on the mission. They were well aware of the dangers involved: the path was filled with hordes of demons and dragons, with beings that had magical powers; and Pele did not promise to give them any protection for their journey.

Pele, finding herself foiled on this tack, as a diversion, said, “Let us refresh ourselves and have some luau.” The sisters immediately set to work, and, when they had made up the bundles of delicate taro leaves and were about to lay them upon the fire, Pele called to Paú-o-pala’e and bade her go straightway to Haena and fetch Hiiaka, “And you are to be back here by the time the luau is cooked.”

Pele, realizing that her plan wasn't working, suggested, “Let’s take a break and have a luau.” The sisters quickly got to work, and just as they were ready to place the bundles of tender taro leaves on the fire, Pele called to Paú-o-pala’e and instructed her to go immediately to Haena and bring back Hiiaka, “And you need to return here by the time the luau is ready.”

Now the girl, whose full name was Hiiaka-i-ka-poli-o-Pele, was the youngest of the sisters, and, by reason of her loveliness and accommodating disposition, she was Pele’s favorite. She was, moreover, gifted with a quick intuition and a clairvoyant perception of distant happenings and coming events. At the time of the conversation between Pele and the seven sisters, Hiiaka was sporting in the ocean with her surf-board in the company of Hopoe. While thus engaged, the whole matter of the proposed journey to Haena came to her as in a vision. In the midst of her surfing she turned to Hopoe and said, “I perceive that I am about to undertake a long journey; and during my absence you will remain here in Puna waiting my return.”

Now the girl, whose full name was Hiiaka-i-ka-poli-o-Pele, was the youngest of the sisters and, because of her beauty and friendly nature, she was Pele’s favorite. She also had a sharp intuition and an ability to sense distant happenings and upcoming events. While Pele and the seven sisters were talking, Hiiaka was out in the ocean with her surfboard, hanging out with Hopoe. While surfing, she suddenly had a vision about the journey to Haena. Turning to Hopoe, she said, “I can see that I’m about to go on a long journey, and while I’m gone, you’ll stay here in Puna waiting for my return.”

“No! What puts such a notion into your head?” said Hopoe.

“No! What makes you think that?” said Hopoe.

“Yes, I must go,” insisted Hiiaka. Then they mounted a roller, and, as their boards touched the beach, there stood the messenger of Pele; and this was the message: “Gird on your paú and come with me to Kilauea. Your sister commands it.”

“Yes, I have to go,” Hiiaka insisted. Then they hopped on a roller, and as their boards hit the beach, there stood Pele’s messenger; and this was the message: “Put on your paú and come with me to Kilauea. Your sister demands it.”

As the two jogged on their uphill way, an impulse seized Hiiaka, and she gave voice to a premonition, a shadow of coming [14]trouble, as it were, and, standing in the road at Mokau-lele, she sang:

As the two jogged up the hill, Hiiaka suddenly felt a strong urge and expressed a intuitive feeling, a hint of upcoming [__A_TAG_PLACEHOLDER_0__]trouble, and, stopping in the road at Mokau-lele, she sang:

He uä kui lehua ko Pana-ewa;

He uä ma kai kui hala ko Puna, e!

Aloha e, aloha wale Koloa, e-e!

Aloha, Aloha Koloa, hey!

Na mau’u i moe o Malei.

TRANSLATION

Pana-ewa’s rain beats down the lehuas,

Pana-ewa’s rain pours down on the lehuas,

A rain by the sea smites the halas of Puna.

A rain by the sea hits the halas of Puna.

My love, my pity go out to Koloa;—

My love and sympathy go out to Koloa;—

Her fare, wilted herbs at Malei.

Her meal, wilted herbs at Malei.

Hiiaka—true poet that she was, and alive to every colorable aspect of nature—as she trudged on her way, came upon a sight that touched her imagination; two birds were sipping together in loving content of the water that had collected in the crotch of a tree, in which also was growing an awa plant.—Such nature-planted awa was famed as being the most toxic of any produced in Puna.—Her poetic mind found in the incident something that was in harmony with her own mood, and she wove it into a song:

Hiiaka—being a true poet and sensitive to every colorful detail of nature—as she made her way, came across a scene that inspired her; two birds were happily sipping water that had gathered in the fork of a tree, where an awa plant was also growing. This naturally occurring awa was known to be the most toxic found in Puna. Her poetic spirit saw in this moment a reflection of her own feelings, and she turned it into a song:

O ka manu múkimukí,

O ka manu mūkimukī,

Ale lehua a ka manu,

O ka awa ili lena

I ka uka o Ka-li’u;

In the uplands of Ka-li’u;

O ka manu ha’iha’i lau awa o Puna:—

Aia i ka laau ka awa ona o Puna,

Aia i ka lāʻau ka ʻawa ona o Puna,

O Puna, ho’i, e-e!

Oh Puna, come back, please!

TRANSLATION

O bird that sips with delight

O bird that drinks with joy

the nectar-bloom of lehua,

the lehua nectar bloom,

Tasting the yellow-barked awa

Tasting the yellow-bark awa

That climbs in Ka-liu’s uplands;

That climbs in Ka-liu’s hills;

O bird that brews from this leafage

O bird that brews from this foliage

Puna’s bitter-sweet awa draught;—

Puna’s bittersweet drink;—

Puna’s potentest awa grows

Puna's strongest awa grows

Aloft in the crotch of a tree;—

Aloft in the fork of a tree;—

Most potent this awa of Puna!

Most powerful is this atmosphere of Puna!

[15]

[__A_TAG_PLACEHOLDER_0__]

CHAPTER VI

HIIAKA CONSENTS TO PELE’S PROPOSITION

Hiiaka arrived at the Pit in good time to partake with the others of the frugal feast ordered by Pele. At its conclusion, Pele turned to the girl Hiiaka and put the question in her blunt way, “Will you be my messenger to fetch our lover—yours and mine—from Kaua’i? Your sisters here”—she glanced severely about the group—“have refused to go. Will you do this for me?”

Hiiaka arrived at the Pit just in time to join the others for the simple feast that Pele had arranged. When it was over, Pele turned to Hiiaka and asked directly, “Will you be my messenger to bring our lover—yours and mine—from Kaua’i? Your sisters here”—she looked sternly at the group—“have refused to go. Will you do this for me?”

The little maid, true to her sense of loyalty to the woman who was her older sister, the head of the family, and her alii, to the surprise and dismay of her other sisters, answered, “Yes, I will go and bring the man.”

The little maid, being loyal to her older sister, the head of the family, and her leader, surprised and dismayed her other sisters when she said, “Yes, I will go and bring the man.”

It was a shock to their sense of fitness that one so young should be sent on an errand of such danger and magnitude; but more, it was a reproof that slapped them in the face to have this little chit accept without hesitation a commission which they had shrunk from through lack of courage. But they dared not say a word; they could but scowl and roll the eye and shrug the shoulder.

It was a shock to their sense of fitness that someone so young should be sent on a mission of such danger and importance; but more than that, it felt like a slap in the face to see this young girl accept a task without hesitation that they had backed away from due to fear. But they didn’t dare say anything; they could only scowl, roll their eyes, and shrug their shoulders.

“When you have brought our lover here,” continued Pele, “for five nights and five days he shall be mine; after that, the tabu shall be off and he shall be yours. But, while on the way, you must not kiss him, nor fondle him, nor touch him. If you do it will be the death of you both.”

“When you’ve brought our lover here,” Pele continued, “he will belong to me for five nights and five days; after that, the taboo will be lifted and he will be yours. But, while you’re on the way, you must not kiss him, touch him, or cuddle him. If you do, it will mean death for both of you.”

In spite of the gestured remonstrances of the group, Hiiaka, in utter self-forgetfulness and diplomatic inexperience, agreed to Pele’s proposition, and she framed her assent in a form of speech that had in it the flavor of a sacrament:

Despite the group's clear objections, Hiiaka, completely oblivious and lacking diplomatic experience, accepted Pele's proposal, expressing her agreement in a way that felt almost sacramental:

Kukulu ka makia a ka huaka’i hele moe ipo:

Ku au, hele, noho oe.

I come, go, you stay.

E noho ana na lehua lulu’u,

Ku’u moku lehua i uka o Ka-li’u, e.

Li’uli’u wale ka hele ana

Going on a trip

O ka huaka’i moe ipo.

The journey of love.

Aloha mai ka ipo—

Aloha from my sweetheart—

O Lohiau ipo, i Haena.

O Lohiau sweetheart, in Haena.

[16]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Firm plant the pillar, seal of our love-pact;

Firmly plant the pillar, the symbol of our love agreement;

Here stand I, begirt for this love-quest;

Here I stand, ready for this journey of love;

You shall abide, and with you my groves—

You will stay, and so will my groves—

Lehua and hala—heavy with bloom.

Lehua and hala—full of blooms.

The journey is long and toilsome the task

The journey is long and difficult, the task

To bring our fine lover to bed.

To bring our lovely partner to bed.

Mark! a love-hail—from beloved Lohiau!

Mark! a love message from beloved Lohiau!

Beloved Lohiau of Haena!

(I am impelled by my admiration for this beautiful song to give another version of it:)

(I feel compelled by my admiration for this beautiful song to share a different version of it:)

Ku kila ke kaunu moe ipo;

Ku au, hele, noho oe, a no-ho,

A noho ana i na lehua o Lu-lu’u,

O ka pae hala, moku lehua, i uka o Ka-li’u.

Li’u-li’u ho’i, li’u-li’u wale

Li'u-li'u on repeat, li'u-li'u only

Ka hele ana o ka huaka’i moe ipo.

Aloha mai ka ipo,

Aloha from the beloved,

O Lohiau ipo, e!

Oh, Lohiau, my love!

TRANSLATION

Translation

Fixed my intent for the lover-quest:

Fixed my focus on finding a partner:

Here I stand to depart; you remain,

Here I am, ready to leave; you stay behind,

And with you my bloom-clad lehuas,

And with you my flower-covered lehuas,

And the palm-groves that wave in Ka-li’u.

And the palm groves that sway in Ka-li’u.

Long, wearisome long, shall the journey be

Long, exhausting, long, will the journey be

To find and to bring our lover—

To find and bring our lover—

That dearest of lovers, Lohiau!

That beloved partner, Lohiau!

Hiiaka would sleep on it. Her start was to be in the morning. The next day, while Hiiaka was climbing the long ascent up the crater-pali, her sisters, anxious and appreciating the danger of the undertaking, were quietly weeping outside the cave; but they dared not utter a word that might come to the ears of Pele. They began, however, to beckon and signal to Hiiaka to return. She saw them and turned back, uttering the following plaint:

Hiiaka would think about it overnight. Her journey was set for the morning. The next day, while Hiiaka was making the long climb up the crater-pali, her sisters, worried and aware of the dangers involved, were softly crying outside the cave; but they didn’t dare say anything that might reach Pele's ears. However, they started to wave and gesture for Hiiaka to come back. She saw them and turned around, expressing her feelings with the following complaint:

E ku ana au e hele;

E lau ka maka o ua nei ino; [17]

E lau ka maka o ua nei ino; [__A_TAG_PLACEHOLDER_0__]

E ka po’e ino, o lakou nei, e:

E mana ana, ka, ia’u e hele;

E hele no au, e-e!

I’m going now, alright!

TRANSLATION

While I stand ready for travel,

I'm all set to travel,

You bad lot! ’Tis you that I mean!

You troublemaker! I'm talking about you!

This weight of travel you’d lay on me;

This burden of travel you’d put on me;

These bad ones sit with impudent stare:

These troublemakers sit with a bold stare:

And so it is I that must go!

And so it’s me who has to go!

The opposition of the sisters was based largely on Hiiaka’s youth and inexperience. The girl did not understand nor give them credit for this generous regard for herself; she saw only their disobedience and disloyalty to Pele’s command.

The sisters' opposition stemmed mainly from Hiiaka’s youth and inexperience. The girl didn’t recognize or appreciate their generous attitude toward her; she only saw their disobedience and disloyalty to Pele’s orders.

Pele, impatient at her vacillation, broke out on her savagely: “Here you are again! Be off on your journey! You shall find no food here, no meat, no raiment, no roof, no sisterly greeting, nothing, until you return with the man. It would have been useless to dispatch these homely women on this errand; it seems equally useless to send a beautiful girl like you.”

Pele, frustrated with her hesitation, snapped at her: “Here you are again! Just go on your journey! You won’t find any food here, no meat, no clothes, no shelter, no warm welcome, nothing, until you come back with the man. It would have been pointless to send these ordinary women on this task; it seems just as pointless to send a beautiful girl like you.”

To this outburst Hiiaka retorted:

Hiiaka responded to this outburst:

Ke hanai a’e la ka ua1 i ka lani:

Maka’u au i ka ua awa i ka uka o Kiloi.

Iná2 ia ia la, he loiloi 3, e—

I loiloi no oe elua4 oiwi—

I loiloi no oe elua__A_TAG_PLACEHOLDER_0__ oiwi—

Loiloi iho la, e-e!

Loiloi, let's go!

TRANSLATION

The rain doth replenish the heavens;

The rain fills up the skies;

I dread the fierce rain of upland Kiloí.

I dread the heavy rain of upland Kiloí.

Behold now this one, the fault-finder!

Look at this one, the critic!

You, in two shapes, are hard to please—

You, in two forms, are difficult to satisfy—

Aye, in either shape, hard to please!

Sure, in any form, tough to satisfy!

[18]

[__A_TAG_PLACEHOLDER_0__]

“I am not grumbling or finding fault with you (loiloi): it was simply because you turned back that I spoke to you. Do you call that reproaching you?”

“I’m not complaining or blaming you (loiloi): I only talked to you because you turned back. Do you really call that reproaching you?”

Hiiaka, though a novice in diplomacy, as shown by her instant and unconditional acceptance of Pele’s proposition, having once got her second breath, now exacted of Pele a condition that proved her to be, under the discipline of experience, an apt pupil in the delicate art of diplomacy. “I am going to bring our lover, while you remain at home. If during my absence you go forth on one of your raids, you are welcome to ravage and consume the lands that are common to us both; but, see to it that you do not consume my forests of lehua. And, again, if the fit does come upon you and you must ravage and destroy, look to it that you harm not my friend Hopoe.”

Hiiaka, despite being new to diplomacy, as shown by her quick and unconditional agreement to Pele’s request, once she regained her strength, made a demand of Pele that demonstrated her growth under the guidance of experience, making her a quick learner in the subtle art of diplomacy. “I’m going to bring our lover while you stay home. If you decide to go on one of your raids while I’m away, you can go ahead and devastate and take the lands we both share; just make sure you don’t destroy my lehua forests. And also, if you feel the urge to rampage and cause destruction, make sure you don’t hurt my friend Hopoe.”

Pele readily agreed to Hiiaka’s reasonable demand, thinking thus to hasten her departure. To the inexperienced girl the terms of the agreement seemed now complete and satisfactory, and, in the first blush of her gratification, Hiiaka gave expression to her pleasure:

Pele quickly agreed to Hiiaka’s fair request, hoping this would speed up her departure. To the naive girl, the terms of the agreement appeared to be finalized and acceptable, and in her initial wave of happiness, Hiiaka expressed her delight:

Ke kau aloha wale mai la ka ua, e-e;

Ka mauna o ka haliü kua, a-a.

I ku au a aloha oe, ka Lua, e-e!

I love you, Lua, oh!

Aloha ia oe, e-e!

Aloha to you, e-e!

TRANSLATION

Kindly falls the rain from heaven;

Kindly falls the rain from the sky;

Now may I turn my back and travel:

Now can I turn my back and go:

Travel-girt, I bid farewell to the Pit;

Travel-worn, I say goodbye to the Pit;

Here’s a farewell greeting to thee.

Here’s a farewell greeting to you.

Even now Hiiaka made an ineffectual start. Some voice of human instinct whispered that something was wanting, and she again faced her sister with a request so reasonable that it could not be denied:

Even now, Hiiaka made a halfhearted attempt. Some voice of human instinct whispered that something was missing, and she turned to her sister with a request so reasonable that it couldn't be turned down:

Ke ku nei au e hele:

Hele au a ke ala,

Follow the path,

Mihi mai e-e:

Mana’o, ho’i mai no au,

Mana’o, come back to me,

Ia oe la, ia o-e.

I see you, I see you.

La’i pohu mai la [19]

La’i pohu mai la [__A_TAG_PLACEHOLDER_0__]

Lalo o ka Lua, e:

Lalo or Lua, e:

I elua mai la, pono au.

Olelo I ke aka,

Speak in the presence,

Ka hele ho’okahi, e;

Go together, yes;

Mamina ka leo—

Mami, today—

He leo wale no, e-e!

He got a big mouth, huh!

TRANSLATION

My foot still shod for travel,—

My foot is still in a shoe for traveling,—

I made a misstart on my journey;

I started my journey off on the wrong foot;

I’ve come to repair my neglect.

I’ve come to fix my neglect.

A need, a request, brings me back,

To plead in thy presence once more:

To ask in your presence one more time:

Joy springs up within;

Joy arises within;

There’s calm in the Pit.

There's peace in the Pit.

Give me but a travel-mate:

Just give me a travel buddy:

That would content me.

That would make me happy.

Who travels alone has

Who travels solo has

For speech-mate his shadow.

For speech, his shadow.

Futile is speech, with

No answering voice—

No response—

Empty words, only a voice.

Empty words, just a voice.

(The exigencies of the narrative have induced me, in the above song, to couple together two mele which the story-tellers have given us as belonging to two separate incidents in Hiiaka’s fence with Pele.)

(The demands of the story have led me, in the above song, to combine two mele that the storytellers have presented as belonging to two different events in Hiiaka’s interactions with Pele.)

“Your request is reasonable,” said Pele; “to travel alone is indeed to converse with one’s shadow. You shall have a companion.”

“Your request makes sense,” said Pele; “traveling alone is really like talking to your shadow. You’ll have a companion.”

Pele designated a good-natured waiting woman as her attendant, who had the poetical name of Paú-o-pala’e (or Paú-o-palaá). This faithful creature heartily accepted the trust, that of kahu—a servant with the pseudo responsibility of a guardian—and, having expressed her fealty to her new mistress, she at once took her station. Thus everything seemed arranged for a start on the eventful journey.

Pele chose a kind-hearted woman to be her attendant, who had the poetic name of Paú-o-pala’e (or Paú-o-palaá). This loyal woman gladly accepted the role of kahu—a servant with the false responsibility of a guardian—and, after pledging her loyalty to her new mistress, she immediately took her position. Everything seemed set for the beginning of their significant journey.

The terms and conditions of Hiiaka’s going were not even yet to the satisfaction of her watchful sisters and relatives. One matter of vital importance had been omitted from the outfit: Pele had not bestowed upon Hiiaka the mana, power and authority, [20]to overcome and subdue all the foes that would surely rise up to oppose and defeat her. With wild gestures they signalled to Hiiaka once more to return.

The terms and conditions of Hiiaka’s departure still didn’t satisfy her concerned sisters and relatives. One crucial thing had been left out of her gear: Pele hadn’t given Hiiaka the mana, the power and authority, [__A_TAG_PLACEHOLDER_0__]to conquer and defeat all the enemies that were bound to emerge to challenge and thwart her. With frantic gestures, they urged Hiiaka once again to come back.

Hiiaka’s answering song, though pointed with blame, gives proof that her own intuitions were not entirely at fault:

Hiiaka’s response in song, although filled with blame, shows that her own instincts were not completely wrong:

A ka luna, i Pu’u-onioni,

A the chief, at Pu’u-onioni,

Noho ke anaina a ke ’Kua.

Kilohi a’ ku’u maka ilalo,

I ka ulu o Wahine-kapu:

In the grove of Wahine-kapu:

He o’ioina Kilauea,

He noho-ana o Papa-lau-ahi, e.

Ke lau-ahi mai la o Pele ia kai o Puna:

Ua one-á, oke-á, kai o Maláma, e.

E málama i ka iki kanaka,

I ka nu’a kanáka;

I have an idea;

O kakou no keia ho-akua—

Ours is this gospel—

Akua Mo’o-lau, e!

Akua Mo’o-lau, hey!

O Mo’o-lau ke ala, e!

O Mo’o-lau, let's go!

TRANSLATION

From the crest of Tremble5 Hill

From the top of Tremble__A_TAG_PLACEHOLDER_0__ Hill

I look on the concourse of gods,

I gaze upon the gathering of gods,

At ease on the gossip-ground,

Chill on the gossip scene,

The seat of Wahine-kapu,

The home of Wahine-kapu,

Rest-station to Kilauea,

Rest stop to Kilauea,

Its pavement of lava-plate:

Its lava-plate pavement:

Such plates Pele spreads in Puna—

Hot shards, gray sands at Maláma.

Succor and life for small and great!

Support and life for all!

Be it ours to play the god; our way

Beset by demons four hundred!

Besieged by demons four hundred!

The communication between Hiiaka and her sisters had, on their part, been carried on mostly by means of gesture and sign-language. But on this return of Hiiaka the whole family of brothers and sisters were so moved at the thought of the danger to Hiiaka that they spoke out at last and frankly advised Hiiaka to go before Pele and demand of her the gift of spiritual power, mana, that she might be able to meet her enemies on [21]equal terms at least, so that she need not feel powerless in their presence. But nothing came of this move at the time, for at this moment out came Pele from her cave, and, seeing Hiiaka standing with the others, she addressed her sharply and said: “What! You still here? Why are you not on the way to fetch our man?”

The communication between Hiiaka and her sisters mostly happened through gestures and sign language. But when Hiiaka returned, the entire family of brothers and sisters was so upset about the danger Hiiaka faced that they finally spoke up and advised her to go to Pele and ask for the gift of spiritual power, mana, so she would be able to confront her enemies on [__A_TAG_PLACEHOLDER_0__]equal terms and not feel powerless around them. However, nothing came of this suggestion at that moment because Pele emerged from her cave and, seeing Hiiaka with the others, sharply addressed her: “What! You're still here? Why aren’t you on your way to get our man?”

Face to face with Pele, Hiiaka’s courage oozed away and she promised to make another start in the morning. When on this new start she had come near the top of the ascent, she turned about and sang:

Face to face with Pele, Hi'iaka's courage faded, and she promised to try again in the morning. When she was close to the top of the climb on this new attempt, she turned around and sang:

Punohunohu i ka lani

Punohunohu in the sky

Ka uahi o ka lua;

The smoke of the pit;

He la’i ilalo o Kilauea;

The calm under Kilauea;

Maniania ’luna o Wahine-kapu.

Maniania, moon of Wahine-kapu.

I kapu, la, i ke aha ka leo, e?

TRANSLATION

The pit-smoke blankets the heavens;

The smoke fills the sky;

Clear is the air in Kilauea,

Tranquil Wahine-kapu’s plain—

Tranquil Wahine-kapu's land—

The Woman, why silent her voice?

The woman, why is her voice silent?

Hiiaka now made common cause with the group of sisters and relatives who were bent on securing for her justice and fair treatment. Among them, taking council together, sat Ka-moho-alii, Kane-milo-hai, Kapo and Pohakau6. By this action Hiiaka took a new attitude: while not coming out in open defiance to her sister, she virtually declared her determination no longer to be domineered over by Pele.

Hiiaka now joined forces with her sisters and relatives who were focused on ensuring she received justice and fair treatment. Among them, conferring together, were Ka-moho-alii, Kane-milo-hai, Kapo, and Pohakau6. With this move, Hiiaka adopted a new stance: while not openly challenging her sister, she essentially declared her resolve to no longer be controlled by Pele.

In the council that took place it was determined that Ka-moho-alii, who stood high in Pele’s regards and whose authority was second only to hers, was the proper one to approach Pele in the matter of conferring upon Hiiaka the necessary mana. When, therefore, Pele put to Hiiaka the question why she had returned, why she was not on her journey, Ka-moho-alii spoke up and said, “It is because of fear she has returned. She sees danger by the way. You have not given her the mana to protect her from the [22]dragons and monsters that infest the road. O Mo’o-lau ke ala, e: The way is beset by dragons four hundred.”

In the council that took place, it was decided that Ka-moho-alii, who was greatly respected by Pele and whose authority was second only to hers, was the right person to address Pele about granting Hiiaka the necessary mana. So, when Pele asked Hiiaka why she had returned and why she wasn't continuing her journey, Ka-moho-alii spoke up and said, “It's because of fear that she has come back. She sees danger along the way. You haven't given her the mana to protect her from the [__A_TAG_PLACEHOLDER_0__]dragons and monsters that plague the road. O Mo’o-lau ke ala, e: The way is filled with four hundred dragons.”

“Ah, that is the trouble?” said Pele. Then she called upon the Sun, the Moon, the Stars, Wind, Rain, Thunder, Lightning—all the heavenly powers—to aid and safeguard Hiiaka and she authorized her to exercise the powers of these heavenly beings. The gods, thereupon, ratified this act of Pele; and at last the way was made clear for Hiiaka’s departure.

“Ah, is that the problem?” said Pele. Then she called upon the Sun, the Moon, the Stars, Wind, Rain, Thunder, Lightning—all the celestial forces—to help and protect Hiiaka, and she allowed her to use the powers of these heavenly beings. The gods then approved this action of Pele; and finally, the path was clear for Hiiaka’s departure.

1 Ua, rain. It is suggested this may refer—sarcastically—to the watery secretion in Pele’s eyes, as found in old people. ↑

1 Ua, rain. It’s believed that this might be a sarcastic reference to the tears in Pele’s eyes, similar to those seen in elderly individuals. ↑

2 Ina, here means consider. ↑

2 Ina means to think. __A_TAG_PLACEHOLDER_1__

3 Loiloi. If a chief was not pleased or satisfied with a gift, loiloi would express his state of mind. ↑

3 Loiloi. If a chief was unhappy or dissatisfied with a gift, loiloi would show how he felt. ↑

4 Elua oiwi, literally, two shapes. Pele had many metamorphoses. ↑

4 Elua oiwi, which means two forms. Pele underwent many transformations. ↑

5 The wavering of indecision. ↑

5 The uncertainty of indecision. __A_TAG_PLACEHOLDER_1__

6 This Pohakau was the friend, previously mentioned, who had brought to Pele the faithful dog that lay fasting and mourning at Lohiau’s grave. Pohakau remained at Pele’s court; the dog Pele hid away in her own secret place. ↑

6 This Pohakau was the friend mentioned earlier, who brought Pele the loyal dog that was fasting and grieving at Lohiau’s grave. Pohakau stayed at Pele’s court; the dog was kept hidden away in her secret place. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER VII

HIIAKA STARTS ON HER JOURNEY

The refusal of her sisters to undertake the mission to fetch Lohiau had angered Hiiaka. Her intrepid fealty to Pele, their oldest sister and their alii, laughed to scorn the perils of the journey. She could not and, for a time, would not bring herself to understand their prudential attitude. Pele was their alii, and it was rank disloyalty in them to shirk any danger or to decline any command Pele might think fit to impose. In judging the conduct of her sisters, it did not at first enter the head of Hiiaka that motives of sound worldly prudence justified them in declining for themselves an errand full of danger, or in putting obstacles in the way of her going on the same errand: she saw in it only a failure to rise to the level of her own loyalty.

The refusal of her sisters to take on the mission to get Lohiau had made Hiiaka angry. Her fearless loyalty to Pele, their oldest sister and their leader, scoffed at the dangers of the journey. She couldn’t and, for a while, wouldn’t see their cautious attitude. Pele was their leader, and it was a deep betrayal for them to avoid any danger or refuse any order that Pele might choose to give. When judging her sisters' actions, Hiiaka didn’t initially consider that their reasons for avoiding such a risky errand were based on practical sense, or that they were trying to prevent her from going on the same dangerous mission: she saw it only as a failure to match her own loyalty.

The situation, then, was heavily charged with estrangement, and when the woman in Hiiaka could not refrain from one more farewell, the color and tone of voice and song had in them the snap of electricity:

The situation was filled with tension, and when the woman in Hiiaka couldn't hold back one last goodbye, the color, tone of voice, and song had the sharpness of electricity:

Ke ku nei au e hele, a noho oe;

A noho ana na Wahine o Lu-lu’u

E ka pae1 moku lehua

E ka pae__A_TAG_PLACEHOLDER_0__ food lehua

I uka o Ka-li’u, la.

In the morning of Ka-li’u, there.

Li’uli’u wale ka hele ana

Li’uli’u just going along

O ka huaka’i moe ipo.

The journey is a dream.

Aloha mai ka ipo,

Aloha from the beloved,

O Lohiau ipo, e-e!

Oh Lohiau, my love, hey!

[23]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Here stand I begirt for travel;

Here I stand ready for travel;

You must tarry at home, and these …

You must stay at home, and these …

These … women … who sit downcast.

These ... women ... who sit with their heads down.

Oh, care for my parks of lehua—

Oh, take care of my lehua parks—

How they bloom in upland Ka-li’u!

How they bloom in the highlands of Ka-li’u!

Long is the way and many the day

Long is the journey and many are the days

Before you shall come to the bed of love,

Before you come to the bed of love,

But, hark! the call of the lover,

But, hey! the call of the lover,

The voice of the lover, Lohiau!

At the utterance of this name Pele brightened and called to Hiiaka, “Yes, that is the name of our man. I purposely kept it back until you should have reached the water-shed (kaupaku2 o ka hale o kaua, literally the ridgepole) of our house, intending then to reveal it to you; but you have divined the man’s name. Go on your journey. Nothing shall avail to block your road. Yours is the power of woman; the power of man is nothing to that.”

At the mention of this name, Pele lit up and called to Hiiaka, “Yes, that’s our man’s name. I held back saying it until you got to the watershed (kaupaku2 o ka hale o kaua, literally the ridgepole) of our house, planning to tell you then; but you’ve figured out the man’s name. Continue on your journey. Nothing will stand in your way. You have the power of a woman; the power of a man is nothing compared to that.”

On reaching the plateau of Wahine-kapu Hiiaka received a spiritual message telling her that Lohiau—the object of her errand—was dead. She at once turned towards Pele and commemorated the fact in song:

On reaching the plateau of Wahine-kapu, Hiiaka received a spiritual message informing her that Lohiau—the reason for her journey—was dead. She immediately turned towards Pele and honored the news in song:

I Akani-hia,

I Akani-kolea,

I Pu’u-wa’a-hia,

I Pu’u-manawa-le’a,

I Pu’u-aloha, la:

I Pu’u-aloha, there:

He mea e ke aloha o ke kane, e.

Ke haale iho nei au e hanini, e;

E uwé au, e!

Hey, you!

TRANSLATION

Translation

Let us sound it aloud—

Let's say it out loud—

Far as the plover’s flight;

As far as the plover flies;

With full breath shout it,

Shout it with all your breath,

And with a full heart,

And with an open heart,

Big with affection. [24]

Full of love. [__A_TAG_PLACEHOLDER_0__]

Ah, wondrous the love for a man!

Ah, how wonderful it is to love a man!

The feelings that strive,

The feelings that push,

As these tears, to rush out—

As these tears flow—

I can not repress them!

I can't hold them back!

Pele did not know this name-song of Lohiau until she heard it recited by Hiiaka. This it was that led Hiiaka to come back within easy hearing distance:

Pele didn’t know Lohiau’s name-song until she heard Hiiaka recite it. This prompted Hiiaka to return to a spot where she could easily be heard:

Ke uwá ia mai la e ka ua;

Ke kahe ia mai la e ka wai:

Na lehua i Wai-a’ama, la, lilo,

Lilo a’u opala lehua

Lilo my lehua trash

I kai o Pi’i-honua, la;

Mai Po’i-honua no a Pi’i-lani.

Mai Po’i-honua of Pi’i-lani.

TRANSLATION

It sobs in the rain;

It cries in the rain;

It moans in the rushing tide.

It cries out in the rushing tide.

Gone is my grove of lehuas—

My rubbish grove, that stood

My trash grove, that stood

By the pilfering waters—flown,

By the stealing waters—flowed,

He has flown, like its smoke, to heaven.

He has soared, like its smoke, to the sky.

’Tis there I must seek him!

It’s there I must find him!

“How absurd of you,” said Pele; “you were not sent on an expedition to heaven, but to bring a man who is here on earth. If you fly up to heaven, you will pass him by and leave him here below.”

“How ridiculous of you,” said Pele; “you weren't sent on a mission to heaven, but to bring back a man who is here on earth. If you fly up to heaven, you'll miss him and leave him down here.”

Hiiaka and her faithful companion—Pau-o-pala’e—had gotten well away from the vast pit of Kilauea, with its fringe of steam-cracks and fumaroles that radiate from it like the stays of a spider-web, and they were nearing the borders of Pana-ewa, when Hiiaka’s quick ear caught the sound of a squealing pig. Her ready intuition furnished the right interpretation to this seemingly insignificant occurrence:

Hiiaka and her loyal companion, Pau-o-pala’e, had made their way far from the expansive pit of Kilauea, with its edges filled with steam cracks and fumaroles spreading out like the strands of a spider web. As they approached the borders of Pana-ewa, Hiiaka’s sharp hearing picked up the sound of a squealing pig. Her instinct provided the correct understanding of this apparently trivial event:

A loko au o Pana-ewa,

Halawai me ka pua’a

Halawai with the pig

A Wahine-oma’o,

Me ku’u maka lehua i uka. [25]

Me ku’u maka lehua i uka. [__A_TAG_PLACEHOLDER_0__]

Me ka Malu-ko’i3 i ka nahele,

Me ka Malu-ko’i__A_TAG_PLACEHOLDER_0__ in the woods,

E uwé ana i ka laau.

Alalá ka pua’a a ka wahine—

He pua’a kanaenae,

He kanaenae mohai ola—

E ola ia Pele,

I ka Wahine o ka Lua, e-e!

TRANSLATION

In the heart of Pana-ewa—

In the center of Pana-ewa—

Lehuas were heavy with bud,

Lehuas were full of buds,

The dim aisles solemn with shadow—

The dim aisles heavy with shadow—

I met with a suckling pig,

I met a piglet.

The pet of Wahine-oma’o,

A wailing voice in the wilderness:

A crying voice in the wilderness:

’Twas the creature wail of the thing,

’Twas the creature's wail of the thing,

Foredoomed as an offering, this

Doomed as a sacrifice, this

Wailing thing was a sacrifice,

The wailing thing was a sacrifice,

An appeal to Pele for life,

To the Woman who dwells in the Pit.

To the Woman who lives in the Pit.

At this moment a young woman of attractive person appeared on the scene and, prostrating herself to the earth, said, “O, Pele, behold my offering, which I bring to thee in fulfillment of the pledge made by my parents, that I should first seek thee, O Pele, before I come to my marriage bed. Accept this suckling which I offer to thee, O Pele.”

At that moment, a young woman with a stunning appearance came into view and, kneeling down, said, “Oh, Pele, here is my offering, which I bring to you in fulfillment of the promise made by my parents that I should seek you first, Oh Pele, before I go to my marriage bed. Please accept this offering I present to you, Oh Pele.”

“I am not the one you are seeking: I am not Pele,” said Hiiaka. “Pele is over yonder in the Pit.”

“I’m not the one you’re looking for: I’m not Pele,” said Hiiaka. “Pele is over there in the Pit.”

The woman was persistent and begged that Hiiaka would not despise her offering. After undeceiving her, Hiiaka carefully instructed her, lest she make some fatal mistake in her approach to the jealous goddess: “When you come to the Pit you must be careful in your approach to Pele. The least departure from the etiquette she demands would be the cause of your death. Do not imagine that the fine large woman sitting at the door is Pele, nor that any one of the women seated within is she. You must pay no attention to these. Look for the figure of a wrinkled old woman lying bundled up on the hearth: that is Pele: make the offering to no one else but to her.” [26]

The woman was determined and pleaded with Hiiaka not to overlook her offering. After clearing up her misunderstanding, Hiiaka carefully warned her not to make any serious mistakes when approaching the jealous goddess: “When you arrive at the Pit, you need to be cautious in your approach to Pele. Even a small slip in the etiquette she expects could lead to your death. Don’t think that the tall, beautiful woman at the entrance is Pele, or that any of the women inside are her. Ignore them. Look for the figure of a wrinkled old woman curled up on the hearth: that is Pele. You must make your offering only to her.” [__A_TAG_PLACEHOLDER_0__]

“Alas for me,” said Wahine-oma’o. “You will be gone a long way from this place by the time I shall return to seek you. I shall not be able to find you.”

“Alas for me,” said Wahine-oma’o. “You will be far away from here by the time I return to look for you. I won’t be able to find you.”

“You will find us here,” replied Hiiaka assuringly.

"You'll find us here," Hiiaka replied confidently.

Hiiaka used her power to bring the woman at once to her destination. Following the instructions given her, Wahine-oma’o was quickly transported into the presence of Pele and, having made her offering in due form, was about to retire, when Pele called her back and said, “Did you not meet some women going from here as you came this way?”

Hiiaka used her power to instantly take the woman to her destination. Following the instructions she was given, Wahine-oma’o was quickly brought into the presence of Pele, and after making her offering properly, she was about to leave when Pele called her back and said, “Did you not see any women leaving here as you came this way?”

“I met some women,” she answered.

“I met some women,” she replied.

“Make haste and come up with them,” said Pele. “The younger woman is very dear to me. Attach yourself to her as a friend.”

“Quickly come join us,” said Pele. “The younger woman means a lot to me. Befriend her.”

“That I will do,” said Wahine-oma’o. Then, moved by an impulse that came to her (the work, it is said, of Hiiaka), she said to Pele, “I had imagined you to be a beautiful woman, Pele. But, lo, you are old and wrinkled; and your eyes are red and watery.” Thus saying, Wahine-oma’o took her departure and almost immediately found herself again with Hiiaka.

“That I will do,” said Wahine-oma’o. Then, inspired by an impulse that came to her (reportedly from Hiiaka), she said to Pele, “I had pictured you as a beautiful woman, Pele. But, look, you are old and wrinkled; and your eyes are red and watery.” After saying this, Wahine-oma’o left and almost immediately found herself back with Hiiaka.

“You have made quick time,” Hiiaka said. “How did you get on?”

“You've made good time,” Hiiaka said. “How did it go?”

“I followed your instructions and presented my offering to the woman who was lying on the hearth. She asked me if I had met you, and when I said yes, she told me to look after you as a friend.”

“I followed your instructions and presented my offering to the woman who was lying on the fireplace. She asked me if I had met you, and when I said yes, she told me to take care of you as a friend.”

“Is that all?”

"Is that it?"

“She also told me to watch you, to observe how you behaved towards the man—whether you kissed him or had any dalliance with him.”

“She also told me to keep an eye on you, to see how you acted around the man—whether you kissed him or had any flirtation with him.”

“And did you say anything to Pele?”

“U-m, I bantered her about her looks; told her she was a very ill-favored woman, while the women attending her were very handsome.”

“Um, I teased her about her appearance; I called her a very unattractive woman, while the women around her were really good-looking.”

Hiiaka laughed at this naive account.

Hiiaka laughed at this innocent story.

Night shut down upon them at Kuolo, a place just on the border of Pana-ewa. Paú-o-pala’e proposed that they should seek a resting place for the night with the people of the hamlet. Hiiaka would not hear to it: “Travelers should sleep in the open, in the road; in that way they can rise and resume their journey with no delay.” (O ka po’e hele he pono ia lakou e moe i ke alanui, i ala no a hele no.) [27]

Night fell upon them at Kuolo, a location right on the edge of Pana-ewa. Paú-o-pala’e suggested that they find a place to rest for the night with the locals of the hamlet. Hiiaka disagreed: “Travelers should sleep outside, on the road; that way they can wake up and continue their journey without delay.” (O ka po’e hele he pono ia lakou e moe i ke alanui, i ala no a hele no.) [__A_TAG_PLACEHOLDER_0__]

1 One critic says it should be po’e. ↑

2 Kaupaku o ka hale o kaua. A hidden reference to sexual intercourse. ↑

2 Kaupaku o ka hale o kaua. A subtle reference to sex. ↑

3 Malu-ko’i, dark and gloomy. ↑

3 Malu-ko’i, dark and dreary. __A_TAG_PLACEHOLDER_1__

[__A_TAG_PLACEHOLDER_0__]

CHAPTER VIII

THE GIRL PA-PULEHU—THE FEAST

In the morning while it was still dark, they roused and started afresh. Their way led through lehua groves of the most luxuriant growth, the bloom of which crimsons the landscape to this day, exuding a honey that is most attractive to the birds of heaven. The cool still air wafted to their ears the hum of voices which was soon explained when they came upon a bevy of girls who were busily plucking the bright flowers to string into wreaths and garlands, in anticipation of some entertainment. This rural scene made an appeal to the poet in Hiiaka which she could not resist:

In the early morning while it was still dark, they woke up and started anew. Their path took them through lush lehua groves, the blooms of which still color the landscape a deep crimson, releasing a honey that attracts the birds in the sky. The cool, calm air carried the sound of voices, which became clear when they encountered a group of girls who were energetically picking the bright flowers to make wreaths and garlands for an upcoming event. This picturesque scene spoke to the poet in Hiiaka, and she couldn't help but be moved by it:

A Wai-akea, i ka Hilo-hana-kahi,

A Wai-akea, in Hilo-hana-kahi,

Ala i ka wa po iki,

I ka lehua lei o Hilo, o Hi-lo;

E pauku ana no ka hala me ka lehua.

Maikai Hilo, o Hilo-hana-kahi!

Good Hilo, o Hilo-hana-kahi!

TRANSLATION

Translation

At Wai-akea, in Hilo—

At Wai-akea in Hilo—

The Hilo of Hana-kahi—

They rise in the early morning

They get up early in the morning

To weave fresh wreaths of lehua,

To create new lehua wreaths,

Inbeading its bloom with hala—

Incorporating its bloom with hala—

Gay Hilo of Hana-kahi!

At sight of Hiiaka’s party, the lively flower-girls made a rush, as if to capture and appropriate their friendly acquaintance for individual possession. The most vivacious and forward of the whole party was Pa-pulehu, their leader, a buxom young woman, of good family, who at once took possession of Hiiaka for herself, crowned and bedecked her with wreaths and garlands, with many expressions of enthusiastic admiration: “This is my friend!—What a beauty!—How the scarlet lehua becomes her!—Just look, girls!—And now you are to come and be my guest.—The feast is set for this very day.—But you are all welcome.”

At the sight of Hiiaka’s group, the lively flower girls rushed over, eager to claim their friendly acquaintance for themselves. The most energetic and bold of them all was Pa-pulehu, their leader, a curvy young woman from a good family. She immediately took Hiiaka under her wing, adorning her with wreaths and garlands while showering her with enthusiastic compliments: “This is my friend!—Isn’t she beautiful?—The scarlet lehua looks amazing on her!—Look at her, girls!—And now you’re all invited to be my guests.—The feast is set for today.—You’re all welcome.”

The unrestrained gush of the young woman’s rattling talk was quite in contrast to the selected words of Hiiaka. [28]

The unrestrained flow of the young woman’s rapid conversation was a stark contrast to the carefully chosen words of Hiiaka. [__A_TAG_PLACEHOLDER_0__]

Now Pa-pulehu was of a large and important family, embracing numerous friends and relations, and, having ample means, her hospitalities were unstinted. The report spread quickly, “Pa-pulehu has a distinguished guest come to visit her. There is to be a feast this afternoon. All are invited.”

Now Pa-pulehu came from a large and important family, with many friends and relatives, and since she had plenty of resources, her hospitality was generous. The news spread fast, “Pa-pulehu has a special guest visiting her. There will be a feast this afternoon. Everyone is welcome.”

The tables were spread with a great variety of fish, meats, fruits and vegetables. The parents and guardians of the girl, nevertheless, came to her and inquired, “What is there that this young woman, your friend, would specially like to eat?” Paú-o-pala’e took it upon her to answer, that the one thing that would be most acceptable to Hiiaka would be a dish of luau. Thereupon a large quantity of young and delicate taro leaves were prepared for the table.

The tables were filled with a wide variety of fish, meats, fruits, and vegetables. However, the girl's parents and guardians approached her and asked, “What does your friend, this young woman, really want to eat?” Paú-o-pala’e took it upon herself to answer that the one thing Hiiaka would love the most is a dish of luau. So, a large amount of young and tender taro leaves was prepared for the table.

When they were gathered at the tables, Hiiaka sitting in the place of honor, Paú-o-pala’e, at her request, bade all the people incline their heads and close their eyes. Then Hiiaka called upon her allies, the Sun, the Moon, the Stars, the elements and all the gods to come to the feast and partake; and when the prayer was ended and they opened their eyes—lo, the tables spread for Hiiaka were empty! Hiiaka had not been seen to take into her hands any of the food that was spread before her. It had vanished away as a drop of water evaporates in the heat of the sun.

When everyone was gathered at the tables, with Hiiaka in the place of honor, Paú-o-pala’e asked everyone to lower their heads and close their eyes. Then Hiiaka called on her allies—the Sun, the Moon, the Stars, the elements, and all the gods—to come to the feast and join in. When the prayer was finished and they opened their eyes, they found that the tables set for Hiiaka were empty! Hiiaka hadn't taken any of the food that was in front of her. It had disappeared like a drop of water evaporating in the sun's heat.

The feast being concluded, Hiiaka rose, bade good bye to the people and resumed her journey, taking with her Pa-pulehu.

The feast over, Hiiaka got up, said goodbye to the people, and continued her journey, taking Pa-pulehu with her.

This girl Pa-pulehu was of genuine flesh and blood, with no blend of divine ichor in her veins, such as enriched the blood of Hiiaka; nor had she, like Wahine-oma’o and Paú-o-pala’e, been strengthened and made more resistant to spiritual and physical foes—a privilege granted to those who had enjoyed a close approach to Pele as attendants and worshippers. This weakness in her nature had its influence in determining the fate to which her history now quickly leads.

This girl Pa-pulehu was completely human, with no trace of divine essence in her veins like Hiiaka's blood; nor had she been strengthened to withstand spiritual and physical challenges like Wahine-oma’o and Paú-o-pala’e—privileges given to those who had closely served and worshipped Pele. This vulnerability in her character played a role in shaping the fate her story is quickly leading to.

Their journey still lay through Puna. They were at Kalalau, not far from Haena (at the place where, centuries afterwards, Kamehameha was struck with that well-nigh fatal blow by an outraged fisherman). Some fishermen were hauling in their nets full of fish. The sight was too much for Pa-pulehu. “I hunger for fish,” she exclaimed. “These fish belong to my father. Oh, if I only were at home! how I would eat until I was satisfied!”

Their journey still took them through Puna. They were at Kalalau, not far from Haena (at the spot where, centuries later, Kamehameha was almost fatally struck by an angry fisherman). Some fishermen were pulling in their nets full of fish. The sight was overwhelming for Pa-pulehu. “I’m craving fish,” she shouted. “These fish belong to my father. Oh, if only I were at home! I would eat until I was satisfied!”

Hiiaka thought it best to indulge the appetite of this novice in [29]her service. From a little knoll overlooking the ocean, she descried the canoe of a fisherman named Pahulu floating in the offing, but already well stocked with fish. Hiiaka used her power and drove away the school of fish that would have come to his net. The man himself was so intent on his work that he had no eyes for what was passing on shore; but his assistant exclaimed, “Look at the beautiful woman standing on the shore and watching us!”

Hiiaka thought it would be good to satisfy the curiosity of this novice in [__A_TAG_PLACEHOLDER_0__]her service. From a small hill overlooking the ocean, she spotted the canoe of a fisherman named Pahulu floating in the distance, already filled with fish. Hiiaka used her powers and drove away the school of fish that would have come into his nets. The man was so focused on his work that he didn't see what was happening on the shore; but his assistant shouted, “Look at the beautiful woman standing on the shore watching us!”

“I must keep my eyes on my nets,” the fisherman replied.

“I have to keep an eye on my nets,” the fisherman replied.

Thereupon Hiiaka attracted his attention with a song:

Thereupon Hiiaka caught his attention with a song:

Nani ku a ka Hilo pali-ku!

Nani, go to Hilo now!

O ka au-hula ana o Ka-lalau,

O ka au alana loa i kai, e!

Ho mai he i’a, na ka pehu o uka, ea.

TRANSLATION

A standing wonder, Hilo cliffs!

Amazing Hilo cliffs!

How daring this Ka-lalau swimming,

How bold this Ka-lalau swimming,

Far out to sea on a floating plank!

Far away at sea on a floating board!

Pray grant us, O man, of your fish—

Fish for the herb-swollen rustic.

Fish for the herb-filled rustic.

This brought the two fishermen ashore who thereupon willingly parted with some of their fish to Hiiaka, coupling the gift, however, with a proposition insulting to the honor of the two women. The fishermen, imagining they had the two women under their power, were soon after seen lying in the open embracing two figures of stone which they, in their insane infatuation, fancied were the two women, thus exposing themselves to the jeers and derision of their fellows.

This brought the two fishermen ashore, who then gladly gave some of their fish to Hiiaka, but accompanied the gift with a disrespectful suggestion regarding the honor of the two women. The fishermen, thinking they had control over the two women, were later seen lying out in the open, embracing two stone figures that they, in their foolish obsession, believed were the two women, exposing themselves to mockery and ridicule from their peers.

Pa-pulehu cooked and ate the fish, but her manner of eating was lacking in due punctilio, in that she did not dispose properly of the unconsumed parts—the tails, fins, bones and scales—of the fish. She should have burned or buried them; instead she left them lying about in a slovenly way. This neglect was highly offensive to Pele and caused her to withdraw from Pa-pulehu the protection she otherwise would have given her. [30]

Pa-pulehu cooked and ate the fish, but she didn't eat it with the proper etiquette. She didn't handle the leftover parts—the tails, fins, bones, and scales—correctly. She should have burned or buried them; instead, she just left them lying around messily. This carelessness really upset Pele, and as a result, she took away the protection she would usually give to Pa-pulehu. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

CHAPTER IX

HIIAKA CHOOSES THE ROUTE THROUGH PANA-EWA

Two routes offered themselves for Hiiaka’s choice, a makai road, circuitous but safe, the one ordinarily pursued by travelers; the other direct but bristling with danger, because it traversed the territory of the redoubtable witch-mo’o, Pana-ewa. Hiiaka had deigned to appeal to the girl Pa-pulehu, she being a kamaaina1, as if for information. When Hiiaka announced her determination to take the short road, the one of danger that struck through the heart of Pana-ewa, Pa-pulehu drew back in dismay and expostulated: “That is not a fit road for us, or for any but a band of warriors. If we go that way we shall be killed.” She broke forth with lamentations, bewailing her coming fate and the desolation that was about to visit her family.

Two paths opened up for Hiiaka to choose from: one was the coastal road, winding but safe, the typical route travelers took; the other was a direct path, full of dangers because it went through the territory of the feared witch-mo’o, Pana-ewa. Hiiaka decided to ask the girl Pa-pulehu for advice, since she was a local. When Hiiaka declared her intention to take the risky road that cut through Pana-ewa’s realm, Pa-pulehu recoiled in fear and protested, "That road isn’t suitable for us, or for anyone but a group of warriors. If we take that route, we’ll be killed." She began to cry, mourning her impending doom and the devastation that was about to befall her family.

As they advanced Wahine-oma’o descried a gray scare-crow object motionless in the road ahead of them. She thought it to be the blasted stump of a kukui tree. Hiiaka recognized its true character, the witch-form taken as a disguise by a mo’o. It was a scout sent out by Pana-ewa; in real character a hag, but slimed with a gray excrement to give it closer resemblance to a mouldering tree-stump. The deceiving art of magic did not avail against Hiiaka. She rushed forward to give the death stroke to the foul thing, which at once groveled in the dirt in its true form.

As they moved forward, Wahine-oma’o spotted a gray scarecrow-like figure standing still in the road ahead. She thought it was just a ruined stump of a kukui tree. Hiiaka recognized what it really was: the disguised witch-form of a mo’o. It was a scout sent by Pana-ewa; in reality, it was a hag, but it was smeared with gray slime to look more like a decaying tree stump. Hiiaka wasn't fooled by the deceptive magic. She rushed forward to deliver the final blow to the vile creature, which immediately crawled on the ground to reveal its true form.

Night overtook them in a dense forest. While the others lay and slept, Hiiaka reconnoitered the situation. The repose of the wilderness was unbroken save for the restless flitting of a solitary bird that peered at Hiiaka obtrusively. It was a spy in the employ of Pana-ewa and its actions roused the lively suspicions of Hiiaka, eliciting from her an appropriate incantation:

Night fell around them in a dense forest. While the others lay asleep, Hiiaka surveyed the area. The tranquility of the wilderness was undisturbed except for the restless movement of a lone bird that watched Hiiaka closely. It was a spy working for Pana-ewa, and its behavior sparked Hiiaka's keen suspicions, prompting her to recite an appropriate incantation:

Ka wai mukiki ale lehua a ka manu,

Ka awa ili lena i ka uka o Ka-li’u,

Ka manu aha’i lau awa o Puna:

Aia i ka laau ka awa o Puna.

Mapu mai kona aloha ia’u—

Bring your love to me—

Hoolaau mai ana ia’u e moe.

E moe no au, e-e!

Stay awake with me, okay!

[31]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

O honey-dew sipped by the bird,

O honeydew sipped by the bird,

Distilled from the fragrant lehua;

Extracted from the fragrant lehua;

O yellow-barked awa that twines

O yellow-barked awa that twists

In the upper lands of Ka-li’u;

In the Ka-li’u highlands;

O bird that brews from this leafage

O bird that emerges from this foliage

Puna’s bitter-sweet awa draught;—

Puna’s bittersweet awa drink;—

Puna’s potentest awa grows

Puna's strongest awa grows

Aloft in the crotch of the trees.

Aloft in the fork of the trees.

It wafts the seduction to sleep,

It carries the allure of sleep,

That I lock my senses in sleep!

That I shut my senses in sleep!

It was a subtle temptation that suggested the awa cup as a relief for her troubles. Hiiaka had need that all her faculties should give her their best service. For her to have slept at this time would have been fatal. Her song well expressed it:

It was a slight temptation that made her think about the awa cup as a way to escape her troubles. Hiiaka needed all her abilities to be at their best. If she had slept now, it would have been disastrous. Her song captured this perfectly:

E nihi ka hele i ka uka o Puna;

Mai ako i ka pua,

Learn from the flower,

O lilo i ke ala o ka hewahewa.

Ua huná ia ke kino i ka pohaku,

O ka pua na’e ke ahu nei i ke alanui—

Alanui hele o ka unu kupukupu, e-e;—

Ka ulí-a!

Shut up!

A kaunu no anei oe o ke aloha la?

Hele a’e a komo i ka hale o Pele;

Ua huahua’i i Kahiki; lapa uila,

Pele e, hua’i’na ho’i!

Pele and, let’s go!

TRANSLATION

Heed well your way in upland Puna;

Pluck never a single flower;

Don’t pick a single flower;

Lest you stray from the path.

The shape lies hid neath a stone,

The shape is hidden beneath a stone,

The path is one carpet of flowers,

The path is covered in flowers,

The blocks of stumbling overgrown.

The blocks are overgrown and uneven.

Quick follows the downfall!

Quick follows the collapse!

Is there a compact between us of love?

Is there a mutual agreement of love between us?

Fly, voice, assail the ear of Pele!

Fly, voice, attack the ear of Pele!

Erupt, Kahiki, with lightning flash!

Erupt, Kahiki, with a lightning flash!

Now, Pele, burst forth in thy might!

Now, Pele, show your strength!

[32]

[__A_TAG_PLACEHOLDER_0__]

Pana-ewa entrusted the work of reconnaissance and scouting for information to two of his creatures named Ke-anini and Ihi-kalo, while he lay down and slept. Having done their work, the two scouts waked the drowsy monster in the middle of the night with the information that four human beings, women, had entered his domain and were coming towards him. “Where are they?” he asked.

Pana-ewa assigned the task of scouting and gathering information to two of his creatures named Ke-anini and Ihi-kalo, while he lay down to sleep. After completing their mission, the two scouts woke the sleepy monster in the middle of the night with the news that four women had entered his territory and were approaching him. “Where are they?” he asked.

“Out in this direction (pointing), and they are moving this way.”

“Over there (pointing), and they are coming this way.”

“Well, this day of fasting has gone by. What a pity, however, that the poi in my calabash has turned sour, but the taro is sweet. Eye-balls! what juicy, delicious morsels! The day of privation turns out to be a day of feasting.” Thus muttered the cannibal monster, gloating like Polyphemus in his cave at the prospect of a feast.

“Well, this day of fasting has come to an end. It's a shame that the poi in my calabash has gone sour, but the taro is sweet. Wow! What juicy, delicious bites! The day of deprivation has turned into a day of feasting.” Thus muttered the cannibal monster, reveling like Polyphemus in his cave at the thought of a feast.

Hiiaka kept her own courage at the fine point of seeming indifference, she also inspired her companions with the same feeling by the calm confidence displayed in her singing:

Hiiaka maintained her courage by appearing indifferent, and she inspired her companions with the same calm confidence through her singing.

Pau ke aho i ke kahawai lau o Hilo:

He lau ka pu’u, he mano ka iho’na;

He mano na kahawai o Kula’i-po;

He wai Honoli’i, he pali o Kama-e’e,

He pali no Koolau ka Hilo-pali-ku;

He pali Wailuku, he one ke hele ia;

He one e ke’ehia la i Wai-olama.

He aka ka wi a ka wai i Pana-ewa—

O Pana-ewa nui, moku-lehua,

Ohi’a kupu hao’eo’e i ka ua,

Ohi’a blooms beautifully in the rain,

Lehua ula i ka wi’ ia e ka manu.

Lehua red blooms when kissed by the bird.

A ua po, e, po Puna, po Hilo

I ka uahi o ku’u aina.

By Pana-ewa.—

By Pana-ewa.

“Ola ia kini! ke a mai la ke ahi, e-e!”

“Ola ia kini! The fire is burning, let’s go!”

TRANSLATION

One’s strength is exhausted, climbing, climbing

One's strength is drained, climbing, climbing

The countless valleys and ridges of Hilo,—

The countless valleys and hills of Hilo,—

The streams without number of Ku-la’i-po,

The many streams of Ku-la’i-po,

The mighty water of Hono-li’i,

The powerful water of Hono-li’i,

The precipice walls of Kama-e’e,

The cliffs of Kama-e’e,

And the pali of Ko’olau: [33]

And the pali of Ko’olau: [__A_TAG_PLACEHOLDER_0__]

Such a land is Hilo-pali-ku.

Such a place is Hilo-pali-ku.

The banks of Wailuku are walls;

The banks of Wailuku are like walls;

The road to its crossing but sand;

The road leading to its crossing is just sand;

Sandy the way at Wai-o-lama.

Sandy the path at Wai-o-lama.

How cheery the purl of these waters!—

How cheerful the sound of these waters!—

Great Pana-ewa—her parks of lehua,

Great Pana-ewa—her lehua parks,

Scraggy in growth yet scarlet a-top,

Scraggly in growth yet bright red on top,

Its nectar wrung out by the birds!

Its nectar squeezed out by the birds!

Black night covers Puna and Hilo,

A pall from the smoke of my home land!

A shadow from the smoke of my homeland!

(By Pana-ewa).

“Here’s food for me and mine!

“Here’s food for me and my family!

Behold the blaze of the ovens!”

Behold the fire of the ovens!”

(The last two lines are said to be the utterance of Pana-ewa who feigned to regard the fires as those of his own people, who, in anticipation of an easy victory, had made ready their ovens to receive the bodies of Hiiaka and her party.)

(The last two lines are said to be the words of Panaewa, who pretended to think the fires belonged to his own people, who, expecting an easy win, had prepared their ovens to receive the bodies of Hiiaka and her group.)

Hiiaka bravely answered Pana-ewa:

Hiiaka confidently replied to Pana-ewa:

O Pana-ewa, ohi’a loloa,

O Pana-ewa, ʻōhiʻa lōʻihi,

Ohi’a uliuli i ka uä,

Ohi’a uliuli in the rain,

I moku pewa ia

E ka laau o kepakepa,

A ka uka i Haili la.

Ilihia, ilihia i ka leo—

Ilihia, sing in the voice—

He leo wale no, e!

That's not cool, hey!

TRANSLATION

Pana-ewa, a tall ohi’a,

Pana-ewa, a tall ʻōhiʻa,

The fruit red-ripe in the rain,

The fruit ripened in the rain,

Is vilely slashed with the stick

Is violently hit with the stick

Of the mountaineer.

Of the climber.

It stands in upland Haili:

Terrific—the voice is terrific;

Awesome—the voice is awesome;

Yet it’s merely a voice!

But it's just a voice!

“The voice was threatening only because my servants reported that some people were trespassing. That set my tongue agoing about poi - - - and - taro. - - - After all it’s a question of strength. Your valor it is that must win for you a passage through this land of mine.”

“The voice was threatening only because my servants said that some people were trespassing. That got me talking about poi - - - and - taro. - - - After all, it’s a matter of strength. It’s your courage that must earn you a way through my land.”

This was Pana-ewa’s ultimatum. [34]

This was Pana-ewa’s final demand. [__A_TAG_PLACEHOLDER_0__]

Hiiaka accepted the defiance of Pana-ewa by chanting a solemn kahoahoa, which was at once a confident prediction of victory and an appeal to the gods:

Hiiaka took on Pana-ewa's challenge by singing a serious kahoahoa, which was both a bold forecast of success and a plea to the gods:

Kua loloa Keäau i ka nahele hala;

Kua loloa Keāʻau in the hala forest;

Kua huluhulu Pana-ewa i ka laau;

Inoino ka maha, ka ohi’a o La’a, e;

Ku kepakepa ka maha o ka laau,

U-á po’ohina i ka wela a ke Akua;

U-a-uahi Puna o ka oloka’a pohaku ia,

U-a-uahi Puna of the stone-covered path,

I ka huná pa’a ia e ka Wahine.

Nanahu ahi ka ka papa o Olueä;

Momoku ahi Puna, hala i Apua;

Ulu-á ka nahele me ka laau;

Ulu-á in the forest with the trees;

Ka ke kahiko ia o Papa-lau-ahi.

Ele-i2 kahiko, e Ku-lili-kaua;

Ele-i__A_TAG_PLACEHOLDER_0__ old, e Ku-lili-kaua;

Ka ia,3 hea4 hala o Ka-li’u;

Ka ia,3 he is4 the path of Ka-li’u;

E ne5 ka La, ka malama;

E ne__A_TAG_PLACEHOLDER_0__ ka La, ka malama;

Onakaka ka piko6 o Hilo i ke one,

Onakaka ka piko6 of Hilo at the beach,

I hu-lá7 ia aku la e, hulihia i kai.

Ua wawahia, ua nahahá,

Ua he-helelei ka papa i Pua-le’i, e!

TRANSLATION

Long is the reach of Keäau’s palms;

Long is the reach of Keäau's palms;

Bristly-backed Pana-ewa’s woodlands;

Bristly-backed Pana-ewa's forests;

Spoiled are the restful groves of La’a;

Spoiled are the peaceful groves of La’a;

Ragged and patchy the tree-clumps—

Ragged and patchy tree clumps—

Gray their heads from the ravage of fire.

Gray their heads from the damage of fire.

A blanket of smoke covers Puna—

All paved with the dump from Her stone-yard.

All covered with the debris from her stone yard.

The Goddess’ fire bites Olu-eä—

One cinder-heap clean to Apua; [35]

One cinder-heap cleaned for Apua; [__A_TAG_PLACEHOLDER_0__]

Food for Her oven are wildwood and brush—

The finish that to Lau-ahi’s glory:

The finish that celebrates Lau-ahi's glory:

Her robe now is changed to jetty black,

Her robe is now a deep black,

At the onset of Ku-lili-kaua,

At the start of Ku-lili-kaua,

Ka-liu’s palms plucked root and branch.

Ka-liu's hands picked at the roots and branches.

The Sun and the Moon are blotted out;

The Sun and the Moon are covered;

Hilo is shaken to its foundation,

Hilo is shaken to its core,

Its lands upheaved, despoiled to the sea,

Its lands were lifted up, ravaged by the sea,

Shattered, fissured, powdered, reduced;

Shattered, cracked, powdered, reduced;

Its plain is ashes and dust!

The battle that ensued when Pana-ewa sent to the attack his nondescript pack of mo’o, dragonlike anthropoids, the spawn of witchcraft, inflamed with the spite of demons, was hideous and uncanny. Tooth and claw ran amuck. Flesh was torn, limbs rent apart, blood ran like water. If it had been only a battle with enemies in the open Hiiaka would have made short work of the job. Her foes lay ambushed in every wood and brake and assumed every imaginable disguise. A withered bush, a bunch of grass, a moss-grown stone, any, the most innocent object in nature, might prove to be an assailant ready to spit venom or tear with hook and talon. Hiiaka had need of every grain of wit and every spark of courage in her nature. Nothing could withstand her onset and the billows of attack against her person were broken as by a solid rock. Some described her as wielding a flaming battle-ax and hurling missiles of burning sulphur. They might well be deceived. The quickness of her every motion was a counterfeit of the riving blade or blazing fire-ball. Some assert that, in her frenzy, she tore with her teeth and even devoured the reeking flesh until her stomach rose in rebellion. Such a notion seems incompatible with the violence of her disgust for the reptilian blood that besmeared her from sole to crown.

The battle that broke out when Panaewa sent his unremarkable pack of mo’o, dragon-like creatures, the products of witchcraft and fueled by demonic rage, was horrific and bizarre. Teeth and claws went wild. Flesh was shredded, limbs were torn apart, and blood flowed like water. If it had just been a fight against visible enemies, Hiiaka would have handled it quickly. Her opponents were hidden in every bush and thicket, using every disguise imaginable. A dead bush, a clump of grass, a moss-covered rock—any innocent object in nature could be a hidden attacker, ready to strike with venom or claws. Hiiaka needed all her wit and every bit of courage she had. Nothing could stand against her attack, and the waves of aggression aimed at her fell away like water crashing against a solid rock. Some described her as wielding a flaming battle-ax and throwing flaming projectiles. They might have been mistaken. The speed of her every move looked like a splitting blade or a fireball. Some say that, in her rage, she bit into her enemies and even consumed their blood-soaked flesh until it made her stomach turn. Such an idea seems hard to reconcile with her violent disgust for the reptilian blood that covered her from head to toe.

Paú-o-pala’e, using her magical paú as a besom of destruction, was transformed into a veritable Bellona; and Wahine-oma’o displayed the courage of an amazon. These both escaped serious injury. The unhappy fate of Pa-pulehu realized that girl’s premonition. She fell into the hands of the enemy and, as if to fulfill the prediction of Pele, became “food for the gods of Pana-ewa.”

Paú-o-pala’e, wielding her magical skirt like a broom of destruction, turned into a fierce warrior; and Wahine-oma’o showed the bravery of an amazon. Both managed to avoid serious injury. Unfortunately for Pa-pulehu, her fate proved the girl's warning true. She was captured by the enemy and, as if to fulfill Pele's prophecy, became “food for the gods of Pana-ewa.”

As Hiiaka glanced heavenward, she saw the zenith filled with cloud-forms—Kane, Kanaloa, Ka-moho-alii, Poha-kau and [36]others, encouraging her with their looks. The sight, while it cheered, wrung from her a fervent prayer:

As Hiiaka looked up at the sky, she saw the top filled with shapes of clouds—Kane, Kanaloa, Ka-moho-alii, Poha-kau, and [__A_TAG_PLACEHOLDER_0__]others, encouraging her with their gazes. The view, while uplifting, drew from her a heartfelt prayer:

Kela pae opua i ka lani, e,

Ke ka’i a’e la mauka o Poha-kau.

He kaukau, aloha keia ia oe,

Ia oe no, e-e-e!

I don't know, uh-uh!

TRANSLATION

Yon group of god-forms, that float

And sail with the clouds heaven-high,

And sail with the clouds high in the sky,

Mustered and led by Poha-kau;

Summoned and led by Poha-kau;

This prayer is a love-call to you!

This prayer is a call for your love!

“Our sister is in trouble,” said Ka-moho-alii, “let us go to her assistance!” Such was the call of Ka-moho-alii when he saw his little friend and quondam protegé Hiiaka in trouble, and theirs were the god-forms that sailed through the sky to reinforce her.

“Our sister is in trouble,” said Ka-moho-alii, “let’s go help her!” This was the call from Ka-moho-alii when he saw his little friend and former protegee Hiiaka in distress, and they took on their divine forms that soared through the sky to strengthen her.

1 Kamaaina, a resident, one acquainted with the land. ↑

1 Kamaaina, a local, someone familiar with the area. ↑

2 Ele-i. One Hawaiian says this rare word means blue-black, shiny black (J. W. P.); another says it means rich, choice, select (T. J. P.) ↑

2 Ele-i. One Hawaiian claims this uncommon word means navy blue, shiny black (J. W. P.); another says it means rich, choice, select (T. J. P.) ↑

3 Ka, to remove, clean up entirely, as in bailing a canoe. ↑

3 Ka, to get rid of, clear out completely, like emptying a canoe. ↑

4 Hea, destroyed, flattened out. ↑

4 Hea, wrecked, leveled. __A_TAG_PLACEHOLDER_1__

5 Ne, an elided poetical form of nele, meaning gone, blotted out. ↑

5 Ne, a shortened poetic version of nele, which means disappeared, erased. ↑

6 Piko, the navel. The belly, or piko, of a fish was the choicest part. “I ka piko no oe, lihaliha.” Eat of the belly and you shall be satiated. (Old saying.) ↑

6 Piko, the navel. The belly, or piko, of a fish was the best part. “If you eat the belly, you’ll be satisfied.” (Old saying.) ↑

7 Hu-la. (Notice the accent to distinguish it from hula.) To dig up, as a stone out of the ground. ↑

7 Hu-la. (Notice the accent to differentiate it from hula.) To remove, like taking a stone out of the ground. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER X

HIIAKA’S BATTLE WITH Panaewa

The bird-spies sent out by Pana-ewa brought back contradictory reports. The first pair reported that Hiiaka was being worsted. Soon after another pair, garbling the facts, said “Our people are lying down, but they are still alert and keep their eyes open. As for Hiiaka, she has fallen into a deep sleep.”

The bird spies sent out by Pana-ewa brought back conflicting reports. The first pair said that Hiiaka was struggling. Soon after, another pair, twisting the facts, said, “Our people are resting, but they’re still alert and keeping their eyes open. As for Hiiaka, she has fallen into a deep sleep.”

The situation was far from satisfactory and Pana-ewa despatched another pair of birds to reconnoitre and report. It was not yet morning and the night was dark; and they accordingly took the form of kukui1 trees, thinking thus to illuminate the scene of operations. The intelligence they brought was confounding: “Our people,” they said, “are all dead, save those who have the form of kukui trees. Hiiaka lies quietly sleeping in the road.”

The situation was definitely not good, so Pana-ewa sent another pair of birds to scout and report back. It wasn’t morning yet, and the night was dark; so they transformed into kukui trees, hoping to light up the area where they were working. The information they brought back was shocking: “Our people,” they said, “are all dead, except for those who look like kukui trees. Hiiaka is calmly sleeping on the road.”

This account, though strictly in accord with the facts, was so disconcerting to Pana-ewa that he burst forth in a rage, “Slaves, liars! you’re deceiving me. I’ll wring your necks!” and he reached out to execute his threat. The birds eluded him and found safety in flight. [37]

This account, while completely accurate, upset Pana-ewa so much that he exploded in anger, "You slaves and liars! You're tricking me. I'm going to wring your necks!" He reached out to carry out his threat. The birds managed to escape him and took off into the sky for safety. [__A_TAG_PLACEHOLDER_0__]

Pana-ewa now saw that it was necessary to take the field in person at the head of his regular forces, composed of the Namú and Nawá. The disguise he chose for himself was that of an ohia-lehua tree. No sooner had he taken that form than he found himself unable to move hand or foot. A parasitic network of i-e-i-e embraced his body and a multitude of aërial roots anchored him to the spot. It was the craft of the sleeping girl that had done this. He had to content himself with the unwarlike guise of the kukui tree.

Pana-ewa realized that he needed to personally lead his regular forces, made up of the Namú and Nawá. The disguise he picked for himself was that of an ohia-lehua tree. As soon as he transformed, he discovered that he couldn’t move at all. A parasitic network of i-e-i-e wrapped around him, and a bunch of aerial roots held him in place. This was the work of the sleeping girl. He had to settle for the non-combative appearance of the kukui tree.

While Hiiaka slept, her faithful servitor Paú-o-pala’e kept open eye and detective ear to what was going on in the star-lit forest about them. At the first glimmering of dawn her keen sense felt rather than heard a murmurous rustle that broke the stillness and a movement, as if the forest itself were advancing and closing in upon them. This oncoming of the enemy was in such contrast to the onset of the yelping pack on the previous day as to be most impressive. The sound that touched her keen sense was not the joyous twitter and stir of nature preparing to greet a new day; it was rather the distant mutter of the storm, soon to be heard as the growl of the tempest, or the roar and snarl of an enraged menagerie of wild beasts.

While Hiiaka slept, her loyal servant Paú-o-pala’e kept a watchful eye and attentive ear on what was happening in the starry forest around them. At the first hint of dawn, her sharp senses picked up a subtle rustling that broke the quiet, feeling as though the forest itself was creeping closer to them. This approach of the enemy was strikingly different from the yelping pack from the day before, making it all the more impressive. The sound that reached her heightened awareness wasn't the cheerful chirping and bustle of nature waking up for a new day; it was more like the distant rumble of an impending storm, soon to be heard as the growl of a tempest, or the roar and snarl of a furious collection of wild beasts.

The woman felt her responsibility and, with the double intent of summoning to their aid the friendly gods and of waking Hiiaka, she lifted a solemn prayer:

The woman sensed her duty and, with the dual purpose of calling on the helpful gods for support and waking Hiiaka, she offered a serious prayer:

Kuli’a, e Uli,2 ka pule kala ma ola;

Kuli’a, e Uli,2 the prayer is free to live;

Kuli’a imua, i ke kahuna;3

Kuli’a imua, i ke kahuna; __A_TAG_PLACEHOLDER_0__

Kuli’a i ke Alohi-lani.4

Kuli’a in the Alohi-lani.__A_TAG_PLACEHOLDER_0__

E úi aku ana au

I am here

I kupua oluna nei, e?

Is it really like that?

Owai kupua oluna nei, e?

O Ilio-uli5 o ka lani; [38]

The dark dog of the sky; [__A_TAG_PLACEHOLDER_1__]

O Ilio-ehu,6 o Ilio-mea,7 o ka lani;

O Ilio-ehu,__A_TAG_PLACEHOLDER_0__ o Ilio-mea,__A_TAG_PLACEHOLDER_1__ o ka lani;

O Ku-ke-ao-iki,8 o Ku-ke-ao-poko,9

O Ku-ke-ao-iki,__A_TAG_PLACEHOLDER_0__ and Ku-ke-ao-poko,__A_TAG_PLACEHOLDER_1__

O Ku-ke-ao-loa10 o ka lani;

O Ku-ke-ao-loa__A_TAG_PLACEHOLDER_0__ of the heavens;

O Ku-ke-ao-awihiwihi11 ula o ka lani;

O Ku-ke-ao-awihiwihi11 the glow of the sky;

Ua ka ua, kahi wai, a na hoalii;12

O nei ka pali ma Ko-wawá;13

O Kupina’e,14 o Ku-wawá;

O Kupina’e,__A_TAG_PLACEHOLDER_0__ o Ku-wawá;

O Ku-haili-moe;15

O Ku-haili-moe;__A_TAG_PLACEHOLDER_0__

O Ha’iha’i-lau-ahea;16

O Ha’iha’i-lau-ahea;__A_TAG_PLACEHOLDER_0__

O Mau-a-ke-alii-hea;17

O Mau-a-ke-alii-hea;__A_TAG_PLACEHOLDER_0__

Kánaka18 loloa o ka mauna—

Kānaka__A_TAG_PLACEHOLDER_0__ long of the mountain—

O Ku-pulupulu19 i ka nahele,

O Ku-pulupulu__A_TAG_PLACEHOLDER_0__ in the forest,

O na Akua mai ka wao kele;

O Kuli-pe’e-nui20 ai ahua;

O Kuli-pe’e-nui__A_TAG_PLACEHOLDER_0__ is great;

O Kiké-alana;21

O Kiké-alana;__A_TAG_PLACEHOLDER_0__

O Ka-uahi-noe-lehua;

O ke Kahuna i ka puoko22 o ke ahi; [39]

O ke Kahuna i ka puoko22 o ke ahi; [__A_TAG_PLACEHOLDER_0__]

O I’imi,23 o Lalama.24

O I’imi, __A_TAG_PLACEHOLDER_0__ o Lalama.__A_TAG_PLACEHOLDER_1__

Ku’i ke ahi, ka hekili;

Light the fire, the thunder;

Nei ke ola’i;

Stay safe;

Olapa ka uila.

Wear your seatbelt.

Lohe o Kane-hekili;25

Lohe o Kane-hekili;__A_TAG_PLACEHOLDER_0__

Ikiiki ka maláma ia Ka-ulua.26

Manage it well at Ka-ulua.__A_TAG_PLACEHOLDER_0__

Elua wahine i hele i ka hikina a ka La—

Elua women who went east as the sun rose—

O Kumu-kahi,27 laua o Ha’eha’e:28

O Kumu-kahi, __A_TAG_PLACEHOLDER_0__ and Ha’eha’e: __A_TAG_PLACEHOLDER_1__

Ha’eha’e ka moe

Ha’eha’e is sleeping

O Kapo-ula-kina’u,29 he alii;

O Kapo-ula-kina’u, __A_TAG_PLACEHOLDER_0__ he alii;

E ho’i, e komo i kou hale,

O Ke-alohi-lani;

E auau i kou ki’owai kapu,

O Ponaha-ke-one;

E inu i kou puawa hiwa,

Awa papa30 a ke Akua,

Awa papa __A_TAG_PLACEHOLDER_0__ to God,

I kanaenae no Moe-ha-úna-iki,31 e;

I kanaenae no Moe-ha-úna-iki,__A_TAG_PLACEHOLDER_0__ e;

Hele a’e a komo

Come in and join us

I ka hale o Pele.

In Pele's house.

Ua huahua’i Kahiki, lapa uwila:

Pele e, hua’i’na ho’i!

Pele and, let’s go!

Hua’i’na a’e ana

Hua’i’na is coming

Ka mana o ko’u Akua iwaho la, e!

O kukulu ka pahu32 kapu a ka leo; [40]

O kukulu ka pahu32 kapu a ka leo; [__A_TAG_PLACEHOLDER_0__]

Ho’okikí33 kanawai;

Ho’okikí __A_TAG_PLACEHOLDER_0__ law

He kua34 á kanawai;

He kua__A_TAG_PLACEHOLDER_0__ is law;

He kai oki’a35 kanawai;

He kai oki’a __A_TAG_PLACEHOLDER_0__ law;

He ala muku36 no Kane me Kanaloa;

He ki37 ho’iho’i kanawai,

He ki__A_TAG_PLACEHOLDER_0__ copyright law,

No Pele, no ko’u Akua la, e!

TRANSLATION

Stand in the breach, O Uli;

Stand strong in the gap, O Uli;

Give heed to this plea for life;

Give attention to this plea for life;

To the front at the call of thy priest;

To the front at the call of your priest;

Come in the splendor of heaven!

Come in the glory of heaven!

I entreat these powers on high.

I plead with these powers above.

And who are these beings of might?

And who are these powerful beings?

Ye somber Clouds that rampart the sky;

You dark clouds that block the sky;

Ye warm Clouds and ye that gleam ruddy;

The warm clouds and those that shine reddish;

Ye Clouds that guard heaven’s border;

You Clouds that protect heaven’s edge;

Ye Clouds that mottle the heavenly vault;

You clouds that dot the sky;

Ye Clouds that embank the horizon;

Ye cloud-piles aglow in the sunlight.

The clouds are glowing in the sunlight.

Descend, O Rain; O Water, pour—

Descend, Rain; O Water, flow—

Torrential rush of the princes!

Rent be the wall of the crater;

Let its groans reëcho and fly!

Let its groans echo and take flight!

Come, Ku who fashions the landscape;

Come, Ku who shapes the land;

She who crushes the leaves of aheä;

Goddess who guards the outer flame-tip;

Goddess who protects the outer flame.

Ye tall ones who dwell in the forest;

You tall ones who live in the forest;

Ku, the hirsute god of the wilds;

Ku, the hairy god of the wilderness;

With his fellows who carve the canoe; [41]

With his friends who carve the canoe; [__A_TAG_PLACEHOLDER_0__]

Come bent-kneed terrace-consumer,

Come kneeling terrace-lover,

With crash and groan of lava-plate;

With the crash and groan of lava plate;

And reeking smoke that glooms the forest.

And the stinking smoke that hangs over the forest.

Come, Lord of the ruddy flame;

Come, Lord of the red flame;

Fire-tongues that search and spread;

Fire tongues that search and spread;

Fire-shafts that smite and crash.

Fire projectiles that strike and smash.

Let earthquake groan and lightning flash.

Let the earthquake rumble and the lightning strike.

Kane the god of lightning shall hear

Kane, the god of lightning, will listen.

And warm this frigid month Ulua.

And warm this cold month Ulua.

Two women go to the Sun’s east gate

Two women go to the east gate of the Sun.

To rouse goddess Kapo from sleep—

To wake goddess Kapo from her sleep—

She of the black-spotted red robe.

She in the black-spotted red robe.

O Kapo, reënter your Sun-temple

O Kapo, re-enter your Sun temple

And bathe in your sacred water-pool—

And swim in your holy water pool—

Round as a gourd, scooped in the sand;

Round like a gourd, dug into the sand;

Drink from your black polished awa cup

Drink from your sleek black awa cup.

Dark awa that’s offered to the gods,

Dark awa that's offered to the gods,

To placate the goddess of gentle snore;

To calm the goddess of soft snoring;

Then enter the house of Pele.

Then enter Pele's house.

Pele once burst forth at Kahiki;

Pele once erupted at Kahiki;

Once again, O Pele, break forth;

Once again, O Pele, erupt;

Display thy power, my God, to the world;

Show your power, my God, to the world;

Let thy voice sound out like a drum;

Let your voice ring out like a drum;

Reütter the law of thy burning back;

Reutter the rule of your burning back;

That thy dwelling is sacred, apart;

That your home is sacred, separate;

That Kane and Loa have limits;

That Kane and Loa have boundaries;

That fixed and firm are Pele’s laws!

Pele’s laws are solid and unchanging!

For Pele, great Pele, is my God!

For Pele, the great Pele, is my God!

The sisters, uncles, aunts and other kindred of Hiiaka heard this prayer of Paú-o-pala’e distinctly enough, and so did Pele; and when they saw that she appeared indifferent and made no move, they muttered among themselves. Then Ku-ili-kaua, a man of war and a leader in battle, spoke up and, addressing Ka-moho-alii, said “Why is it that she does not send warriors to the assistance of her sister? The girl has fought most bravely all day and is worn out; and there she lies fast asleep.”

The sisters, uncles, aunts, and other family members of Hiiaka heard Paú-o-pala’e’s prayer loud and clear, and so did Pele; when they noticed that she seemed indifferent and didn’t do anything, they whispered among themselves. Then Ku-ili-kaua, a warrior and battle leader, spoke up and turned to Ka-moho-alii, saying, “Why isn’t she sending warriors to help her sister? The girl has fought bravely all day and is completely worn out; and look, she’s fast asleep.”

Ka-moho-alii thereupon bade Kilioe-i-ka-pua and Olu-wale-i-malo, two handsome lads who were very dear to Pele (mau keiki punahele a Pele)—her sons in fact—to go in to Pele and ask her sanction to their going to the aid of Hiiaka.

Ka-moho-alii then told Kilioe-i-ka-pua and Olu-wale-i-malo, two handsome young men who were very special to Pele (mau keiki punahele a Pele)—her sons, actually—to go to Pele and ask for her permission to help Hiiaka.

When these two boys came into Pele’s presence they found [42]her poking the fire with a stick (hoelo kapuahi). With a fine show of confidence, they at once went and seated themselves in Pele’s lap, one on her right thigh and one on her left. Pele’s looks softened as she contemplated them, tears gathered in her eyes and she said, “What is the thought in the heart? Speak.” (Heaha ka hua i ka umauma? Ha’i’na.)

When these two boys entered Pele’s space, they found [__A_TAG_PLACEHOLDER_0__]her stirring the fire with a stick (hoelo kapuahi). With a confident attitude, they immediately climbed into Pele’s lap, one on her right thigh and the other on her left. Pele’s expression softened as she looked at them, tears welling up in her eyes as she asked, “What’s on your mind? Speak.” (Heaha ka hua i ka umauma? Ha’i’na.)

“Your commands.” (O ka leo,38 literally, the voice.)

“Your commands.” (O ka leo, 38 literally, the voice.)

At this Pele stood up and, leaving her own home-hearth, went over and took her station in the fire-pit of Hale-ma’u-ma’u. Then, pointing to the east, she said:

At this, Pele stood up and, leaving her own hearth, walked over and took her place in the Hale-ma’u-ma’u fire pit. Then, pointing to the east, she said:

O ka leo o ke kanáka hookahi, mailuna mai;

Mailoko mai o ka leo o ka manu.39

O huli kai-nu’u40 a Kane;

O huli kai-nu’u__A_TAG_PLACEHOLDER_0__ a Kane;

E wehe ka lani, hamama ka honua;

O wela Kahiki-ku me Kahiki-moe;

O wela Kahiki-ku and Kahiki-moe;

Ala mai o Ka-moho-alii

E moe ana iloko o ke ao polohiwa.

E Ku e, e ho’i ka amama41 i ka lani;

E Ku e, e ho’i ke ola ia Hiiaka-i-ka-poli-o-Pele,

A ola loa no, a-a!

Aloha, long time no see!

It was such a voice of utterance as this (leo) that the two boys who went in before Pele desired. These two messenger-boys, by the way, are, in another account, spoken of as birds.

It was a voice like this (leo) that the two boys who went in before Pele wanted. By the way, in another version, these two messenger boys are referred to as birds.

The purpose of Kane in sending out this leo seems to have been to rouse into activity the earth-strata, na papa honua. [43]

The purpose of Kane sending out this leo seems to have been to activate the earth's layers, na papa honua. [__A_TAG_PLACEHOLDER_0__]

TRANSLATION

The voice from above of a man supreme

The voice from above of a powerful man

Flies east, flies west, in the cry of a bird:

Flies east, flies west, in the sound of a bird:

Curl over, thou yeasty billow of Kane!

Curl over, you frothy wave of Kane!

Be rent, O Heaven, and quake, O Earth!

Be torn apart, O Heaven, and tremble, O Earth!

Kahiki’s pillars, flame ye and burn!

Kahiki’s pillars, catch fire and burn!

Ka-moho-alii doth wake and rise

Ka-moho-alii wakes and rises

From his couch on banks of purple cloud.

From his couch on the banks of purple clouds.

To heaven return with thy tabu, O Ku!

To heaven, take your taboo back, O Ku!

Salvation, O Ku, for Hi’iaka—

Hi’iaka the darling of Pele!

Hi’iaka, Pele's favorite!

Immortal life to her!

Cheers to her immortal life!

At this the gods of war sprang into array, as if unleashed by the words of Pele. At their head marched Ku-lili-ai-kaua, a veteran who had followed Pele in her voyage from Kahiki. With him, went Ke-ka-ko’i, a guide (hookele) well acquainted with the forest trails. In the van strode three weird figures (Ka-maiau, Ka-hinihini and Mápu) bearing conchs, to which they ever and anon applied their lips and sent forth resounding blasts. But even more thrilling and inspiring than the horns of Triton was the voice of these gods of war as they chanted their war-song:

At this, the war gods gathered, as if unleashed by Pele's words. At the front marched Ku-lili-ai-kaua, a seasoned fighter who had followed Pele on her journey from Kahiki. Alongside him was Ke-ka-ko’i, a guide well-versed in the forest paths. Leading the way were three strange figures (Ka-maiau, Ka-hinihini, and Mápu) carrying conchs, which they periodically blew, sending out loud blasts. But even more thrilling and inspiring than Triton's horns was the voice of these war gods as they sang their battle hymn:

Mele Ka’i Kaua

Hulihia ka mauna, wela i ke ahi;

Wela mo’a-nopu ka uka o Kui-hanalei,42

I ke a pohaku Pu’u-lena43 e lele mai iuka.

O Ke-ka-ko’i44 ka hookele mai ka Lua;

O Ke-ka-ko’i__A_TAG_PLACEHOLDER_0__ guides from the Moon;

O Ka-maiau45 kani pololei, kani le’ale’a;

O Ka-maiau__A_TAG_PLACEHOLDER_0__ plays honestly, plays joyfully;

O ka Hinihini46 kani kua mauna;

O ka Hinihini46 sings from the mountain;

O ka Mápu47 leo nui, kani kóhakohá; [44]

O ka Mápu47 leo nui, kani kóhakohá; [__A_TAG_PLACEHOLDER_0__]

O hulihia i ka ale ula,48 i ka ale lani,49

I ka pu-ko’a,50 i ka a’aka51—

I ka pu-ko’a,__A_TAG_PLACEHOLDER_0__ i ka a’aka__A_TAG_PLACEHOLDER_1__—

I ke ahu a Lono52 e!

I honor Lono__A_TAG_PLACEHOLDER_0__ e!

E lono anei, e hookuli?

Is this true, shall we reveal?

E hookuli i ka uwalo, e!

Eü, e hele no e!

Ew, it's a whole no!

Hé-he-hé-e-e!

Hahaha!

TRANSLATION

The Mount is convulsed, it belches flame;

The mountain is shaking violently, spewing out flames;

Fire-scorched is upland Kui-hanalei—

Fire-scorched upland Kui-hanalei—

A hail of stones shot out with sulphur-blasts.

A shower of stones erupted with explosions of sulfur.

Ka-ko’i guides the warrior-van;

Ka-ko’i leads the warrior-van;

The rousing peals of pearly conch

The vibrant sounds of the shiny conch

And thrilling notes of woodland shells

And exciting sounds of forest shells

Stir every heart with tuneful cheer.

Stir every heart with joyful music.

Heaven’s blue is turmoiled with fire-clouds—

Heaven’s blue is troubled with fire-clouds—

Boiling fountains of flame and cinder—

Boiling fountains of flame and ash—

Such the form we give to our message:

Such is the form we give to our message:

Will he heed it, or turn a deaf ear?

Will he listen to it, or ignore it?

Ah, you see, he scorns our entreaty.

Ah, you see, he dismisses our plea.

Be valiant! now forward to battle!

Be brave! Now let’s move forward to fight!

Hé-he-hé-e-e!

Hahaha!

Thus chanting their battle-mele (mele ka’i kaua), these gods of an old-time mythology marched, or flew, with resolute purpose to their task of rescuing Hiiaka and her little band and of ridding the land, at one and the same stroke, of their old entrenched foe, Pana-ewa. Heaven and earth stirred at their onset. The visible signs of their array were manifest in columns of seething fire-shot clouds that hovered like vultures over the advancing army. Arrived at striking distance, they let loose their lightning-bolts and sounded their thunder-gongs. Earth [45]and heaven at once became turmoiled in one confused whirl of warring elements.

Thus chanting their battle song (mele ka’i kaua), these gods from ancient mythology marched, or flew, with determined purpose to rescue Hiiaka and her small group and to simultaneously rid the land of their longtime enemy, Pana-ewa. Heaven and earth shook at their arrival. The visible signs of their force were seen in columns of fiery clouds that hovered like vultures over the advancing army. Once they were close enough to strike, they unleashed their lightning bolts and rang out their thunder gongs. Earth [__A_TAG_PLACEHOLDER_0__] and heaven instantly became a chaotic mix of battling elements.

The warriors of Pana-ewa, who—in imitation of their chief—had for the most part taken the guise of trees and other natural objects, found themselves from the first fettered and embarrassed by a tangle of parasitic vines, so that their thrusts against Hiiaka were of little avail. Now comes the onset of the Pele gods in the tempest-forms of hurricane, lightning, hail, and watery cloud-bursts that opened heaven’s flood-gates. Against these elemental forces the dryad-forms of Pana-ewa’s host could not stand for a moment. Their tree-shapes were riven and torn limb from limb, engulfed in a swirling tide that swept them down to the ocean and far out to sea.

The warriors of Pana-ewa, who mostly disguised themselves as trees and other natural objects to mimic their chief, quickly found themselves tangled and trapped by a mess of parasitic vines, making their attacks against Hiiaka pretty useless. Then came the assault of the Pele gods, unleashing the fury of hurricanes, lightning, hail, and torrential downpours that opened the floodgates of heaven. Against these powerful forces of nature, Pana-ewa's warriors in tree forms couldn't withstand even for a moment. Their tree-like shapes were ripped apart, limb by limb, and pulled into a swirling tide that dragged them down to the ocean and far out to sea.

Two staunch fighters remained, Kiha, who had chosen to retain the honest dragon-form; and Pua’a-loa, a creature, like Kama-pua’a, in the demi-shape of a boar, whom Pana-ewa, at the scent of disaster, had thrust into the confinement of a secret cave. This manner of retreat saved the twain from the immediate disaster by flood but not from the vengeance of Pele’s army. Detected in their lairs, they were slain and their petrified bodies are pointed out to this day in verification of this story.

Two determined fighters remained: Kiha, who had chosen to keep his true dragon form, and Pua’a-loa, a creature resembling Kama-pua’a in the half-figure of a boar. Pana-ewa, sensing impending doom, had shoved him into the safety of a hidden cave. This retreat saved both of them from the immediate threat of the flood, but not from the wrath of Pele’s army. Discovered in their hiding places, they were killed, and their petrified bodies can still be seen today as proof of this tale.

The fate of Pana-ewa himself was most tragical. He no sooner had taken the form of a kukui tree than he found himself overlaid and entangled with meshes of parasitic growth; he could neither fight nor fly. The spot on which he stood sank and became a swamp, a lake, a sink; the foundations on which its bottom rested were broken up and fell away. Pana-ewa, swallowed up in the gulf, was swept out to sea and perished in the waves. Kane-lu-honua had broken up the underlying strata and made of the place a bottomless sink.

The fate of Pana-ewa was truly tragic. As soon as he transformed into a kukui tree, he found himself covered and tangled in layers of parasitic growth; he could neither fight nor escape. The ground beneath him sank and turned into a swamp, a lake, a pit; the foundation below that held it up was shattered and collapsed. Pana-ewa, engulfed in the abyss, was swept out to sea and drowned in the waves. Kane-lu-honua had disrupted the underlying layers and turned the area into a bottomless pit.

(A reef is pointed out in the ocean opposite Papa’i which is the remains of the body of the mo’o Pana-ewa.)

(A reef is identified in the ocean across from Papa’i, which is the remnant of the body of the mo’o Pana-ewa.)

The part taken by Hiiaka in this last act of her deliverance was hardly more than that of a spectator. She had but to look on and witness the accomplishment of her own salvation. Having been roused from the refreshment of sleep by the long-drawn recitative of Paú-o-pala’e’s prayer-mele (see pp. 37–40), she did her best to cheer her two companions with assurances of coming deliverance and, gathering her little brood about her, after the [46]manner of a mother-hen, figuratively, bade them cling to her, nestle under her wings, lest they should be swept away in the flood of waters that soon began to surge about them—a flood which carried far out to sea the debris of battle—as already described.

The role Hiiaka played in this final act of her rescue was barely more than that of an observer. She just had to watch as her own salvation unfolded. Woken from the refreshing sleep by the lengthy chant of Paú-o-pala’e’s prayer song (see pp. 37–40), she did her best to encourage her two companions with hopes of upcoming rescue. Gathering her little group around her, like a mother hen, she figuratively urged them to cling to her, nestle beneath her wings, so they wouldn’t be swept away by the rushing waters that soon began to surge around them—a flood that carried the remnants of battle far out to sea, as already described.

The victory for Hiiaka was complete. Hawaii for once, and for all time, was rid of that pestilential, man-eating, mo’o band headed by Pana-ewa who, from the time of Pele’s coming, had remained entrenched in the beautiful forest-land that still bears the name—Pana-ewa.

The victory for Hiiaka was total. Hawaii was finally free, for good, from that dangerous, man-eating mo’o group led by Pana-ewa, who had been entrenched in the beautiful forest that still carries the name—Pana-ewa—since Pele's arrival.

1 Kukui, the tree whose nuts furnished torches. ↑

1 Kukui, the tree that provided nuts for making torches. ↑

2 Uli, an elder sister of Pele, a character much appealed to by sorcerers. ↑

2 Uli, an older sister of Pele, who is often sought after by sorcerers. ↑

3 Kahuna, in this case probably Hiiaka. ↑

3 Kahuna, probably referencing Hiiaka. __A_TAG_PLACEHOLDER_1__

4 Alohi-lani, literally, the brightness of heaven; a term applied to the residence or heavenly court of both Uli and Kapo. In verses 36 and 37 it is distinctly mentioned as the abode of Kapo-ula-kina’u: “E ho’i, e komo i kou hale, O Ke-alohi-lani.” ↑

4 Alohi-lani, which means the brightness of heaven; a term used for the home or heavenly court of both Uli and Kapo. In verses 36 and 37, it is specifically referred to as the dwelling place of Kapo-ula-kina’u: “Come back and enter your house, O Ke-alohi-lani.” ↑

5 Ilio-uli, literally, a dog of dark blue-black color. The primitive Aryans, according to Max Müller, poetically applied the term “sheep” to the fleecy white clouds that float in the sky. The Hawaiian poet, in the lack of a nobler animal, spoke of the clouds as ilio, dogs. With this homely term, however, he coupled—by way of distinction—some ennobling adjective. ↑

5 Ilio-uli, which means a dog that is dark blue-black in color. The early Aryans, according to Max Müller, romantically referred to the fluffy white clouds in the sky as “sheep.” The Hawaiian poet, lacking a more noble animal, called the clouds ilio, meaning dogs. However, alongside this simple term, he added—just to differentiate—a more refined adjective. ↑

6 Ilio-ehu, literally, a white dog. ↑

6 Ilio-ehu, which means a white dog. ↑

7 Ilio-mea, literally, a dog—cloud—of a warm pinkish hue. ↑

7 Ilio-mea, which means a dog—cloud—of a warm pinkish color. ↑

8 Ku-ke-ao-iki, Ao-iki, small clouds that stand ranged about the horizon. ↑

8 Ku-ke-ao-iki, Ao-iki, small clouds that line the horizon. ↑

9 Ao-poko, a short cloud, in contrast with ao-loa.—J. H. ↑

9 Ao-poko, a brief cloud, compared to ao-loa.—J. H. ↑

10 Ao-loa, long clouds—stratus?—such as are seen along the horizon. ↑

10 Ao-loa, long clouds—stratus?—like those visible along the horizon. ↑

11 Ao-awihiwihi-ula, a cloud-pile having a pinkish, or ruddy, tint. ↑

11 Ao-awihiwihi-ula, a cloud formation with a pinkish or reddish hue. ↑

12 Hoalii, the relatives of Hiiaka. ↑

12 Hoalii, Hiiaka's family. __A_TAG_PLACEHOLDER_1__

13 Ko-wawa, a notched pali that formed part of the wall enclosing the caldera of Kilauea—on its Kau side. ↑

13 Ko-wawa, a jagged cliff that was part of the wall surrounding the Kilauea caldera—on its Kau side. ↑

14 Kupina’e, echo, hero personified and endowed with the attributes of a superhuman being. ↑

14 Kupina’e, a symbol of echo and a hero, embodying the traits of a superhuman. ↑

15 Ku-haili-moe, one of the forms, or characters, of god Ku, representing him as a smoother and beautifier of the landscape. ↑

15 Ku-haili-moe, one of the aspects or representations of the god Ku, shows him as someone who smooths and beautifies the landscape. ↑

16 Ha’iha’i-lau-ahea, a goddess who had to do with the flame of fire. Her share in the care of a fire, or, perhaps, of Pele’s peculiar fire, seems to have been confined to the base of the flame. ↑

16 Ha’iha’i-lau-ahea, a goddess associated with fire. Her role in managing a fire, or possibly Pele’s unique fire, appears to have been limited to the base of the flame. ↑

17 Mau-a-ke-alii-hea, a being who had special charge of the flame-tip. ↑

17 Mau-a-ke-alii-hea, a person who was specifically responsible for the flame-tip. ↑

18 Kanaka loloa o ka mauna, this included Ku-pulupulu and his fellows. ↑

18 Long dwellers of the mountain, this included Ku-pulupulu and his companions. ↑

19 Ku-pulupulu, described as a hairy being, the chief god of canoe-makers, who had his residence in the wildwoods. ↑

19 Ku-pulupulu, known as a hairy figure, is the main god of canoe builders, who lived in the wilderness. ↑

20 Kuli-pe’e-nui. This much-used term is the embodiment in a word of the wild, lumbering, progress of a lava-flow, or lava-tongue. Translating the figure into words, my imagination pictures a huge, shapeless monster, hideous as Caliban drunk, wallowing, sprawling, stumbling along on swollen disjointed knees—a picture of uncouth desolation. ↑

20 Kuli-pe’e-nui. This frequently used term captures the wild, chaotic movement of a lava flow. As I try to put it into words, I imagine a massive, formless creature, as grotesque as a drunken Caliban, stumbling and sprawling along on swollen, uneven knees—a vivid image of rough desolation. ↑

21 Kike-alana, the formulation in a word of the rending and crashing sounds—rock smiting rock—made by a lava-flow. ↑

21 Kike-alana, the term that captures the tearing and crashing sounds—rocks hitting rocks—produced by a lava flow. ↑

22 Kahuna i ka, puoko o ke ahi. The word Kahuna is used here where the word akua or kupua would seem to have served the purpose of the meaning, which, as I take it, is the spirit, or genius, of flame. ↑

22 Kahuna i ka, puoko o ke ahi. The term Kahuna is used here, while the words akua or kupua might have also conveyed the intended meaning, which I interpret as the spirit or essence of fire. ↑

23 I’imi, derived seemingly from imi, to seek. ↑

23 I’imi, which appears to come from imi, meaning to search. ↑

24 Lalama, derived seemingly from lala, a branch; or possibly, from lama, a flambeau. ↑

24 Lamalama, likely coming from lala, which means branch; or maybe from lama, meaning torch. ↑

25 Kane-hekili. Thunder is always spoken of as under the control of god Kane. ↑

25 Kane-hekili. People often say that thunder is governed by the god Kane. ↑

26 Ka-ulua, the name of one of the months in the cool season of the year; one can not say positively which month is intended, for the reason that the nomenclature varied greatly in the different islands, and varied even on the same island. ↑

26 Ka-ulua is the name of a month during the cooler part of the year; it's hard to say exactly which month it refers to because the names varied widely across the different islands and even within the same island. ↑

27 Kumu-kahi, the name of a hill in Puna on the easternmost cape of Hawaii; also the name of a monolith once set up there; in this connection the name of the female kupua who acted as keeper of the Sun’s eastern gate. This name is almost always coupled with that of … ↑

27 Kumu-kahi is the name of a hill in Puna on the easternmost tip of Hawaii; it’s also the name of a monolith that was once placed there. In this context, it refers to the female kupua who served as the guardian of the Sun’s eastern gate. This name is usually linked with that of … ↑

28 Ha’eha’e, of whom the same account can be given as above. ↑

28 Ha’eha’e, who has the same story as mentioned earlier. ↑

29 Kapo-ula-Kina’u, one of the family. The epithet ula-kina’u is used in allusion to the fact that her attire, red in color, is picked out with black spots. The name Kapo alone is the one by which she is usually known. ↑

29 Kapo-ula-Kina’u, part of the family. The nickname ula-kina’u refers to the fact that her outfit is red with black spots. She is usually just called Kapo. ↑

30 The awa papa had a small root, but it was of superior quality. ↑

30 The awa papa had a small root, but it was of excellent quality. ↑

31 Moe-ha-una-iki, literally, the sleep with a gentle snore—such sleep as follows the use of awa. The poet personifies this sleep. To such lengths does the Hawaiian poetic imagination go. ↑

31 Moe-ha-una-iki, which means the sleep with a soft snore—this is the kind of sleep that comes after using awa. The poet brings this sleep to life as a character. The Hawaiian poetic imagination reaches such heights. ↑

32 Pahu kapu a ka leo. One—who ought to know—tells me this means the ear; as if the ear were the drum on which the voice played. ↑

32 Pahu kapu a ka leo. Someone who should know tells me this means the ear; as if the ear were the drum on which the voice sounds. ↑

33 Ho’okiki kanawai, to enforce, to carry out the law. ↑

33 Ho’okiki kanawai, to enforce, to implement the law. ↑

34 He kua a kanawai. It was said of Pele that her back was hot like fire, and that a bundle of taro leaves laid thereon was cooked and turned into luau. It was an offense punishable by death for any one to stand at her back or to approach her by that way. ↑

34 He kua a kanawai. People said that Pele's back was as hot as fire, and that if you placed a bundle of taro leaves on it, they would cook and become luau. It was a capital offense for anyone to stand behind her or approach her that way. ↑

35 He kai oki’a kanawai, literally, an ocean that separates. Exclusiveness, to live apart, was the rule of Pele’s life. This principle is enforced with further illustration in the next line:— ↑

35 He kai oki’a kanawai, which means, an ocean that separates. Being exclusive and living separately was the way of Pele’s life. This idea is emphasized further in the next line:— ↑

36 He ala muku no Kane me Kanaloa. Even to the great gods Kane and Kanaloa the path of approach to Pele was cut off by the edict, thus far shalt thou come and no further. ↑

36 He ala muku no Kane me Kanaloa. Even the powerful gods Kane and Kanaloa were blocked from reaching Pele by the command, saying, this is as far as you can come and no farther. ↑

37 He ki ho’iho’i kanawai. The ki is said, to my surprise, to be the thong with which a door was made fast, ho’iho’i, in the olden times of Hawaii. I cannot but look upon this statement with some suspicion. ↑

37 He ki ho’iho’i kanawai. The ki is surprisingly described as the strap that was used to secure a door, ho’iho’i, in ancient Hawaii. I can’t help but view this claim with some skepticism. ↑

38 Leo, the voice; articulate speech. Leo o ka kanaka hookahi. This one supreme man was Kane. The poet evidently had in mind the myth which is embodied in a certain Kumu-lipo, or song of creation: Kane, the supreme one, looking from heaven, saw Chaos, or the god of Chaos, Kumu-lipo, spread out below and he called to him to send his voice—leo—to the east, to the west, to the north and to the south. Kumu-lipo, thus roused from inaction, despatched the bird Halulu, who flew and carried the message to the east, to the west, to the north and to the south. ↑

38 Leo, the voice; clear speech. Leo o ka kanaka hookahi. This one supreme person was Kane. The poet clearly referenced the myth found in a certain Kumu-lipo, or song of creation: Kane, the highest one, looking from heaven, saw Chaos, or the god of Chaos, Kumu-lipo, spread out below and called upon him to send his voice—leo—to the east, to the west, to the north, and to the south. Kumu-lipo, thus awakened from inaction, sent forth the bird Halulu, who flew and delivered the message to the east, to the west, to the north, and to the south. ↑

39 Ka manu, the bird Halulu, above mentioned. ↑

39 Ka manu, the bird Halulu, mentioned earlier. ↑

40 Kai-nu’u a Kane. This expression is an allusion to god Kane’s surf-riding, which is often mentioned in Hawaiian mythology. Huli refers to the curling or bending over of the breaker’s crest; Nu’u to the blanket of white and yeasty water that follows as the wake of the tumbling wave. The Hawaiians who are best informed in these matters have only vague ideas on the whole subject. ↑

40 Kai-nu’u a Kane. This phrase refers to the surfing of the god Kane, which is frequently mentioned in Hawaiian mythology. Huli means the curling or bending over of the wave's crest; Nu’u refers to the blanket of white, foamy water that follows as the wave tumbles. Even the most knowledgeable Hawaiians have only a vague understanding of the entire topic. ↑

41 Amama, a word frequently used at the end of a prayer in connection with the word noa (free), as in the expression amama, ua noa. The evident meaning is it (the tabu) is lifted, it is free. I conjecture that the word amama is derived from, or related to, the word mama, light, in the sense of levitation. ↑

41 Amama is a word often used at the end of a prayer alongside the word noa (free), as in the phrase amama, ua noa. The clear meaning is that the tabu is lifted, it is free. I believe the word amama is derived from, or connected to, the word mama, which means light, in the sense of levitation. ↑

42 Kui-hanalei, a region in Puna, not far from the caldera of Kilauea, said to be covered now with pahoehoe and aa. ↑

42 Kui-hanalei, an area in Puna, located near the Kilauea caldera, is said to be currently covered with pahoehoe and aa. ↑

43 Pu’u-lena, a wind that blows in the region of the volcano. ↑

43 Pu’u-lena, a wind that blows around the volcano area. ↑

44 Ke-ka-ko’i (literally, the ax-maker), the name of the guide and path-finder to the company. ↑

44 Ke-ka-ko’i (literally, the ax-maker), the name of the guide and pathfinder for the group. ↑

45 Ka-maiau, their trumpeter who carried a conch. ↑

45 Ka-maiau, their trumpeter who blew a conch. ↑

46 Hinihini, a poetical name for a land-shell, probably one of the genus Achatinella, which was popularly believed to give a shrill piping note. ↑

46 Hinihini, a poetic name for a land snail, likely from the genus Achatinella, which people commonly thought produced a high-pitched whistling sound. ↑

47 Mapu, one of the trumpeters. ↑

47 Mapu, one of the trumpet players. ↑

48 Ale ula, a cloud of steam and smoke, such as accompanied an eruption. ↑

48 Ale Ula, a cloud of steam and smoke, like what you see during a volcanic eruption. ↑

49 Ale lani, the patches of blue sky between masses of clouds. ↑

49 Ale lani, the bits of blue sky peeking through the thick clouds. ↑

50 Pu-ko’a, a column of steam and smoke bursting up from a volcanic eruption. ↑

50 Pu-ko’a, a plume of steam and smoke shooting up from a volcanic eruption. ↑

51 A’aka, a column of lapillae, accompanied by hot vapor and smoke, such as jet up from a volcanic crater or fissure. ↑

51 A’aka, a stream of small volcanic rocks, released along with hot steam and smoke, similar to what erupts from a volcanic crater or crack. ↑

52 Lono, a message; to hear a message, i.e., to receive it. The expression ahu a lono is at first a little puzzling. It means the visible bulk, or sign, of the message. ↑

52 Lono, a message; to hear a message, meaning to receive it. The phrase ahu a lono is initially somewhat confusing. It refers to the visible presence or sign of the message. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XI

HIIAKA HAS VARIOUS ADVENTURES—THE SHARK MAKAU-KIU

At one stroke, the benign action of the heavenly powers had freed a fair land from a pestilential mo’o band, disinfected it of the last shred and fragment of their carcases and ushered in a reign of peace in the wooded parks and tangled forests of Pana-ewa. Hiiaka could afford to celebrate her victory by recuperating her powers in well-earned repose. While she thus lay in profound sleep on the purified battle-field, her two companions busied themselves in preparing such simple refreshment as the wilderness afforded. The piece de resistance of this dinner of herbs was luau, the favorite food of the Pele family.

In one fell swoop, the kind action of the heavenly powers had liberated a beautiful land from a harmful mo’o group, cleared it of the last remnants of their remains, and brought about a time of peace in the lush parks and dense forests of Pana-ewa. Hiiaka could take time to celebrate her victory by restoring her strength with some well-deserved rest. While she lay in deep sleep on the cleaned battlefield, her two companions kept themselves busy preparing whatever simple food the wilderness provided. The piece de resistance of this herb-filled dinner was luau, the favorite dish of the Pele family.

When the women had finished the task of collecting, sorting, making into bundles and cooking the delicate leaves of kalo, Hiiaka still slept. Paú-o-pala’e thereupon took her station at the feet of her mistress and chanted the dinner-call in the form of a gentle serenade:

When the women finished the job of gathering, sorting, bundling, and cooking the delicate kalo leaves, Hiiaka was still asleep. Paú-o-pala’e then positioned herself at her mistress's feet and sang a gentle serenade to call everyone to dinner:

E ala, e ala, e!

Wake up, wake up, hey!

E ala, e Hika’a-lani;

E ala, e Ke-ho’oilo-ua-i-ka-lani;

E ala, e Ho’omaú,

Rise, arise, and persist,

Wahine a Makali’i, la!

Women of Makali’i, yay!

E ala, e!

Wake up, hey!

[47]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

O Daughter of heaven,

O Daughter of Heaven,

Awake, awake!

Wake up!

Hiiaka, awake!

Hiiaka, wake up!

Sender of winter rain,

Guardian of womanly rites,

Guardian of women's rituals,

Spouse of God Maka-li’i,

Partner of God Maka-li’i

Awake thee, awake!

Wake up, wake up!

“The luau must be burnt to a crisp,” Hiiaka said as she sat up.

“The luau has to be burned to a crisp,” Hiiaka said as she sat up.

As Hiiaka and her companions again wended their way through the forest, it was evident that its innocent creatures had unjustly suffered in company with their guilty invaders and time had not yet sufficed for the exercise of that miracle of tropic repair which quickly heals and covers the damage done by a tempest. Broken limbs, fallen trees and twisted vines still blocked the narrow trails, while here and there an uprooted forest giant, in unseemly fashion, obtruded a Medusa-head of tawny roots in place of its comely coronal of leaves.

As Hiiaka and her friends made their way through the forest again, it was clear that the harmless animals had unfairly suffered alongside their guilty intruders, and enough time hadn’t passed for the tropical miracle of recovery to fix the damage caused by the storm. Broken branches, fallen trees, and twisted vines still blocked the narrow paths, while here and there, a toppled giant tree awkwardly displayed a tangled mass of brown roots instead of its beautiful crown of leaves.

In their journey they came at length to a place, Maka’u-kiu, where the road seemingly ended abruptly in a precipice with the ocean dashing wildly at its base. The alternative open to their choice was, to seek out some round-about inland way, or to take the shorter route and swim the ocean-made gap. The two women, Wahine-oma’o taking the lead, proposed, as a diversion, to swim the ocean and thus avoid a long and wearisome detour. Hiiaka strenuously vetoed the proposition; but the two women, not yet trained to subordinate their will and judgment to the decision of the leader, persisted. Hiiaka, thereupon, took a stem of the ti plant and, peeling off its rusty bark, left it white and easily visible. “I will throw this stick into the water,” said she, “and if it disappears we will not make of this an au-hula-ana;1 but if it remains in sight, then we will swim across this wild piece of water.”

In their journey, they eventually reached a place called Maka’u-kiu, where the road seemed to end suddenly at a cliff with the ocean crashing wildly below. They had two choices: find a long, roundabout route inland or take the shorter way by swimming across the gap created by the ocean. The two women, with Wahine-oma’o leading the way, suggested swimming to avoid a long and tiring detour. Hiiaka strongly opposed the idea, but the two women, not yet accustomed to deferring to their leader's decisions, pushed for it. In response, Hiiaka grabbed a stem of the ti plant, stripped off its rough bark to reveal the white underneath, and said, “I will throw this stick into the water. If it sinks, we won't turn this into an au-hula-ana;1 but if it stays visible, then we will swim across this wild stretch of water.”

It seemed to Hiiaka that her companions displayed a masculine stubbornness and unreasonableness, a criticism which she uttered in her chanting way: [48]

It seemed to Hiiaka that her friends showed a stubbornness and unreasonableness typical of men, a criticism she expressed in her rhythmic style: [__A_TAG_PLACEHOLDER_0__]

Au ma ka hula-ana!

Let's dance!

Kai-ko’o ka pali!

Go climb the cliff!

Pihapiha o Eleele,

Eleele's community garden,

Ke kai o Maka’u-kiu!

The food of Maka’u-kiu!

Aole au e hopo i ka loa

O Hono-kane-iki.

I Kane, la, olua;

I wahine, la, wau, e!

I woman, sun, I!

TRANSLATION

To swim this tossing sea,

To swim this turbulent sea,

While waves are lashing the cliff

While waves are crashing against the cliff

And the ocean rages high,

And the ocean roars high,

At Eleele, the haunt of the shark!

At Eleele, the place of the shark!

I balk not the length of the road

I don't mind the length of the road.

By Hono-kane-iki.

Be you two stubborn as men!

Be you both as stubborn as men!

Let me be guideful as woman.

Let me be a guiding woman.

Hiiaka then threw the peeled stick into the ocean and in a moment it was snatched out of sight. “There! If we were to swim we would be seized and eaten by Maka’u-kiu.”

Hiiaka then tossed the peeled stick into the ocean, and in an instant, it was gone from sight. “There! If we were to swim, we would be caught and devoured by Maka’u-kiu.”

“When you tossed the stick into the ocean, the sea-moss covered and concealed it, and you thought it was the work of a shark,” was the reply of Wahine-oma’o. Again they made ready to plunge into the sea. Hiiaka threw another stick and that too was instantly swallowed; whereupon she chanted again:

“When you threw the stick into the ocean, the seaweed covered and hid it, and you thought it was due to a shark,” said Wahine-oma’o. They prepared to dive into the sea again. Hiiaka tossed another stick, and it was quickly engulfed; then she chanted again:

Hookukú ka au-hula-ana o ka pali!

Ke pu’e ’a la e ke kai a nalo ka auki;

He i’a ko lalo, he i’a, o Maka’u-kiu—

Maka’u-kiu, ho’i, e!

Maka’u-kiu, come back, please!

TRANSLATION

Have done with this fool-hardy swim!

Have done with this reckless swim!

The ocean just gulps down the stick!

The ocean just swallows the stick whole!

A monster fish dwells in the depth—

A monster fish lives in the deep—

That monster shark, Maka’u-kiu;

Aye, the shark-god Maka’u-kiu!

Yeah, the shark god Maka’u-kiu!

[49]

[__A_TAG_PLACEHOLDER_0__]

The women were not yet convinced and still persisted, a stubbornness that drew from Hiiaka another remonstrance:

The women weren't convinced yet and kept pushing, a stubbornness that prompted Hiiaka to respond again:

Me he uahi máhu, la,

Ko lalo o Kaka-auki,

I Maka’u-kiu.

He kiu, he alele aloha,

Eia i o’u nei, e!

Here I am!

TRANSLATION

Translation

A seething whirl of ocean-mist

A swirling cloud of ocean mist

Marks the place where I cast the stick:

Marks the spot where I threw the stick:

’Tis the work of the lurking shark.

It's the work of the lurking shark.

Your loving guard, your faithful spy—

Your caring protector, your loyal observer—

That is my service to you!

That's my service to you!

At these words the huge form of the shark rose to the surface, and the women, convinced at last, leaped out of the water and abandoned their purpose. Hiiaka now gave battle to the shark and that was the end of one more power of evil.

At these words, the massive shark surfaced, and the women, finally convinced, leaped out of the water and abandoned their mission. Hiiaka then fought the shark, and that marked the end of yet another evil force.

1 Au-hula-ana. This is the term applied to such a break in a seaside trail as is above described. The word hula indicates the billowy toss of the ocean or of the swimmer’s body while making the passage. The term, following Hawaiian usage, is employed either as a noun or as a verb. ↑

1 Au-hula-ana. This term refers to a break in a coastal path as previously described. The word hula represents the lively movement of the ocean or the swimmer’s body during the crossing. According to Hawaiian usage, it can be used as either a noun or a verb. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XII

THE ROUT OF THE MAHIKI

The location of the adventure with the shark-god Maka’u-kiu1 was at the mouth of Wai-pi’o valley, a region where Hawaii’s storm-coast forms an impassable rampart, save as it is cut by this and its twin valley, Wai-manu. These valleys take head in a wild forest region, the home of mist, rain and swamp. Adjoining this and part of the same watershed is the region known as Mahiki-waena, a land which the convenience of traffic required should be open to travel. It was the haunt of a ferocious horde of mo’o called mahiki2 from their power to leap and spring like grass-hoppers.

The location of the adventure with the shark-god Maka’u-kiu1 was at the mouth of Wai-pi’o valley, an area where Hawaii’s stormy coast forms an impenetrable barrier, except where it's broken by this and its twin valley, Wai-manu. These valleys begin in a wild forest region, the home of mist, rain, and swamps. Adjacent to this and part of the same watershed is the area known as Mahiki-waena, a land that needed to be accessible for ease of travel. It was the territory of a fierce group of mo’o called mahiki2 because of their ability to leap and spring like grasshoppers.

When Hiiaka proposed to pass through this region in the [50]ordinary course of travel, the head of the Mahiki insolently denied her the right of way, suggesting as an alternative the boisterous sea-route around the northern shoulder of Hawaii. Hiiaka’s blood was up. The victory over the hosts of Pana-ewa and the more recent destruction of Maka’u-kiu had fired her courage. She resolved once for all to make an end of this arrogant nuisance and to rid the island of the whole pestilential brood of imps and mo’o. Standing on a height that overlooked Wai-pi’o, she chanted a mele which is at once descriptive of the scene before her and at the same time expressive of her determination:

When Hiiaka decided to pass through this area in the [__A_TAG_PLACEHOLDER_0__]usual way, the leader of the Mahiki rudely denied her right of way, suggesting instead the noisy sea route around the northern edge of Hawaii. Hiiaka was furious. Her victory over the forces of Pana-ewa and the recent defeat of Maka’u-kiu had fueled her courage. She was determined to put an end to this arrogant nuisance and rid the island of the whole troublesome group of imps and mo’o. Standing on a high point that overlooked Wai-pi’o, she chanted a mele that was both a description of the scene before her and a declaration of her resolve:

Mele Uhau

A luna au o Wai-pi’o,

A moon at Wai-pi’o,

Kilohi aku k’uu maka ilalo;

Look down at your feet;

Hele ho’i ke ala makai o Maka’u-kiu;

Hele ho’i ke ala mauka o Ka-pu-o’a—

Pihapiha, he’e i ka welowelo,

Pihapiha, surfing in the waves,

I ka pu’u Kolea, i ka ino, e—

Ino Mahiki:

Ua ike ka ho’i au, he ino Mahiki,

He ino, he ino loa no, e!

TRANSLATION

As I journeyed above Wai-pi’o

As I traveled above Wai-pi’o

Mine eyes drank in that valley—

The whole long march as far as from

The whole long march all the way from

The sea-fight at Maka’u-kiu

The battle at Maka’u-kiu

Till the trail climbs Ka-pu-o’a.

Until the trail climbs Ka-pu-o’a.

There soggy the road and glairy,

There was a wet and slippery road,

And there do flaunt and flourish,

And there they display and thrive,

On Plover Mount, the cursed Mahiki.

For I am convinced that that crew

For I am convinced that crew

Are bad, as bad as bad can be!

Are terrible, as terrible as terrible can be!

Hiiaka’s march to encounter the Mahiki was interrupted for a short time by an incident that only served to clinch her resolution. An agonizing cry of distress assailed her ear. It came from a dismantled heap of human flesh, the remains of two men who had been most brutally handled—by these same Mahiki, perhaps—their leg and arm-bones plucked out and they left [51]to welter in their misery. It was seemingly the cruel infliction of the Mahiki. The cry of the two wretches could not be disregarded:

Hiiaka’s journey to confront the Mahiki was briefly interrupted by an incident that only strengthened her resolve. A painful scream of distress reached her ears. It came from a mangled pile of human remains, the aftermath of two men who had been horrifically treated—possibly by the very Mahiki she sought—bones from their arms and legs ripped out, left to suffer in their pain. It was clearly the brutal act of the Mahiki. The cries of the two unfortunate souls couldn’t be ignored: [__A_TAG_PLACEHOLDER_0__]

E Hiiaka-i-ka-poli-o-Pele, e,

E ki’i mai oe ia maua;

E ka hookuli i ka ualo, e!

Ka opu aloha ole, e-e!

TRANSLATION

Translation

O Hiiaka-of-Pele’s-heart,

O Hiiaka-of-Pele’s heart,

Come thou and assist us.

Come and help us.

Turn not a deaf ear to our cry!

Don't ignore our request!

Be not of hard and unfeeling heart!

Do not be hard-hearted and unfeeling!

Hiiaka, with a skill that did credit to her surgery, splinted the maimed limbs, inserting stems from her favorite ti plant to take the place of the long bones that had been removed. She left them seated in comfort at the roadside at Pololú.

Hiiaka, showcasing her surgical skills, splinted the injured limbs, using stems from her favorite ti plant as substitutes for the long bones that had been taken out. She left them resting comfortably by the roadside at Pololú.

The Mahiki, on seeing Hiiaka advance into their territory, threw up the dirt and dust in their front, to express their contempt for such an insignificant body of trespassers. Hiiaka, paying no attention to their insolence, pressed on. Her purpose was to strike directly at Mo’o-lau, the leader of the horde, to whom she addressed this incantation:

The Mahiki, noticing Hiiaka enter their territory, kicked up dirt and dust in front of them to show their disdain for such an trivial group of intruders. Hiiaka, ignoring their rudeness, continued on. Her goal was to confront Mo’o-lau, the leader of the group, to whom she directed this chant:

A loko au o Mahiki,

A crazy place in Mahiki,

Halawai me ke Akua okioki po’o.

Okioki ino, la, i kona po’o;

Kahihi a’e la i kona naau;

Hoale mai ana i kona koko i o’u nei.

Hoale mai ana i kona koko i oʻu nei.

E Lau e, Lau e-e!

No’u ke ala, i hele aku ho’i, e-e!

TRANSLATION

I enter the land of Mahiki;

I step into the land of Mahiki;

I counter the head-hunting witch.

I confront the head-hunting witch.

See me pluck the head from her body;

See me pull the head off her body;

See me tear out her very heart, [52]

See me rip out her very heart, [__A_TAG_PLACEHOLDER_0__]

Till her blood surges round me in waves—

Till her blood rushes around me in waves—

Blood of the monster that’s legion.

Blood of the monster that's like an army.

Mine is the common right of way:

Mine is the common path:

The traveler’s right to the road!

The traveler's right to the road!

At dark Hiiaka camped in the road and during the night a female ku-pua named Lau-mihi, whom the Mahiki chief had sent as a spy to watch Hiiaka, was seen standing on a high place to one side of them. Hiiaka at once flew at her and put an end to her.

At night, Hiiaka set up camp along the road, and during the night, a female ku-pua named Lau-mihi, whom the Mahiki chief had sent to spy on Hiiaka, was spotted standing on a high spot nearby. Hiiaka immediately flew at her and took her out.

Now began a fierce battle between Hiiaka and the Mahiki dragon and his forces. They fought till both sides were exhausted and then, as if by mutual consent, stopped to rest.

Now began a fierce battle between Hiiaka and the Mahiki dragon and his forces. They fought until both sides were exhausted and then, as if by mutual agreement, paused to rest.

Hiiaka perceived that the battle was to be even more fiercely contested than that at Pana-ewa. She bade Paú-o-pala’e to take good care that no ill came to Wahine-oma’o. Looking up into the heavens, Hiiaka saw her relatives and friends Poha-kau, Ka-moho-alii, Kane-milo-hai, and a large concourse of other gods, including Kane, Kanaloa, Ku and Lono, watching her, evidently greatly interested in her performances. They assured her of their protection. At this Hiiaka was much encouraged and gave utterance to her feelings in this kanaenae:

Hiiaka realized that the battle was going to be even more intense than the one at Pana-ewa. She instructed Paú-o-pala’e to make sure that nothing happened to Wahine-oma’o. Looking up at the sky, Hiiaka saw her relatives and friends Poha-kau, Ka-moho-alii, Kane-milo-hai, and a large group of other gods, including Kane, Kanaloa, Ku, and Lono, watching her, clearly very interested in what she was doing. They assured her of their protection. Feeling encouraged by this, Hiiaka expressed her emotions in this kanaenae:

A Moolau, i ka pua o ka uhiuhi,

A Moolau, at the blossom of the uhiuhi,

Helele’i mai ana ka pua o Ko’o-ko’o-lau.

Lohi’a e na mo’o liilii—

Lohi’a and the little lizards—

Na mo’o liilii ke ala

E kolo i ke kula,

At school,

E iho i kai o Kawaihae, la.

Hea a’e la ka mo’o liilii:

E hakaká kaua; paio olua auane’i.

He ’kau Mo’o-lau, o Mo’o-lau akua, e!

He ’kau Mo’o-lau, o Mo’o-lau god, e!

TRANSLATION

Translation

In the wilds of Mo’o-lau,

The uhiuhi’s time for bloom—

The uhiuhi’s blooming season—

The petals fall of Koolau’s flower:

The petals fall from Koolau’s flower:

The little dragons have found the way

The little dragons have discovered the path.

By which they can crawl to the plain,

By which they can crawl to the flat ground,

Go down to the sea at Kawaihae. [53]

Go down to the ocean at Kawaihae. [__A_TAG_PLACEHOLDER_0__]

The little demons now announce

The tiny demons now announce

That you and I shall battle wage:

That you and I will fight:

We two, indeed, must fight, they say—

We both definitely need to fight, they say—

A god is Mo’o-lau, a host of gods!

A god is Mo’o-lau, a whole bunch of gods!

At this the great dragon Mo’o-lau bestirred himself. His attack was direct, but he divided his host into two columns so as to envelope Hiiaka and attack her on each flank. Hiiaka saw them approaching through the jungle and chanted the following rallying song:

At this, the great dragon Mo’o-lau stirred. His attack was straightforward, but he split his army into two groups to surround Hiiaka and strike her from both sides. Hiiaka spotted them coming through the jungle and sang the following rallying song:

Mele Ho’-uluulu

A Mo’o-lau, i ka pua o ka uhiuhi,

A Mo’o-lau, in the flower of the uhiuhi,

Pala luhi ehu iho la

Ka pua o ke kauno’a i ka la;

Na hale ohai i Kekaha, o Wa’a-kiu;—

E kiu, e kiu ia auane’i kou ahiahi;

E maka’i ia olua auane’i.

E maka’i ia ʻolua auaneʻi.

He akua Mo’o-lau, o Mo’o-lau akua, e!

TRANSLATION

In the jungle of Mo’o-lau,

In the Mo’o-lau jungle,

The uhi-uhi’s season of bloom;

The uhi-uhi's blooming season;

The flower of the rootless kau-no’a

Is wilted and bent in the sun;

Is droopy and bent in the sun;

My bower in Kekaha’s invaded:

My garden in Kekaha's invaded:

Some creature is playing the spy.

Some creature is acting as a spy.

I, in turn,—be warned—will spy out

I, on the other hand—just a heads up—will keep an eye out

Your quiet and rest of an evening:

Your calm and relaxing evening:

This to you, you, god Mo’o-lau!

This is for you, you, god Mo’o-lau!

Pele, perceiving that the crisis of the conflict had now come, called upon all the male and female relatives of Hiiaka (hoaiku) to go to her assistance; “Go and help your sister Hiiaka. There she is fighting desperately with Mo’o-lau—fighting and resting, fighting and resting, well nigh exhausted. Go and help her; all of you go. It’s a fight against Mo’o-lau.”

Pele, realizing that the peak of the conflict had arrived, called on all the male and female relatives of Hiiaka (hoaiku) to come to her aid. “Go and help your sister Hiiaka. She’s in a desperate battle with Mo’o-lau—fighting and taking breaks, fighting and taking breaks, and she’s almost worn out. Go and support her; all of you go. It’s a battle against Mo’o-lau.”

When the battalion of gods moved against the mo’o, it was a rout and a slaughter. Then the cry arose: “No fight has been made against the Mahiki dragon; he yet survives.” Thereupon [54]they turned their attack against that old dragon and his guards. Hiiaka then celebrated the double victory in this paean:

When the group of gods attacked the mo’o, it was a complete defeat and massacre. Then the shout went up: “No battle has been fought against the Mahiki dragon; he's still alive.” So [__A_TAG_PLACEHOLDER_0__] they shifted their assault to that ancient dragon and his protectors. Hiiaka then celebrated the double victory in this song:

Kaiko’o Pu’u-moe-awa, wawá ka laau;

Kaiko’o Pu’u-moe-awa, make the tree shine;

Nei o Pu’u-owai ma, e:

Nei o Pu’u-owai here:

Nahá ka welowelo; he’e na’e ho’i, e!

E Pu’u-owai ma, e, ke holo la!

E Miki-aloalo, e, nawai ka make?

Ke i-o nei, e!

Hey, what's up?

TRANSLATION

A roar as of surf on the hill Moe-awa:

A roar like ocean waves on the hill Moe-awa:

The tumult resounds through the forest:

The noise echoes through the forest:

Pu’u-owai and his band lead the rout,

Pu’u-owai and his group lead the charge,

Your battallions are torn into tatters—

Your squads are in chaos—

You are running, Captain Owai!

You're running, Captain Owai!

And you, Captain Spry, whose the defeat?

And you, Captain Spry, whose defeat is it?

The answer is made by the shouting!

The answer comes from the shouting!

Hiiaka’s chief weapon of attack seems to have been her magical paú. With this as a besom she beat them down as a husbandman might beat down a swarm of locusts. The Mahiki and the Mo’o-lau had ceased to exist as organized bodies. But from the rout and slaughter of the armies many individuals had escaped with their lives, and these had hid themselves away in caves and secret places, some of them even, presuming apparently upon their power of disguise, had taken refuge in the remote scattered habitations of the people. Such an inference seems to be justified by the language of the mele now to be given:

Hiiaka's main weapon seems to have been her magical paú. With it, she swept them away like a farmer would clear a swarm of locusts. The Mahiki and the Mo'o-lau no longer existed as organized groups. However, during the chaos and destruction of the armies, many individuals managed to escape with their lives, hiding in caves and secret spots. Some even took shelter in the distant, scattered homes of the people, thinking their ability to disguise themselves would keep them safe. This assumption is supported by the lyrics of the mele that will be presented next:

Note.—The gods that came to the assistance of Hiiaka such times as circumstances pinched her and whose spiritual power at all times reënforced her feeble humanity were limited in their dominion to certain vaguely defined provinces and departments. Thus, if there was any sea-fighting to be done, it fell to the shark-god, the Admiral Ka-moho-alii, to take charge of it. On the other hand, the conduct of a battle on terra firma would be under the generalship of Kane-milo-hai; while to Kana-loa belonged the marshalling of the celestial hosts, the moon and the stars. But the orb of day, the Sun, belonged to Lono. Hence, if the fighting was during the hours of daylight, Lono would logically assume the command. The rule of the great god Ku was also exercised principally by day. It was he who arranged the calendar and settled the order of the seasons, the days and the nights. The subdivisions and departmental complications under these general divisions were numerous. [55]

Noted.—The gods that helped Hiiaka during tough times and always supported her weak humanity each had their own specific areas of influence. For instance, if there was any sea battle, it was the shark-god, Admiral Ka-moho-alii, who led it. Meanwhile, battles on land were under the command of Kane-milo-hai; and Kana-loa was responsible for the celestial bodies, like the moon and the stars. The Sun, however, was under the authority of Lono. So, if the fighting happened during the day, Lono would naturally take charge. The great god Ku also had his power primarily in the daytime. He was the one who organized the calendar and determined the seasons, days, and nights. There were many subdivisions and complexities within these main areas of influence. [__A_TAG_PLACEHOLDER_0__]

Lilo i Puna, lilo i Puna,

Lilo i Puna, i ke au a ka hewahewa;

Lilo i Puna, in the time of chaos;

Popo’i aku ka i na hale:

Ua piha na hale i ke ’kua—

O Kini Akua o Wai-mea,

O ka Lehu Akua o Maná.

Kini wale Wai-mea

Now only Wai-mea

I ka pihe o ke ’kua o Uli, e.

Po wale Mahiki;

After Mahiki;

A ia Mahiki ke uwá la no, e!

TRANSLATION

Scattered through Puna, scattered through Puna,

Scattered throughout Puna, scattered throughout Puna,

Is the rout of the vagrant imps:

Is the defeat of the wandering mischievous spirits:

They swarm in the dwellings of men;

They meet in people's homes;

The houses are lousy with demons—

The houses are crawling with demons—

Wai-mea’s myriads of godlings,

Wai-mea’s countless demigods,

Thy four hundred thousand, Maná.

Your four hundred thousand, Maná.

Wai-mea thrills with the snarl of witch-gods:

Wai-mea excites with the growl of witch-gods:

Night’s shadows brood over Mahiki;

Night’s shadows linger over Mahiki;

The uproar keeps on in Mahiki.

The chaos continues at Mahiki.

1 Maka’u-kiu, afeared-o-a-spy. ↑

1 Maka’u-kiu, afraid of a spy. __A_TAG_PLACEHOLDER_1__

2 Ma-hi-ki (mahiti, mawhiti), to leap, to skip, to spring up suddenly. The Maori Comp. Dict. E. Tregear. ↑

2 Ma-hi-ki (mahiti, mawhiti), to jump, to skip, to spring up suddenly. The Maori Comp. Dict. E. Tregear. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XIII

HIIAKA LOOPS BACK IN HER JOURNEY

Hiiaka, having thus far, as it would seem, journeyed along the western coast of Hawaii, now loops back in her course and travels in the direction of Hilo by the way of Hamakua, for the seeming purpose of completing her work of extermination. Like a wise general, she would leave no enemies in her rear.

Hiiaka, it seems, has traveled along the western coast of Hawaii and is now turning back to head toward Hilo through Hamakua, likely to finish her mission of extermination. Like a smart general, she wants to leave no enemies behind her.

When they came into the neighborhood of Wahine-oma’o’s home, that girl spoke up and said, “I think we had better take another road. If we keep to this one, which passes by my door, my parents, who will be watching for me, will see me and will want me to remain with them.” This she said by reason of her great desire to continue in Hiiaka’s company. True enough, when they caught sight of her old home, there sat her mother Puna-hoa and her father Kai-pala-oa. [56]

When they got to Wahine-oma’o’s neighborhood, the girl spoke up and said, “I think we should take a different road. If we stick to this one, which goes by my house, my parents, who will be waiting for me, will see me and will want me to stay with them.” She said this because she really wanted to stay with Hiiaka. Sure enough, when they saw her old home, there were her mother Puna-hoa and her father Kai-pala-oa sitting there. [__A_TAG_PLACEHOLDER_0__]

“There they sit,” said the girl. “If they recognize me they will want to keep me.”

“There they are,” said the girl. “If they see me, they’ll want to keep me.”

Hiiaka bade Wahine-oma’o fall in behind her, hunch her shoulders, bend forward her head and walk with short infirm steps in imitation of an old woman. Hiiaka, on coming close to the old people, using the language of song, asked directions as to the road:

Hiiaka told Wahine-oma’o to follow her, hunch her shoulders, lean her head forward, and walk with slow, shaky steps like an old woman. As Hiiaka approached the older people, she sang to ask for directions to the road:

E Puna-hoa i Kai-pala-oa,

E Puna-hoa in Kai-pala-oa,

I na maka o Nana-kilo ma

E nonoho mai la, e.

Stay there, okay?

Auhea ka ala, e?

Where's the road?

TRANSLATION

O Puna-hoa and Kai-pala-oa,

You with the clear-scanning eyes,

You with the bright eyes,

Sitting at rest before me,

Sitting still in front of me,

Point me out now the road.

Point me to the road now.

“The road is plain enough; you are taking the right way.… We are looking at that young woman of your party—she has such a strong resemblance to our missing daughter, save her way of shuffling and holding her head.”

“The road is straightforward; you’re going the right way.… We’re looking at that young woman in your group—she looks so much like our missing daughter, except for how she shuffles and holds her head.”

On reaching the outskirts of the village of Hilo, Hiiaka found a rickety foot-bridge, consisting of a single narrow and wobbly plank, liable to turn at every step and precipitate the passenger into the tumbling waters below—and this was the only passage across the rocky chasm of the Wai-luku1 river. This precarious crossing was the work of two sorcerers, degenerate nondescripts, who had the audacity to levy toll for the use of their bridge, in default of which the traveler suddenly found himself precipitated into the raging water. By virtue of their necromantic powers, they had the presumption to claim spiritual kinship with Hiiaka, a bond the woman could not absolutely repudiate.

On reaching the edge of the village of Hilo, Hiiaka found a rickety footbridge made up of a single narrow and shaky plank, which could tip at any moment and send someone tumbling into the rushing water below—and this was the only way to cross the rocky gorge of the Wai-luku river. This risky crossing was built by two sorcerers, useless individuals, who had the nerve to charge a toll for using their bridge; if you didn't pay, you would suddenly find yourself thrown into the raging water. Because of their supernatural powers, they had the audacity to claim they were spiritually related to Hiiaka, a connection she couldn't completely deny.

“Here comes our mo’o-puna,”2 called out Pili-a-mo’o to his companion.

“Here comes our mo’o-puna,” called out Pili-a-mo’o to his companion.

“Well, what of it? She will have to pay her fare the same as anyone else,” replied Noho-a-mo’o. “Only on that condition shall she cross by our bridge.”

“Well, what does it matter? She has to pay her fare just like everyone else,” replied Noho-a-mo’o. “Only under that condition can she cross our bridge.”

On Hiiaka’s attempting to cross without paying toll, the two [57]sorcerers would, following their own practice, have disarranged the treacherous plank and precipitated her and her party into the raging stream.

On Hiiaka’s attempt to cross without paying the toll, the two [__A_TAG_PLACEHOLDER_0__] sorcerers would, as was their custom, have removed the unstable plank and sent her and her group into the raging river.

“Well said,” Noho-a-mo’o replied; “provided she will consent to it.”

“Well said,” Noho-a-mo’o replied, “as long as she agrees to it.”

Hiiaka now called to them in the language of song:

Hiiaka now called to them in song:

Kahuli-huli,3 e-e,

Kahuli-huli, __A_TAG_PLACEHOLDER_0__ e-e,

Ka papa o Wai-luku!

Ka Papa o Wailuku!

Kahuli o Apua,

Kahuli of Apua,

Ha’a mai o Mau-kele:

He ole ke kaha kuai ai, e-e!

Homai ka ai,

Give me food,

Homai ho’i ka ai, e-e!

Bring it on, let's go!

I ai’na aku ho’i, e-e!

I'm not going back, okay!

TRANSLATION

Cranky, cranky the bridge,

Bridge across the Wai-luku!

Bridge over the Wai-luku!

Upset is Apua;

Maukele declares that

Maukele states that

The barter of food is naught.

The exchange of food is pointless.

Give us then of your food;

Give us your food, then;

Give us something to eat;

Feed us something.

Let us partake of your meat.

Give us your meat.

To this unusual demand they replied, “Indeed, do you imagine we will do any such thing as that? It is not for us to give to you; you must give us the fare before you cross on our bridge. We don’t give away things for nothing.”

To this unusual request, they replied, “Really? Do you think we would do something like that? It's not up to us to give you anything; you need to pay the fare before you cross our bridge. We don't just give things away for free.”

Hiiaka replied by repeating her request in nearly the same words:

Hiiaka responded by restating her request using almost the same words:

Ka-huli-huli, e-e,

Ka papa o Wai-luku.

The school of Wai-luku.

He ole ke kaha kuai i’a, e! [58]

He ole ke kaha kuai i’a, e! [__A_TAG_PLACEHOLDER_0__]

Ho-mai ka i’a;

Ho-mai ana, ho’i, ka i’a,

I ai’na aku, ho’i, e-e!

I'm not going, okay!

TRANSLATION

Unstable the bridge,

Bridge is unstable,

Bridge that spans the Wai-luku.

Bridge over the Wai-luku.

This barter of fish is a fraud.

This exchange of fish is a scam.

Give us of your fish;

Give us your fish;

Grant us kindly some meat;

Please give us some meat;

Give us something to eat.

Feed us something.

Hiiaka repeated her demands in varying form with no other effect than to make the toll-keepers more stubborn in their ridiculous demands. Not even when Hiiaka, as if to cap the climax of their absurdity, ended her demand with this ironical request:

Hiiaka repeated her demands in different ways, but it only made the toll-keepers more obstinate in their ridiculous requests. Not even when Hiiaka, as if to highlight the peak of their absurdity, finished her demand with this sarcastic request:

Ho-mai, ho’i, ka wai, e;

I inu ia aku, ho’i, e!!

TRANSLATION

Below is a short piece of text (5 words or fewer). Modernize it into contemporary English if there's enough context, but do not add or omit any information. If context is insufficient, return it unchanged. Do not add commentary, and do not modify any placeholders. If you see placeholders of the form __A_TAG_PLACEHOLDER_x__, you must keep them exactly as-is so they can be replaced with links.

Give us of this water,

Give us this water,

Give us water to drink!

Hiiaka now openly denounced the two sorcerers as being simply mo’o in disguise, entirely wanting in those generous feelings that belong to godhood. “These creatures are simply mo’o. If I attack them, they will run for their lives.”

Hiiaka now publicly denounced the two sorcerers as just mo’o in disguise, completely lacking the generous feelings that come with being a god. “These beings are just mo’o. If I confront them, they’ll flee for their lives.”

The people, failing to recognize Hiiaka as their deliverer, spiritless from long habituation to the fraudulent dominion of these imposters, fearful also of their vengeance, stoutly opposed Hiiaka, affirming that Pili-a-mo’o and Noho-a-mo’o were gods in reality, having great power and capable of doing many wonderful things. They declared their readiness to back their opinion with their property, yes, with their lives. They were at length persuaded, however, to accept as decisive the test proposed by Hiiaka, namely, that, if they fled when attacked, they should cease to be regarded as gods and should be dealt with as imposters. [59]

The people, not recognizing Hiiaka as their savior and having grown weary after being under the false rule of these frauds, also afraid of their wrath, strongly opposed Hiiaka. They insisted that Pili-a-mo’o and Noho-a-mo’o were indeed gods, possessing great power and capable of amazing feats. They said they would back their belief with their belongings, even with their lives. Eventually, though, they were convinced to accept the test proposed by Hiiaka: if they ran away when attacked, they would no longer be considered gods and would be treated as frauds. [__A_TAG_PLACEHOLDER_0__]

True to Hiiaka’s prediction, the mo’o, in abject fear, turned and fled for their lives at her first threatening move and she now called upon the people to pursue and destroy them:

True to Hiiaka’s prediction, the mo’o, in absolute fear, turned and ran for their lives at her first threatening gesture, and she now urged the people to chase them down and eliminate them:

Kaumaha ka aï o Hilo i ka lehua

Mai ka Nuku-o-ka-manu4 a Puna-hoa, e.

Mai ka Nuku-o-ka-manu__A_TAG_PLACEHOLDER_0__ and Puna-hoa, yeah.

Hoa ia iho la kau kanáka,

I pa’a, o pahe’e auane’i;

I’m stuck, I can’t escape;

Hina i ka Lua-kanáka.

Hina in the Lunar Phase.

He kanáka! He mau akua, e!

TRANSLATION

Translation

The neck of Hilo is heavy,

Weighted with wreaths of lehua

Weighted with lehua wreaths

From Bird-beak clean down to the feet.

From the beak all the way down to the feet.

Catch and bind these robbers of men;

Catch and capture these thieves of people;

Bind them fast, lest they slip through your hands

Bind them tightly, so they don't slip through your fingers.

And escape to the robber-pit—

And escape to the hideout—

These mortals, who call themselves gods!

These humans, who think of themselves as gods!

The meaning of the figure in the first two verses, though obscure, seems to be that Hilo, so rich in natural beauty, is by that very fact robbed of the energy to defend herself and cast off the incubus that oppresses her.

The meaning of the figure in the first two verses, though unclear, appears to be that Hilo, abundant in natural beauty, is, because of this very fact, stripped of the strength to protect herself and shake off the burden that weighs her down.

As the creatures fled from Hiiaka’s pursuit, their human disguise fell from them and their real character as mo’o was evident.

As the creatures ran away from Hiiaka, their human disguise slipped off, revealing their true nature as mo’o.

“We’ve committed a great blunder,” said Pili-a-mo’o to his mate. “It looks as if she meant to kill us. Let us apologize for our mistake and conciliate her with fair words.”

“We’ve really messed up,” said Pili-a-mo’o to his partner. “It seems like she intended to kill us. Let’s apologize for our mistake and try to make amends with kind words.”

Noho-a-mo’o agreed to this and, turning to Hiiaka, made this wheedling speech:

Noho-a-mo’o agreed and, turning to Hiiaka, made this coaxing speech:

Kupu maikai a’e la

Ka wahine o ka Lua;

The woman of the two;

Uä ia iho la e ka ua,

A kilinahe ka maka o ka lehua ma-uka.

Ma-uka oe e hele ai,

See you later,

Ma ka hoauau wai.

My heart is heavy.

E waiho ke ala no maua,

No na kupuna, e.

No thanks, elder.

[60]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

She has grown a fine figure,

She has developed a great figure,

Our girl from the Fire-pit.

Our girl from the bonfire.

The plentiful rain has made bright

This bud of upland lehua.

This upland lehua bud.

Pray choose your road farther inland;

Pray choose your path further inland;

That way will offer good fordage—

That way will provide good foraging—

This road leave to your ancient kin.

This road leads to your ancestors.

Hiiaka spared not, but pursued them to their cavernous rock-heaps in which they thought to hide themselves, and, having seized them, rent them asunder jaw from jaw. Thus did Hiiaka add one more to the score of her victories in the extermination of the mo’o.

Hiiaka didn't hold back; she chased them to their rocky hideouts where they thought they could escape. Once she caught them, she tore them apart, jaw from jaw. This was just one more victory for Hiiaka in her campaign against the mo’o.

1 Wai-luku, water of destruction. ↑

1 Wai-luku, water of devastation. __A_TAG_PLACEHOLDER_1__

2 Mo’o-puna, a grandchild, nephew or niece. ↑

2 Mo’o-puna, a grandchild, nephew, or niece. ↑

3 Kahuli-huli. Kahuli, or its intensive, kahuli-huli, primarily means to upset, to overturn. A secondary meaning, much employed in the argot of hula folk, is to hand over, to pass this way; as when one guest at table might say to a neighbor, “hand me the salt (if you please).” ↑

3 Kahuli-huli. Kahuli, or its intensified form, kahuli-huli, mainly means to upset or overturn. A secondary meaning, often used in the language of hula dancers, is to hand over or pass something; for example, when one guest at a table might say to a neighbor, “Could you pass me the salt, please?” ↑

4 Nuku-o-ka-manu, literally, the beak of the bird; said to be a cape in the neighborhood of Hilo. ↑

4 Nuku-o-ka-manu, which means "the beak of the bird"; is said to be a cape near Hilo. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XIV

HIIAKA MEETS MOTHER-GRUNDY

It was at this point of the journey that Hiiaka lost the attendance of her sympathetic companion and faithful servant, Paú-o-pala’e. She was persuaded to unite her fortunes with those of a man from Kohala named Pa-ki’i; and we must leave unanswered the question, how she finally settled with Pele this apparent desertion of the trust with which she had been charged, that of acting as aide, kahu, to Hiiaka. Wahine-oma’o now remains as the sole companion of Hiiaka in her future adventures.

It was at this stage of the journey that Hiiaka lost her supportive friend and loyal servant, Paú-o-pala’e. She was convinced to tie her fate to a guy from Kohala named Pa-ki’i; and we have to leave the question of how she ultimately dealt with Pele regarding this apparent abandonment of the responsibility she was given, which was to be an aide, kahu, to Hiiaka, unanswered. Wahine-oma’o now stands as Hiiaka's only companion in her upcoming adventures.

On resuming the journey they came before long to the broad stream of Honoli’i, which was swimming deep and, in the lack of other means of crossing, they bundled their clothes, held them above their heads with one hand and easily made the opposite shore by swimming with the aid of the other hand.

On continuing their journey, they soon reached the wide stream of Honoli’i, which was flowing strongly. With no other way to cross, they gathered their clothes, held them above their heads with one hand, and easily swam to the other side using the other hand.

At the sight of this performance, the ghost-god, Hina-hina-ku-i-ka-pali and her companion, in a spirit of pure fault-finding and Mother-Grundyism, exclaimed: [61]

At the sight of this performance, the ghost-god, Hina-hina-ku-i-ka-pali, and her companion, in a spirit of pure criticism and moral superiority, exclaimed: [__A_TAG_PLACEHOLDER_0__]

Popó ke kapa o ka wahine,

Au kohana wai, hoauau wai o Honoli’i.

E kapu oe, he mau alii;

He mau alii no, o Hina-hina-ku-i-ka-pali.

TRANSLATION

The women bundle their garments

The women wrap their clothes

And, naked, they swim the stream,

And, without any clothes, they swim in the river,

The water of Hono-li’i—

An action quite unseemly:

An inappropriate action:

’Tis a slur on your noble rank,

It’s an insult to your noble status,

I too am a chief, my name

I’m also a leader; my name

Hina-hina-gem-of-the-cliff.

Hina-hina, gem of the cliff.

“For shame!” said Hiiaka. “These ghost-gods have been spying on our nakedness, and now they make sport of us.”

“For shame!” said Hiiaka. “These ghost-gods have been watching us while we’re vulnerable, and now they mock us.”

A great fear came upon the ghosts, that the dread goddess would seize them and pinch out their atomy spark of existence. In their terror, they flew home and, perched on the shoulders of their mother, besought her to interpose in their behalf and appease Hiiaka by a suitable offering of luau.

A deep fear gripped the ghosts, worried that the terrifying goddess would capture them and snuff out their tiny spark of life. In their panic, they rushed home and, settling on their mother's shoulders, pleaded with her to step in for them and calm Hi'iaka with an appropriate luau offering.

“There burns a fire,” said Wahine-oma’o, as they drew near the house.

“There’s a fire burning,” said Wahine-oma’o, as they got closer to the house.

“The fire of the ovens built by the ghosts,” Hiiaka answered. “They have saved themselves from death.”

“The fire of the ovens made by the spirits,” Hiiaka replied. “They have escaped death.”

By the time they reached the house the luau was done to a turn and the tables were spread. Wahine-oma’o made an oblation to the gods and then ate of the viands. Hiiaka did not partake of the food.

By the time they got to the house, the luau was perfectly cooked, and the tables were set. Wahine-oma’o made an offering to the gods and then ate the food. Hiiaka didn’t eat any of it.

Hiiaka now spent several days at Hono-kane, in Kohala, anxiously awaiting the departure of some canoe, by which she might pass over to the island of Maui. While thus absorbed, in a sentimental mood, looking one day across the ocean at the misty outline of the distant land, she saw a man of remarkable appearance strike out from one headland of the bay to swim to the opposite point. Her admiration for his physical beauty and his daring performance drew from her a song:

Hiiaka spent several days at Hono-kane in Kohala, anxiously waiting for a canoe to take her over to the island of Maui. While she was lost in thought, feeling sentimental, she looked out across the ocean at the hazy outline of the distant land and saw a striking man swim from one headland of the bay to the other. His physical beauty and boldness inspired her to sing:

I i au, e au ma kai o ka hula ana.

Kai-ko’o a’e la lalo o ka pali; [62]

Kai-ko’o a’e la lalo o ka pali; [__A_TAG_PLACEHOLDER_0__]

Pího-pihó a’e; lele ke kai o Maka’u-kiu;

Au hopohopo ana i ka loa o Hono-kane-iki.

I kane oe a i wahine au.

I am a man and you are a woman.

TRANSLATION

My heart beats high at your venture—

My heart races at your daring—

To buffet the raging sea!

To withstand the raging sea!

Wild heave the waves ’neath the cliff-wall.

Wildly toss the waves beneath the cliff wall.

To be whelmed by Ocean’s might—

To be overwhelmed by the power of the Ocean—

The ocean of Maka’u-kiu!

The sea of Maka’u-kiu!

My heart forgets to beat at sight

My heart stops beating when I see you.

Of your rashness, Hono-kane!

Watch your recklessness, Hono-kane!

Would you were the man, the woman I!

Would that you were the man, and I the woman!

Hono-kane heard, of course, the words that were uttered in his praise and, being a man of chivalrous instincts as well as of honor, he invited Hiiaka and Wahine-oma’o to enjoy the hospitalities of his home.

Hono-kane heard the compliments directed at him and, being a man of noble instincts and honor, he invited Hiiaka and Wahine-oma’o to enjoy the hospitality of his home.

As they sat at a feast spread in her honor, Hiiaka, as was her wont, bowed her head in prayer with closed eyes, and the others did likewise and when they opened their eyes and looked, the portion that had been set before Hiiaka was gone, spirited away.

As they gathered for a feast in her honor, Hiiaka, as was her custom, lowered her head in prayer with her eyes closed, and the others followed her lead. When they opened their eyes and looked, the food that had been placed in front of Hiiaka was gone, mysteriously taken away.

In the evening it was announced that a canoe was to sail in the early morning on a voyage to Maui, whereupon Hiiaka secured the promise of a passage for herself and Wahine-oma’o. [63]

In the evening, it was announced that a canoe would depart early in the morning for a voyage to Maui. Hiiaka then ensured that she and Wahine-oma’o had a guaranteed spot on the canoe. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XV

THE VOYAGE TO MAUI

Hiiaka’s voyage across the Ale-nui-haha channel, considered merely as a sea adventure, was a tame experience. There was no storm, no boistrous weather, sea as calm as a mill-pond, nothing to fillip the imagination with a sense of excitement or danger; yet it was far from being an agreeable experience to the young woman who was now having her first hand-to-hand tussle with the world.

Hiiaka’s journey across the Ale-nui-haha channel, seen just as a sea adventure, was rather uneventful. There was no storm, no rough weather, the sea was as calm as a pond, nothing to spark the imagination with excitement or danger; yet it was far from a pleasant experience for the young woman who was now facing her first real confrontation with the world.

They had spent the night at the house of one Pi’i-ke-a-nui. In the early morning their host and a younger man—apparently his son—named Pi’i-ke-a-iki, made ready their canoe to sail for Maui. Hiiaka, assuming that passage would be granted both of them, in accordance with a promise made the previous day, stood ready against the hour of departure. At the last moment, the younger man, having assisted Wahine-oma’o to her seat in the bow next to himself, called to his elder, “Pi’i-ke-a-nui, why don’t you show your passenger to her seat, the one next you?”

They spent the night at the house of a man named Pi’i-ke-a-nui. In the early morning, their host and a younger man—who seemed to be his son—named Pi’i-ke-a-iki, got their canoe ready to sail to Maui. Hiiaka, assuming both of them would be allowed to go based on a promise made the day before, was prepared for the departure. At the last moment, the younger man, after helping Wahine-oma’o to her seat in the bow next to him, called to his elder, “Pi’i-ke-a-nui, why don’t you show your passenger to her seat next to you?”

“I won’t do it,” Pi’i-ke-a-nui answered groutily. “I find that the canoe will be overloaded if we take passengers aboard and all our landlord’s freight will get wet.”

"I won’t do it," Pi’i-ke-a-nui replied grumpily. "I think the canoe will be overloaded if we take passengers on board, and all our landlord's cargo will get wet."

The real reason for this volte-face on the part of the old sailor was that he had made an unseemly proposition to Hiiaka the night before and she had repelled him.

The real reason for this volte-face by the old sailor was that he had made an inappropriate proposal to Hiiaka the night before and she had rejected him.

Wahine-oma’o, thereupon, left her seat and the canoe started without them. It was not more than fairly underway, however, when a violent sea struck the craft and swamped it, and all the loose freight was floating about in the ocean.

Wahine-oma’o then got up from her seat, and the canoe took off without them. It wasn’t long after that when a huge wave hit the boat and capsized it, sending all the loose cargo into the water.

“There, you see! We’d ’ave had better luck with the women aboard.” Such was the exclamation of Pi’i-ke-a-iki.

“There, you see! We would have had better luck with the women on board.” That was the exclamation of Pi’i-ke-a-iki.

It did not take long to convince the old man Pi’i-ke-a-nui, who was captain of the canoe, that he had invited this disaster on himself, the agent of which, as he rightly suspected, was none other than the distinguished-looking young woman who now stood on the beach watching him in his predicament with unperturbed countenance.

It didn't take long to convince the old man Pi’i-ke-a-nui, the captain of the canoe, that he had brought this disaster upon himself. The cause of it, as he correctly suspected, was none other than the poised young woman who now stood on the beach, watching him in his predicament with a calm expression.

The two men floated their canoe, collected their baggage and came ashore. When they had got the stuff dry and stowed in the waist of the craft, they escorted the women aboard, seating Wahine-oma’o, as directed by the captain, in the bow near Pi’i-ke-a-iki [64]and Hiiaka in the after part, within arm’s length of Pi’i-ke-a-nui, and they put to sea.

The two men got their canoe ready, gathered their bags, and came ashore. After they dried off their stuff and packed it into the middle of the canoe, they helped the women onboard, seating Wahine-oma’o, as the captain instructed, in the front near Pi’i-ke-a-iki [__A_TAG_PLACEHOLDER_0__] and Hiiaka in the back, close to Pi’i-ke-a-nui, and then they set off to sea.

The canoe was a small affair, unprovided with that central platform, the pola, that might serve as the cabin or quarter deck, on which the passengers could stretch themselves for comfort. In her weariness, Hiiaka, with her head toward the bow, reclined her body against the top rail of the canoe, thus eking out the insufficiency of the narrow thwart that was her seat; and she fell asleep, or rather, entered that border-land of Nod, in which the central watchman has not yet given over control of the muscular system and the ear still maintains its aerial reconnoissance.

The canoe was small and didn't have that central platform, the pola, which could act as a cabin or quarter deck where passengers could relax comfortably. Exhausted, Hiiaka leaned her head toward the front of the canoe and rested her body against the top edge, trying to make the most of the narrow seat she had. She fell asleep, or rather, drifted into that in-between state where the central brain hasn’t completely taken over motor control yet, and her ears were still tuned in to the sounds around her.

The wind, meanwhile, as it caromed aft from the triangular sail of mat, coquetted with her tropical apparel and made paú and kihei shake like summer leaves.

The wind, meanwhile, bounced off the triangular mat sail and playfully interacted with her tropical outfit, making the paú and kihei flutter like summer leaves.

The steersman, in whom that precious factor, a chivalrous regard for woman, was even of less value than is common to the savage breast, in the pursuit of a fixed purpose, began to direct amorous glances at the prostrate form before him and to the neglect of his own proper duties. Presently he left his steering and stole up to Hiiaka with privy paw outstretched. Hiiaka roused from her half-dreamy state on the instant, and the man sprang back and resumed his paddle.

The helmsman, who had even less respect for women than is usual for a savage, became so focused on a single goal that he started to cast flirtatious looks at the unconscious figure in front of him, ignoring his responsibilities. Soon, he left the steering and crept up to Hiiaka with his hand outstretched. Hiiaka immediately woke from her half-dreamy state, and the man jumped back and went back to paddling.

Hiiaka, with the utmost coolness, expressed in song her remonstrance and sarcastic rebuke for this exhibition of inhospitable rudeness:

Hiiaka coolly expressed her complaint and sarcastic criticism through song for this display of unfriendly rudeness:

A Hono-ma-ele au, i Hono-ka-lani,

A Hono-ma-ele, in Hono-ka-lani,

Ike au i ka ua o ko’u aina,

Ike au i ka ua o koʻu ʻāina,

E halulu ana, me he kanaka la—

Ka ua ku a-o-a i kai.

Haki kaupaku o ka hale i ka ino, e!

Hurry and close the door against the bad weather, please!

Ino Ko’o-lau, ino Ko’o-lau, e-e!

Ino Ko’o-lau, Ino Ko’o-lau, yeah!

TRANSLATION

With pillowed neck I lay, face to heaven:

With my head resting on a pillow, I lay there, facing the sky:

The rain, I found, beat on my bed;

The rain, I discovered, was pounding on my bed;

Came a tremor, like tread of a man—

Came a shaking, like the footsteps of a man—

The slap of a rain-squall at sea;

The sound of a rainstorm hitting the ocean;

Within, the roof-tree broken down,

Within, the roof is broken,

My house exposed to the storm,

My house was exposed to the storm,

My garden of herbs laid waste!

My herb garden is destroyed!

[65]

[__A_TAG_PLACEHOLDER_0__]

The young man added his protest: “Yes, his whole conduct is, indeed, shameful, scandalous. He hasn’t the decency to wait till he gets ashore.”

The young man expressed his objections: “Yes, his entire behavior is, honestly, shameful and outrageous. He doesn’t even have the decency to wait until he’s on land.”

In the midst of this unpleasantness it was a comfort to hear the strong cheerful voice of her former companion Paú-o-pala’e calling to her across the stretch of waters. It will be remembered that their roads had parted company sometime before Hiiaka had left the big island. The separation had made no change, however, in their mutual affection:

In the middle of all this trouble, it was a relief to hear the strong, cheerful voice of her old friend Paú-o-pala’e calling to her across the water. It should be noted that they had gone their separate ways a while before Hiiaka left the big island. However, the separation hadn’t affected their feelings for each other.

O hele ana oe, e ka noe, e ka awa,

E na ki a Wahine-kapu,

E ka ua lele a’e maluna

O Ka-la-hiki-ola, la:

O Ka-la-hiki-ola, day:

O hele ana, e!

Let's go!

TRANSLATION

Translation

Like a cloud you fleet by,

Like a cloud, you drift by,

On the wings of the storm—

Vision of womanly tabu—

Vision of feminine taboo—

Of the rain-clouds that sweep

Of the rain clouds that sweep

O’er the Hill-of-good-luck:

Over the Hill of Good Luck:

May you speed on your way!

May you travel quickly on your journey!

Hiiaka replied to her kahu’s mele in these words:

Hiiaka responded to her kahu’s song with these words:

A noho ana,

A stay,

E na hoaiku,

In a haiku,

E na hoa haele,

Hey, friend!

I uka o Ka-li’u-la,

In the morning of Ka-li’u-la,

I Moe-awakea.

TRANSLATION

Kinsmen, allies, travel-mates,

Family, friends, travel companions,

You rest in upland Ka-li’u;

You relax in upland Ka-li’u;

There taste you midday repose.

There taste your lunch break.

Perhaps it was that Hiiaka failed to manifest in her carriage and department the dignity and tabu that hedges in an alii or an akua; perhaps the rough hearted Pi’i-ke-a-nui, sailor-fashion, deemed himself outside the realm of honor which rules on land. [66]However that might be, as Hiiaka lay decently covered against the cold wind that drew down the flank of Hale-a-ka-la, this rude fellow, regardless of every punctilio, stole up to Hiiaka and repeated his former attempt. Hiiaka caught his hand in mid air and administered this rebuke:

Maybe Hiiaka didn’t show the dignity and respect that surrounded a chief or a god; maybe the rough-hearted Pi’i-ke-a-nui, like a sailor, thought he was beyond the rules of honor that apply on land. [__A_TAG_PLACEHOLDER_0__] Regardless, while Hiiaka lay modestly covered from the cold wind coming down the side of Hale-a-ka-la, this rude guy, ignoring all etiquette, approached Hiiaka and tried to do the same thing again. Hiiaka caught his hand in mid-air and responded with this reprimand:

O Ka-uwiki, mauna ki’eki’e,

O Ka-uwiki, high mountain,

Huki a’e la a pa i ka lani:

Huki up and grab the sky:

He po’o-hiwi no kai halulu;

He’s a sea turtle;

Au ana Moku-hano i ke kai—

He maka no Hana,

He makes no flowers,

O maka kilo i’a.

O maka kilo i'a.

O kou maka kunou, a,

Ua hopu-hia.

Caught.

TRANSLATION

Ka-uwiki, famous in story,

Ka-uwiki, famous in legend,

While buffeting ocean’s blows,

While enduring the ocean's waves,

Aspires to commerce with heaven.

Aims to connect with heaven.

Moku-hano’s palms, that float

Moku-hano’s floating palms

Like a boat in the water,

Are watchful eyes to Hana,

Keep a close watch on Hana,

Alert for the passing school:

School zone alert:

Your wanton vagrant eye

Your wandering, carefree gaze

Is caught in the very act.

Is caught red-handed.

The canoe grated on the shingly beach. The two young women, rejoiced to be free at last from the enforced proximity of ship-board, sprang ashore and with speedy steps put a distance between themselves and the canoe-house. “That’s right,” called out the steersman. “Make haste to find a bath. We’ll join you in a short time.” [67]

The canoe scraped against the pebbly beach. The two young women, thrilled to be finally free from the close quarters of the ship, jumped ashore and quickly put some space between themselves and the canoe house. “That’s the spirit,” shouted the steersman. “Hurry and find a place to wash up. We’ll catch up with you soon.” [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XVI

KAPO-ULA-KINA’U, A RELATIVE OF HIIAKA—THE MAIMED GIRL MANA-MANA-IA-KALU-EA

The canoe-men, having used their utmost expedition in landing the freight and hauling up the canoe and getting it under cover, hastened to meet the two women at the rendezvous they had suggested. But they were nowhere to be found. They had disappeared as completely as though the earth had swallowed them up. When Pi’i-ke-a-nui asked the people of the village as to the whereabouts of the two young women who had just now landed as passengers from the canoe, they one and all denied having set eyes upon them.

The canoe men, having quickly unloaded the cargo and pulled the canoe up to safety, rushed to meet the two women at the meeting place they had suggested. But they were nowhere to be found. They had vanished completely, as if the earth had swallowed them whole. When Pi’i-ke-a-nui asked the villagers about the two young women who had just arrived as passengers in the canoe, everyone denied having seen them.

Hiiaka had planned a visit with her sister Kapo; but, on reaching Wailuku, the house was empty; Kapo and her husband Pua-nui had but just started to make a ceremonious call on Ole-pau, a famous chief of the district. The receding figure of Kapo was already hazy in the distance, so that it seemed more than doubtful if the words of Hiiaka’s message reached the ears for which they were intended:

Hiiaka had planned to visit her sister Kapo, but when she got to Wailuku, the house was empty. Kapo and her husband Pua-nui had just left to make a formal visit to Ole-pau, a well-known chief in the area. Kapo's figure was already fading into the distance, making it unlikely that Hiiaka's message would reach the right ears.

He ahui hala1 ko Kapo-ula-kina’u,2

He ahui hala__A_TAG_PLACEHOLDER_0__ ko Kapo-ula-kina’u,__A_TAG_PLACEHOLDER_1__

Ko ka pili kaumaha;

Ko ka pili kulana;

I ka pili a hala, la, ha-la!

Hala olua, aohe makamaka o ka hale

Hala olua, no one is a friend of the house.

E kipa aku ai la ho’i i ko hale,

I kou hale, e-e!

Let's go home, yay!

TRANSLATION

Translation

The clustered hala is Kapo’s shield,

An omen portending disaster. [68]

A warning of disaster. [__A_TAG_PLACEHOLDER_0__]

The traveler came in your absence;

The traveler arrived while you were gone;

Both of you gone, no one at home—

Both of you are gone, and there's no one here—

No lodge for the traveler within,

No place for the traveler inside,

No hospitality within!

No welcome here!

Here is another version of this mele by Hiiaka (furnished by Pelei-oholani). As the version previously given is confessedly imperfect, in part conjectural, there having been several hiatuses in the text, I think it well to give an authorized version, though very different:

Here is another version of this mele by Hiiaka (provided by Pelei-oholani). Since the earlier version shared is known to be incomplete and partly based on guesswork, with several gaps in the text, I believe it's a good idea to present an official version, even though it's quite different:

He ahui hala na ka makani:3

Hala ka ua,4 noho i na pali, e—

Hala ka ua,4 living on the cliffs, e—

I ka pali aku i Pua-lehei,5 e.

Loli iho la, pulu elo i ka ua, e.

Aohe makamaka e kipa aku ai

I kou hale, e;

I go home, okay;

E noho ana i ke kai o Kapeku;

E hoolono i ka uwalo, e!

TRANSLATION

Translation

A hala bunch, snatched by the wind

A bunch of hala, swept away by the wind

That blows from the medicine man,

That comes from the healer,

Pushing the rain to Pua-lehei:

Bringing the rain to Pua-lehei:

Cold is the traveler and soaking wet,

No friend to give welcome and cheer;

No friend to offer warmth and happiness;

House empty—gone to the seashore;

House empty—gone to the beach;

No one to heed my entreaty.

No one to listen to my plea.

As Hiiaka passed along the cliff that overlooks the wave-swept beach at Hono-lua, a pitiful sight met her eye, the figure of a woman crippled from birth—without hands. Yet, in spite of her maimed condition, the brave spirit busied herself gathering shell-fish; and when a tumbling wave rolled across the beach she made herself a partner in its sport and gleefully retreated, skipping and dancing to the words of a song: [69]

As Hiiaka walked along the cliff overlooking the wave-battered beach at Hono-lua, she came across a heartbreaking scene—a woman who had been disabled since birth, with no hands. Despite her disability, the brave woman kept herself occupied by collecting shellfish. When a wave crashed onto the beach, she joyfully joined in the fun, skipping and dancing to the tune of a song: [__A_TAG_PLACEHOLDER_0__]

Aloha wale ka i’a lamalama o ku’u aina, la,

Aloha to the shining fish of my land, yes,

Ka i’a kahiko pu no me ka wahine.

Lilo ke hoa, ko’eko’e ka po;

Akahi kona la o aloha mai, e-e!

Aloha Kona, ku’u aina i ka pohu, e-e!

Aloha Kona, my land of beauty, rise up!

TRANSLATION

How dear the torch-caught fish of my home-land,

How precious the fish caught by torchlight in my homeland,

The fish embraced by the women folk!

The fish is welcomed by the women!

Gone one’s companion, chill grows the night:

Gone is one's companion, the night grows colder:

Love cheered for a day, then flew away.—

Love cheered for a day, then took off.

Oh Kona, thou land of peace and of calm!

Oh Kona, you land of peace and calm!

Search for the hidden meaning of this oli has brought out a marvellous diversity of opinion. The chief difficulty lies in the interpretation of the second verse: Ka i’a kahiko pu no me ka wahine, and centers in the expression kahiko pu. One able critic finds in it an allusion to the coöperation of women with the men in the work of fishing. Kahiko is a word of dignity meaning finely apparelled. The addition of the preposition pu amplifies it and gives it almost the meaning of wrapped together. It seems probable also that the word i’a, literally fish, is to be taken in an esoteric sense as a euphemism for man. Putting this interpretation upon it, the meaning of the expression kahiko pu becomes clear as being wrapped together, as in the sexual embrace.

Searching for the hidden meaning of this oli has revealed a fascinating range of opinions. The main challenge lies in interpreting the second verse: Ka i’a kahiko pu no me ka wahine, particularly the phrase kahiko pu. One insightful critic sees it as a reference to the collaboration of women with men in fishing. The word kahiko carries a connotation of dignity, meaning elegantly dressed. The addition of the preposition pu enhances this meaning, suggesting a sense of being wrapped together. It's also likely that the word i’a, which literally means fish, should be understood in a more symbolic way as a euphemism for man. With this interpretation, the phrase kahiko pu becomes clear as implying an intertwined nature, akin to a sexual embrace.

Wahine-oma’o was greatly fascinated by the pathos and romance of the situation and declared she would like to have her for an aikane, an intimate friend.

Wahine-oma’o was really intrigued by the emotions and romance of the situation and said she would like to have her as an aikane, a close friend.

Hiiaka replied, “Maimed folk seem to be very numerous in these parts.”

Hiiaka replied, “There seem to be a lot of injured people around here.”

The maimed girl kept up her fishing, her light-hearted dancing and singing:

The injured girl continued her fishing, happily dancing and singing:

Ua ino Hono-kohau; he Ulu-au nui ka makani;

Ke ha’iha’i la i ka lau o ka awa.

La’i pono ai ke kai o Hono-lua,

E hele ka wahine i ke kapa kahakai,

Ku’i-ku’i ana i ka opihi,

Picking up the opihi,

Wa’u-wa’u ana i kana limu,

Wa’u-wa’u eats that seaweed,

O Mana-mana-ia-kaluea,

Ka wahine ua make, e-e!

The woman is going to die, oh!

[70]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Rough weather at Hono-kohau;

Bad weather at Hono-kohau;

The Ulu-au blows a gale;

The Ulu-au is blowing a gale;

It snaps off the leaves of the awa,

But the sea lies calm at Hono-lua

But the sea is calm at Hono-lua.

And the woman can fish along shore,

And the woman can fish by the shore,

Pounding her shell-fish, rubbing her moss—

Pounding her shellfish, rubbing her moss—

This maiméd girl Kalu-é-a,

This injured girl Kalu-é-a,

The girl that is dead.

The girl who is dead.

As the wild thing ran from the dash of an incoming wave, by some chance the gourd that held her fish slipped from her and the retreating water carried it beyond her reach, a loss that she lightly touched in her song:

As the wild creature ran from the rush of an incoming wave, by some chance the gourd that held her fish fell from her, and the receding water carried it out of her reach, a loss that she casually mentioned in her song:

Ha’a ka lau o ka i’a;

Ha’a ka lima i ke po’i;

Ha’a ke olohe6 i ke awakea:

Ha’a ke olohe__A_TAG_PLACEHOLDER_0__ in the morning:

Kina’i aku la i ke kai, la.

Lilo ka i’a, lilo ka i’a

Losing the fish, losing the fish

I ka welelau o ku’u lima,

A lilo, e-e!

An inflatable mattress, yay!

TRANSLATION

Translation

My fish are adance on the waves:

My fish are dancing on the waves:

My hand just danced from the basket:

My hand just reached into the basket:

The skilled6 one dances at noontide

The skilled __A_TAG_PLACEHOLDER_0__ dances at noon.

And deafens the roar of ocean.

And drowns out the sound of the ocean.

Gone are my fish, lost out of hand,

Gone are my fish, lost from my grasp,

Snatched clean away from my hand-stumps;

Snatched right out of my hands;

They are gone, gone, gone from my hand!

They’re gone, gone, gone from my grasp!

There was a shark lurking in the ocean and when Mana-mana-ia-kalu-ea saw it she uttered a little song:

There was a shark lurking in the ocean, and when Mana-mana-ia-kalu-ea saw it, she sang a little song:

O ka i’a iki maka inoino,

Ihu me’ume’u o ka moana;

Ihu me’ume’u of the ocean;

Ke a’u lele ’ku o kai,

I ka puo’a o kai uli, e.

Auwé, pau au i ka manó nui, e!!

Auwé, look out for the big shark, e!!

[71]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Little fish with wicked eye;

Little fish with a sly look;

Snub-nosed fish that swims the deep;

Snub-nosed fish that swims in the deep;

Sworded fish that darts and stabs

Swordfish that strikes and jabs

Among the blue sea coral-groves—

In the blue sea coral reefs—

Alas, the shark has done for me,

Alas, the shark has got me.

The mighty shark, mine enemy!

The mighty shark, my enemy!

Wahine-oma’o could not repress her admiration for the girl and her desire to have her as an aikane (an intimate friend); and she was full of regret that their presence on the cliff had driven away the fish and interfered with the girl’s occupation.

Wahine-oma’o couldn't help but admire the girl and wanted her to be an aikane (a close friend); she felt regret that their presence on the cliff had scared away the fish and disrupted the girl's work.

“The figure you see dancing down there is not a human body; it is only a spirit,” said Hiiaka.

“The figure you see dancing down there isn’t a human; it’s just a spirit,” said Hiiaka.

“What!”

“What?!”

“Yes, only a spirit, and I’ll prove it in this way,” she plucked a hala drupe from a wreath about her neck;—“I’ll throw this down to her; and if she flies away, it will prove she is a spirit; but, if she does not disappear, it will prove her to be a human body.”

“Yes, just a spirit, and I'll show you how,” she took a hala drupe from a necklace around her neck;—“I'll drop this down to her; and if she flies away, that will prove she's a spirit; but if she doesn't disappear, that will prove she's human.”

Hiiaka threw the hala, and the moment the poor soul saw it fall in front of her she vanished out of sight. But in a short time she reappeared and, seizing the hala with her fingerless hand-stumps, she pressed it to her nose with an extravagant display of fondness and, looking up to Hiiaka, she chanted:

Hiiaka threw the hala, and the moment the unfortunate person saw it land in front of her, she disappeared from view. But shortly after, she reappeared and, grabbing the hala with her stumps where her fingers used to be, she pressed it to her nose with an exaggerated show of affection and, looking up at Hiiaka, she began to chant:

No luna ka hala, e;

No more hardship, okay;

Onini pua i’a i ke kai.

Onini fish in the ocean.

No Pana-ewa ka hala e;

No Puna ka wahine—

No ka Lua, e-e!

No fighting, okay!

TRANSLATION

The hala, tossed down from the cliff,

The hala, thrown off the cliff,

Ruffs the sea like a school of sprats:

The hala’s from Pana-ewa,

The Woman’s homeland is Puna—

The woman’s homeland is Puna—

That wonderful Pit of Puna!

That amazing Pit of Puna!

The loss of her fish still weighed upon the mind of Mana-mana-ia-kaluea. [72]Sitting down on a convenient rock, she mourned aloud:

The loss of her fish still weighed heavily on Mana-mana-ia-kaluea's mind. [__A_TAG_PLACEHOLDER_0__] Sitting down on a nearby rock, she mourned loudly:

Aloha wale ka pali o Pi-na-na’i,

Aloha to the cliff of Pi-na-na’i,

Ka lae iliili ma-kai o Hono-manú, e!

He u ko’u, he minamina, e-e,

I ka lilo ka i’a i ka poho o ka lima—

A lilo, e-e!

A float, e-e!

TRANSLATION

How dear the cliff of Pi-na-na’i,

How precious the cliff of Pi-na-na’i,

And the pebbly cape at Hono-manú!—

And the rocky shore at Hono-manú!—

How I mourn for the loss of my fish!

How I grieve for the loss of my fish!

They were swept from the reach of my hand;

They were out of my grasp;

They are gone, forever gone!

They're gone, gone for good!

Mana-mana-ia-kalu-ea, sitting on the rock, wrapped in her own little garment of trouble, seemed for the moment quite oblivious to the presence of Hiiaka, who was intently watching her. Suddenly she looked up and, with brightening eye, exclaimed, “I know where you are from:”

Mana-mana-ia-kalu-ea, sitting on the rock, wrapped in her own little garment of trouble, seemed for the moment completely unaware of Hiiaka's presence, who was watching her closely. Suddenly, she looked up and, with a gleam in her eye, exclaimed, “I know where you’re from:”

A Pu’u-lena, i Wahine-kapu i pua, e,

A Pu’u-lena, at Wahine-kapu in bloom, oh,

A ilalo o Hale-ma’u-ma’u, e:

Abaixo do Hale-ma’u-ma’u, e:

Nolaila, e; nolaila paha, e!

Nolaila, yes; nolaila maybe, yes!

TRANSLATION

The land of Wahine-kapu,

The land of the Pu’u-lena,

The land of Pu’u-lena,

Exhaled from the depths of the Pit—

The fire-pit Hale-ma’u-ma’u—

The fire pit Hale-ma’u-ma’u—

It comes to me: that is your home!

It comes to me: that’s your home!

Hiiaka had conceived a strong prejudice against the girl almost from the first, but now she softened and, turning to Wahine-oma’o, said, “If you really want this girl for an aikane, I think it can be managed. The only trouble will be to hold her after she is caught.”

Hiiaka had formed a strong dislike for the girl almost right away, but now she softened and, turning to Wahine-oma’o, said, “If you truly want this girl as a friend, I think it can be arranged. The only issue will be keeping her once she's caught.”

Hiiaka, using her magical power, caught the spirit of Mana-mana-ia-kalu-ea and, in the lack of a more suitable receptacle, they wrapped it carefully in the free end of Wahine-oma’o’s loin-cloth and went on their way, traveling towards Wailuku. [73]

Hiiaka, with her magical abilities, captured the spirit of Mana-mana-ia-kalu-ea and, since there wasn’t a better container available, carefully wrapped it in the loose end of Wahine-oma’o’s loincloth and continued on their journey towards Wailuku. [__A_TAG_PLACEHOLDER_0__]

1 Hala. The fruit of the hala was so often worn in the form of a wreath by Kapo that it came to be looked upon almost as her emblem. To ordinary mortals this practice savored of bad luck. If a fisherman traveling on his way to the ocean were to meet a person wearing a lei of this description he would feel compelled to turn back and give over his excursion for that day. In this instance Kapo was on her way to visit a sick man—a bad omen for him. ↑

1 Hala. Kapo often wore hala fruit as a wreath, making it almost her symbol. For regular people, this practice seemed like bad luck. If a fisherman on his way to the ocean encountered someone wearing that kind of lei, he would feel he had to turn back and cancel his trip for the day. In this case, Kapo was heading to see a sick man—which was a bad sign for him. ↑

2 Kapo-ula-kina’u. This was the full name of Kapo, who was one of the goddesses of the kahunas who practiced anaana (po’e kahuna anaana). Ula-kina’u is a term applied to a feather cloak or cape made of yellow feathers which had in them black spots. ↑

2 Kapo-ula-kina’u. This was Kapo's full name, one of the goddesses among the kahunas who practiced anaana (po’e kahuna anaana). Ula-kina’u refers to a feather cloak or cape made from yellow feathers that have black spots on them. ↑

3 Makani. The reference is to the halitus, spirit, or influence that was supposed to rest upon and take possession of one obsessed, even as the tongues of fire rested upon the multitude in Pentecostal times. Kapo herself had this power. ↑

3 Makani. This refers to the spirit or influence that was believed to possess those who were obsessed, just like the tongues of fire descended upon the crowd during Pentecost. Kapo herself had this power. ↑

4 Ua, literally, rain, is by a much employed figure of speech used to mean the guests or people of a house. Thus, if one sees a great number of guests arriving to share the hospitality of a house, he might say, “kuaua ua nui ho’i keia e hele mai nei.” ↑

4 Ua, which means rain, is a popular metaphor used to refer to guests or people in a home. So, if someone sees many guests coming to enjoy the hospitality of a home, they might say, “kuaua ua nui ho’i keia e hele mai nei.” ↑

5 Pua-lehei, a pali mauka of Wai-he’e. ↑

5 Pua-lehei, a cliff over Wai-he’e. __A_TAG_PLACEHOLDER_1__

6 Olohe, an expert in the hula. ↑

6 Olohe, a hula master. __A_TAG_PLACEHOLDER_1__

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XVII

HIIAKA RESTORES TO LIFE MANA-MANA-IA-KALU-EA

As they drew near Wailuku, they crossed a sandy plain dotted with tumuli. At once the captive spirit of Mana-mana-ia-kalu-ea became restless, as if eager to be free. “We are nearing the place where rests its body,” explained Hiiaka. Wahine-oma’o by soft words and gentle touch did her best to soothe the perturbed thing.

As they got closer to Wailuku, they passed over a sandy plain scattered with burial mounds. Suddenly, the captured spirit of Mana-mana-ia-kalu-ea grew agitated, as if wanting to escape. “We’re approaching the spot where its body lies,” Hiiaka explained. Wahine-oma’o tried her best to calm the restless spirit with kind words and a gentle touch.

It might almost be said that the captive spirit of Mana-mana-ia-kalu-ea was the guide (acting like the magnetic needle to point the way) to the home where the as-yet uncorrupted body of the girl still lay, mourned over by her parents.

It could almost be said that the captive spirit of Mana-mana-ia-kalu-ea was the guide (like a magnetic needle pointing the way) to the home where the still uncorrupted body of the girl lay, mourned by her parents.

It was with much prayer and the use of persuasive force that Hiiaka compelled the seemingly reluctant spirit to reenter its bodily tenement and to take up its abode there. As it passed from its point of entrance at the toe up into the chest its progress was marked by a kindling warmth that gave the assurance that the spirit was resuming its empiry over the whole body.

It was through a lot of prayer and some strong persuasion that Hiiaka convinced the seemingly unwilling spirit to return to its body and settle in. As it moved from where it entered at the toe up into the chest, its journey was marked by a warmth that assured everyone that the spirit was regaining control over the entire body.

The first request made by the girl, on regaining full consciousness, was that her parents would prepare a feast as a thank-offering to Hiiaka, her physician, her deliverer. The special articles on which she was most insistent were luau and baked aoaoa.1

The first thing the girl asked for when she fully woke up was for her parents to throw a feast as a thank-you to Hiiaka, her doctor and savior. The specific dishes she wanted most were luau and baked aoaoa. 1

When it came to the final dressing of the luau for the table, namely the stripping off of the outer leafy covering from the scalding hot mass within—an operation which the girl insisted on doing with her own newly restored hands—Hiiaka watched her critically; for the proper etiquette of the function was most punctilious. But Hiiaka could find no fault with her technique: there was no slip, no solecism, no blowing on her fingers to relieve the scalding heat, as she stripped off the wrappings of the bundles.

When it was time to get the table ready for the luau, specifically removing the outer leafy layers from the steaming hot mass inside—something the girl insisted on doing with her freshly restored hands—Hiiaka observed her closely; the etiquette for the event was very strict. However, Hiiaka couldn't find any mistakes in her technique: there was no slip-up, no faux pas, and she didn’t blow on her fingers to cool down the burning heat as she unwrapped the bundles.

When the feast was set and all were gathered about the tables, at Hiiaka’s command all bowed their heads with closed eyes and she offered up her prayer to the gods of heaven. At the conclusion of her prayer, when they looked, lo, the portion of the feast set apart for the gods had vanished without leaving a trace [74]behind. On this occasion Hiiaka was seen to eat of the food that was provided for her.2

When the feast was prepared and everyone had gathered around the tables, Hiiaka instructed everyone to bow their heads with closed eyes as she offered her prayer to the gods of heaven. When she finished her prayer and they looked up, they were astonished to see that the portion of the feast meant for the gods had completely disappeared without a trace [__A_TAG_PLACEHOLDER_0__]. On this occasion, Hiiaka was observed eating the food that had been provided for her.2

The line of travel now chosen by Hiiaka was that along the northern or Koolau side of the island of Maui and led them at first through a barren stretch of country called a kaha, the food-supply of which came from a distance. It was here that Wahine-oma’o began to complain bitterly of hunger and exhaustion from the lack of food, and she besought Hiiaka to intercede with the people of a neighboring fishing village to give them something to eat.

The route that Hiiaka chose to take was along the northern or Koolau side of Maui, which initially led them through a barren area known as a kaha, where the food had to be brought in from afar. It was here that Wahine-oma’o started to complain intensely about hunger and tiredness from not having enough food. She urged Hiiaka to ask the people from a nearby fishing village to provide them with something to eat.

“How is this, that you are a-hungered so soon after the feast of which you have partaken? This is a kaha,” said Hiiaka, “and you must know that food does not grow in this place. They have only fish from the sea. Nevertheless, I will venture the request.” This she did in the language of song:

“How is it that you’re hungry so soon after the feast you just had? This is a kaha,” Hiiaka said, “and you should know that food doesn’t grow in this place. They only have fish from the sea. Still, I’ll make the request.” She did this in the language of song:

Ke kahulihuli a ka papa o Wailuku;

He ole ke kaha kuai ai, e:

Ho-mai he ai;

Ho-mai ana ua ai, e!

TRANSLATION

As trembles the plank at Wailuku

As the plank shakes at Wailuku

(So trembles the fate of the king):

There’s no market where to buy meat;

There’s no place to buy meat;

Give the stranger, then, something to eat:

Give the stranger something to eat then:

Give us, I pray, of your meat.

Give us, please, some of your food.

Some of the people derided them, saying, “Mahaoi!”—what impudence! Others, with kindness in their tones, explained, “This is a barren place; and all of our food comes from a great distance.” The churlish ones, however, kept up their taunts: “You won’t get any food in this place. Go up there;” and they pointed in the direction of Iao valley, where was the residence of King Ole-pau.

Some people mocked them, saying, “How rude!” Others, with kind voices, explained, “This area has nothing to offer; all our food is brought from far away.” However, the rude ones continued their jeers: “You won’t find any food here. Go up there;” and they pointed toward Iao Valley, where King Ole-pau lived.

During the whole of the day, while tramping through this [75]region, Hiiaka had observed from time to time a ghostly object flitting across the plain within hearing distance and in a direction parallel to their course. Though this spirit was not visible to ordinary mortal eye, Hiiaka recognized it as the second soul of Ole-pau, the very chief to whom the people of the fishing village had bid her make her appeal for food. Hiiaka, putting two and two together, very naturally came to the conclusion that this vagrant kino wailua was, in the last resort, responsible for this denial of hospitality to herself and her companion. Acting on this conclusion, Hiiaka made a captive of the vagrant soul and determined to hold it as a hostage for the satisfaction of her reasonable demands.

During the entire day, while walking through this [__A_TAG_PLACEHOLDER_0__] area, Hiiaka noticed now and then a ghostly figure moving across the plain within earshot and alongside their path. Although this spirit wasn’t visible to the average person, Hiiaka recognized it as the second soul of Ole-pau, the very chief to whom the people of the fishing village had sent her to request food. Putting two and two together, Hiiaka naturally concluded that this wandering kino wailua was ultimately responsible for their lack of hospitality toward her and her companion. Based on this conclusion, Hiiaka captured the wandering soul and decided to keep it as a hostage to ensure her reasonable requests were met.

On coming within speaking distance of the house where lived the woman Wai-hinano, who ostentatiously played the part of kahu and chief adviser to Ole-pau, Hiiaka made known her wish, concluding her appeal with ominous threats against the life of the king, in case her demands were not met:

On getting close enough to the house where Wai-hinano lived, who openly acted as the kahu and chief adviser to Ole-pau, Hiiaka expressed her wishes, finishing her request with serious threats against the king's life if her demands weren’t met:

E Wai-hinanano, wahine a ka po’ipo’i,3 e,

E Wai-hinanano, woman of the po’ipo’i, __A_TAG_PLACEHOLDER_0__ e,

Ua make ke alii,4 ka mea nona nei moku.

He pua’a kau5 ka uku no Moloka’i;

He pua’a kau5 the payment for Moloka’i;

He ilio lohelohe6 Lana’i;

He ilio lohelohe __A_TAG_PLACEHOLDER_0__ Lana’i;

A pale ka A-a ka Kanaloa;7

He puo’a kai Molokini:

He eats at Molokini:

Huli ka ele8 o na Hono;

Huli ka ele__A_TAG_PLACEHOLDER_0__ or na Hono;

[76]

[__A_TAG_PLACEHOLDER_0__]

Haki kepakepa na moku;

Haki keeps everything together;

Pa’iauma9 ka aina;

Pa’iauma__A_TAG_PLACEHOLDER_0__ the land;

Uwé kamali’i, uwé ka hanehane—

Ke uwé la i ka pili,10

I ke kula o Ka-ma’o-ma’o;11

I am the school of Ka-ma’o-ma’o;__A_TAG_PLACEHOLDER_0__

Ka’a kumakena o Maui, e!

Maui's spirit guides you!

Ia wai Maui?

Where's Maui?

TRANSLATION

Translation

O Waihinano, thou soul-grabber,

O Waihinano, you soul stealer,

Dead is the king of this island;

Moloka’i shall offer a boar;

Moloka’i will provide a boar;

Lana’i’s a half-baked dog;

Lana’i’s a half-cooked dog;

Kanaloa fends off the A-a;

Kanaloa battles the A-a;

Molokini buffets the waves.

Molokini takes on the waves.

The ship of state turns turtle:

The government's a mess:

What wailing and beating of breast!

What a wailing and beating of chests!

Wild anguish of child and of ghost

O’er the sandy plain of Kama’o.

O'er the sandy plain of Kama'o.

The districts are frenzied with grief—

The districts are overwhelmed with grief—

Tearing of hair and breaking of teeth—

Tearing out hair and cracking teeth—

One wail that lifts to heaven.

One cry that reaches the sky.

Who shall be heir to this Maui land?

Who will inherit this land in Maui?

To this the sorceress, Waihinano, answered pertly:

To this, the sorceress, Waihinano, replied sharply:

Ia Ole-pau, ia ka Lani, ke Alii,

Ka-uhi-lono-honua;

O Ka-uhi-kapu ia a Kama,

O Ka-uhi-kapu is Kama,

A Kama-lala-walu:

O ke alii kahiko i hanau ia ai a Kiha—

O Ka-ula-hea nui o ka Lani:

Iaia Maui.

[77]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

To Ole-pau, the heavenly, the King,

To Ole-pau, the glorious, the King,

In line from deep-rooted Kauhi—

In line with deep-rooted Kauhi—

Sacred Kauhi of Kama was he—

Kama, the sire of eight branches—

Kama, the father of eight branches—

Of the ancient stock of Kiha,

Of the ancient lineage of Kiha,

And Ka-ula-hea, the great king:

Maui belongs to him.

Maui is his.

To this Hiiaka retorted:

Hiiaka replied:

Ua make ia:

Leave it.

Ke ha’i mai nei na Wahine

I ka Hikina La ma Puna,

O na Wahine i ka La o Ha’eha’e,

O na Wahine i ka La o Ku-ki’i,

Ako lehua o Kua-o-ka-la,

Ako lehua of Kua-o-ka-la,

Walea wai o ka Milo-holu,

Walea River of the Milo-holu,

Kui pua lei o Ma-li’o—

If the flower of Ma-li’o—

O Pele-honua-mea i ka Lua;

O Pele-honua-mea in the Lua;

O Hiiaka i ka alawa maka o Wakea:

O Hiiaka in the light of Wakea's gaze:

Ke i mai nei Haumea,

Haumea is asking,

He kalawa ka ma’i a puni:

Ua make!

You did it!

TRANSLATION

The sentence of death is affirmed

The death sentence is upheld.

By the women—the gods—who tend

By the women—the deities—who tend

On the rising Sun of Puna,

Are Sun-guards at Ha’e-ha’e,

Are Sun-guards at Ha’e-ha’e?

Pluck lehua-bloom at Kuki’i,

Pluck lehua bloom at Kuki’i,

Rejoice in the stream Milo-holu

Rejoice in the Milo-holu stream

String the flower-wreaths of Mali’o—

Make the flower crowns of Mali’o—

Confirmed by Pele, God of the Pit—

Confirmed by Pele, Goddess of the Pit—

Once heir to the sacred South-land,

Once heir to the sacred Southland,

And by Hiiaka, her shadow,

And by Hiiaka, her spirit,

Gleam shot from the eye of Wakea.

A gleam shot from Wakea's eye.

Thus saith the goddess Haumea:

Thus says the goddess Haumea:

Great torment, fever and swelling

Severe pain, fever, and swelling

Shall scorch and rack him to death!

Shall burn and torment him to death!

[78]

[__A_TAG_PLACEHOLDER_0__]

The woman Wai-hinano replied to Hiiaka with great spirit and temper:

The woman Wai-hinano responded to Hiiaka with a lot of energy and attitude:

Aole e make ku’u alii ia oe:

Ke hoole mai nei na ’kua wahine o ia nei,

O Ha-pu’u,12 laua o Ka-lei-hau-ola,12

O Ha-pu’u,__A_TAG_PLACEHOLDER_0__ and Ka-lei-hau-ola,__A_TAG_PLACEHOLDER_1__

O na ’kua nana i lapu Hawaii a puni:

Oia ho’i ka i a ke Akua:

Ke hoole mai nei, aole e make!

TRANSLATION

My king shall not die by your arts:

My king won’t die because of your tricks:

His witch-gods deny you the power—

Ha-pu’u and Ka-lei-hau-ola;—

They peopled Hawaii with ghosts:

They filled Hawaii with ghosts:

The voice of the gods, the king’s gods,

The voice of the gods, the king's gods,

Declares that he shall not die!

Declares that he will not die!

The situation was peculiar: while Ka-ula-hea (in the narrative sometimes called Ole-pau) lay asleep, his second soul, kino wailua, deserting its post of duty as life-guard over the bodily tenement, had stolen away in pursuit of its own pleasures. It was this very kino wailua that Hiiaka had seen flanking her own route, as it flitted through the fields, and which she had caught and now held fast in her hand like a fluttering moth, a hostage answerable for his misbehaviour and disregard of the rites of hospitality. Its possession gave Hiiaka complete power over the life of the king. It was no empty vaunt when Hiiaka again declared in song:

The situation was strange: while Ka-ula-hea (sometimes referred to as Ole-pau in the story) was asleep, his second soul, kino wailua, abandoned its duty as protector of his body and slipped away to enjoy its own pleasures. This very kino wailua was what Hiiaka had seen alongside her own path, darting through the fields, and she had caught it, now holding it tightly in her hand like a fluttering moth, a hostage responsible for its bad behavior and disregard for hospitality. Having it gave Hiiaka complete control over the king's life. It wasn’t just empty bragging when Hiiaka sang again:

Aohe kala i make ai;

No pain, no gain;

Ua pu-á ia na iwi;

Ua akua13 ka ai a ka ilo!

TRANSLATION

Translation

King death has gripped him ere this;

King death has already taken hold of him;

His bones already are bundled;

His bones are already bundled;

The worms—they batten like gods!

The worms—they feed like gods!

While Wai-hinano was listening to these awful words of [79]Hiiaka she was dumbfounded by the tidings that Ka-ula-hea had waked from seemingly peaceful sleep in great perturbation, and that he had been seized with the most alarming and distressful symptoms. In her distraction and rage she still maintained a defiant attitude:

While Wai-hinano was listening to Hiiaka's terrible words [__A_TAG_PLACEHOLDER_0__], she was shocked to hear that Ka-ula-hea had woken from what seemed like a peaceful sleep in a state of great distress and had experienced alarming and troubling symptoms. In her frustration and anger, she still kept a defiant stance:

Aohe make ku’u alii ia oe!

Ke hoole mai nei na akua kane o ia nei,

O Ke-olo-ewa14 nui a Kama-ua,15

O Ke-olo-ewa __A_TAG_PLACEHOLDER_0__ big as Kama-ua, __A_TAG_PLACEHOLDER_1__

He mana, he úi-úi, a-á,

He ana leo no ke Alii,

E ai ana i ka pua’a o Ulu-nui,16

I ka lalá Me-ha’i-kana,17

I ka lalá Me-ha’i-kana, __A_TAG_PLACEHOLDER_0__

Hoole o Uli, akua o ia nei,

Hoole o Uli, this god here,

E hoole mai ana, aohe e make!

TRANSLATION

My lord shall succumb not to you!

My lord will not give in to you!

The gods of the King affirm it—

The gods of the King confirm it—

Olo-ewa, son of the Rain-god,

Olo-ewa, son of the Rain God,

Gifted with power and with counsel,

Blessed with strength and wisdom,

His voice rings out clear for the King:

His voice comes through loud and clear for the King:

He shall eat the fat of the swine,

He will eat the fat of the pig,

Pluck the fruit of the bread-tree: Uli,

A god ever true to the king,

A god who is always loyal to the king,

Declares that he shall not die.

Declares that he will not die.

[80]

[__A_TAG_PLACEHOLDER_0__]

After each incantation that Hiiaka had uttered against Ka-ula-hea that king’s disorder had flared up in more alarming proportions, and he cried out in agony and despair. But it was equally true that just as often as Wai-hinano had uttered her assurances that his trouble was but a trivial indisposition and that the male and female deities—above named—stood on his side and would not let him die, his courage had revived, he had felt a wave of healing influence pass through him and relief had come.

After each spell that Hiiaka cast against Ka-ula-hea, the king's condition worsened, and he cried out in pain and hopelessness. However, it was also true that whenever Wai-hinano reassured him that his issue was just a minor ailment and that the male and female deities mentioned earlier were on his side and wouldn’t let him die, his spirits lifted. He felt a rush of healing energy flow through him, and relief followed.

In explanation of this see-saw of hope and despair, sickness and relief, let it be stated that the two goddesses Ha-pu’u and Ka-lei-hau-ola and the two male deities Ke-olo-ewa and Kama-ua, to whom Wai-hinano had appealed by name as staunch friends of Ka-ula-hea, were, in fact, allies, or, more properly speaking, partizans of Pele and, therefore, subject to the call of Hiiaka. The kahuna Kaua-kahi-ma-hiku-lani who had charge of the case of Ka-ula-hea derived his power as a kahuna from these very same gods; but he well knew that if there was a conflict of interests the commands of Hiiaka would have to be carried out. As for the gods and goddesses above named, they, of course, knew their own position and that, as between Ka-ula-hea and Hiiaka, their service must be rendered to the latter. Willing enough they were, however, in return for the offerings laid on their altars, to feed the hopes of the sick man by temporary relief of his sharpest agonies.

In explaining this rollercoaster of hope and despair, sickness and relief, it’s important to mention that the two goddesses, Ha-pu’u and Ka-lei-hau-ola, along with the two male deities, Ke-olo-ewa and Kama-ua, to whom Wai-hinano called out as loyal friends of Ka-ula-hea, were actually allies—or more accurately, supporters of Pele—and thus, they were subject to Hiiaka’s commands. The kahuna Kaua-kahi-ma-hiku-lani, who was responsible for Ka-ula-hea’s case, drew his power as a kahuna from these very same gods; however, he knew that if there was a conflict of interest, Hiiaka’s orders would take precedence. As for the aforementioned gods and goddesses, they were clearly aware of their place and understood that when it came to Ka-ula-hea and Hiiaka, their loyalty must be to the latter. They were more than willing, though, to momentarily ease the suffering of the sick man in exchange for the offerings placed on their altars, providing brief relief from his most intense pain.

As if this tangle of motives were not enough, the affair was yet further complicated by the appearance of Kapo—sister, or aunt of Hiiaka—on the scene, who came not only as an interested spectator but as a friend of king Ka-ula-hea. Her power to intervene was, of course, handicapped by the same limitations that touched the other gods and goddesses. She had the good sense to retire from the scene before things came to a critical pass.

As if this mix of motives weren't complicated enough, things got even trickier with the arrival of Kapo—Hiiaka's sister or aunt—who showed up not just as a curious onlooker but also as a friend of King Ka-ula-hea. Her ability to step in was also limited by the same restrictions that affected the other gods and goddesses. She wisely decided to leave before things escalated.

Meanwhile messengers are flying about, seeking or bringing assurance of relief and restoration to health to the king. Hiiaka saw that the time had come for decisive action. She went close up to the great stone Paha-lele that still lies in the road near Wai-he’e and, before smiting against the rock the soul she held captive in her hand, she uttered the following kau:

Meanwhile, messengers are rushing around, looking for or delivering news of relief and recovery for the king. Hiiaka realized that the moment for decisive action had arrived. She approached the large stone Paha-lele that still rests on the road near Wai-he’e and, before striking the rock with the soul she held captive in her hand, she spoke the following kau:

E Kaua-kahi-ma-hiku-lani ma, e,

A pala ka hala haalei ma ke kaha o Maka-o-kú; [81]

A pala ka hala haalei ma ke kaha o Maka-o-kú; [__A_TAG_PLACEHOLDER_0__]

Haawi pauku oko’a me ko ha’i kini.

He aloha ole no o Kaua-kahi-ma-hiku-lani ma

I ka anaaná ia Ole-pau, e.

Lapu Ole-pau, e:

Lapu Ole-pau, eh:

Ua akua ka ai a ka ilo!

She pauses for a moment, then continues:

She stops for a moment, then goes on:

Anu Wai-he’e i ka makani Kili-o’opu;

Anu Wai-he’e in the Kili-o’opu wind;

He i’a iki mai ke kele honua18 o Wailuku,

Mai ke kila o Pa-ha’a-lele la, e.

Ha’alele ke ea o Ole-pau;

Leave the world of Ole-pau;

Ua pokaka’a ka uhane,

The spirit is restless,

Ua kaalo ia Milu.

TRANSLATION

O Kau-akahi-ma-hiku-lani,

You cast away the wilted fruit,

You throw away the rotten fruit,

And with it the fortunes of many:

And with it, the fortunes of many:

’Twas an act of unlove, that of yours—

It was an unloving act, what you did—

To hurl this prayer-shaft at Ole-pau:

To throw this prayer-arrow at Ole-pau:

He’ll become but a houseless ghost;

He’ll become just a homeless ghost;

The maggots shall batten like gods.

The maggots will thrive like gods.

Waihe’e crouches in the cold blast

Waihe’e crouches in the cold wind.

Of the raging Kili-o’opu.

This atom soul I plucked from the grave,

This atom soul I took from the grave,

From a fastness desolate now:

From a now-desolate stronghold:

The spirit flits from Ole-pau,

The spirit moves from Ole-pau,

Goes down the steep to destruction,

Goes down the steep path to disaster,

To the somber caverns of Milu.

To the dark caves of Milu.

With this she dashed the captive soul against the rock, and that was the end of Ka-ula-hea.

With that, she slammed the captive soul against the rock, and that was the end of Ka-ula-hea.

There was something in the manner of Hiiaka as she called the name of the kahuna Kau-akahi that chilled the courage of the group of sorcery gods. They saw that their game was played out, and they sneaked away and hid themselves. [82]

There was something in the way Hiiaka called out the name of the kahuna Kau-akahi that froze the courage of the group of sorcery gods. They realized their game was over, and they quietly slipped away and hid. [__A_TAG_PLACEHOLDER_0__]

1 Aoaoa, an imitative word, meaning dog. ↑

1 Aoaoa, a word that mimics sounds, meaning dog. ↑

2 The most acceptable bonne bouche that could be offered to Pele, or to Hiiaka, by way of refreshment, was the tender leaf of the taro plant. We of this day and generation eat it when cooked under the name of lu-au. In the old old times, when the gods walked on the earth, it was acceptable in the raw state under the name of paha; but, when cooked, it was called pe’u. The word luau seems to be modern. ↑

2 The most popular treat that could be offered to Pele or Hiiaka as a refreshment was the soft leaf of the taro plant. Nowadays, we eat it cooked, calling it lu-au. In ancient times, when the gods roamed the earth, it was enjoyed raw and known as paha; when cooked, it was referred to as pe’u. The term luau seems to be a more modern reference. ↑

3 Po’ipo’i. Po’i uhane, soul catching, was one of the tricks of Hawaiian black art and sorcery. ↑

3 Po’ipo’i. Po’i uhane, which means soul catching, was one of the tricks of Hawaiian black magic and sorcery. ↑

4 There seems to be a disagreement in the different versions as to who is the king with whom Hiiaka is now contending, whether Ole-pau or Ka-ula-hea. For historical reasons I deem it to be Ole-pau, unless, indeed, the two names represent the same person. ↑

4 There appears to be a difference in the various versions regarding who the king is that Hiiaka is currently challenging, whether it's Ole-pau or Ka-ula-hea. For historical reasons, I believe it is Ole-pau, unless the two names actually refer to the same individual. ↑

5 Kau, offered, literally put upon the altar. ↑

5 Kau, given, literally placed on the altar. ↑

6 Lohelohe. By some inadvertence, this word was wrongly written as kohekohe, and I was cudgelling my wits and searching heaven and earth, and all the dictionaries, to learn the meaning of this artifact, this false thing. After having vainly inquired of more than a score of Hawaiians, one man, wiser than the rest, suggested that it should be lohelohe, not kohekohe, meaning underdone, or half-baked dog. The word-fit was perfect; the puzzle was solved. ↑

6 Lohelohe. By some mistake, this word was incorrectly written as kohekohe, and I was racking my brain and searching everywhere, including all the dictionaries, to understand the meaning of this term, this incorrect thing. After asking over twenty Hawaiians without success, one man, more knowledgeable than the others, suggested it should be lohelohe, not kohekohe, which means underdone or half-baked dog. The word fit perfectly; the mystery was solved. ↑

7 Kanaloa, a name given to Kaho’olawe, the island that faces East Maui, lying opposite to Lahaina, and acts as a sort of buffer against the blasts of the south wind, allusion to which is made, as I believe, in the word A-a, in the same line. ↑

7 Kanaloa, the name for Kaho’olawe, the island that looks towards East Maui, located across from Lahaina, and serves as a kind of shield against the strong south winds, which I think is referenced in the word A-a, in the same line. ↑

8 Ele. Some critics claim that ka and ele properly form one word (kaele), meaning overturned. The grammatical construction of the sentence forbids this claim, and favors the interpretation I have given it. The figure is that of a canoe whose black body has turned turtle. ↑

8 Ele. Some critics debate that ka and ele correctly combine into one word (kaele), which means overturned. The grammatical structure of the sentence contradicts this argument and supports the interpretation I have provided. The imagery is of a canoe whose dark body has capsized. ↑

9 Pa’iauma. This is a word that has presented some difficulties in the discovery of its meaning. The reference, I believe, is to breast-beating practiced by persons distracted with grief. Uma, the final part of the word, I take to be the shortened form of umauma, the bosom. ↑

9 Pa’iauma. This is a word that has posed some challenges in understanding its meaning. I think it refers to breast-beating done by people overwhelmed with grief. Uma, the last part of the word, seems to be a shortened version of umauma, which means the bosom. ↑

10 Pili, to meet, the point or line of meeting, the boundaries of a land, therefore, the whole land. ↑

10 Pili means to meet, referring to the point or line where things meet, the borders of a land, and thus signifies the entire land. ↑

11 Ka-ma’o-ma’o, the name given to the sandy plain between Kahului and Wailuku, Maui. ↑

11 Ka-ma’o-ma’o is the name for the sandy area situated between Kahului and Wailuku, Maui. ↑

12 Female deities of necromancy. ↑

12 Female necromancer deities. __A_TAG_PLACEHOLDER_1__

13 Akua, literally, a god, or godlike, i.e., in an awe-inspiring manner. ↑

13 Akua, which means a god or something godlike, in other words, in a way that inspires awe. ↑

14 Ke-olo-ewa, an akua ki’i, i.e., a god of whom an image was fashioned. Some form of cloud was recognized as his body (Ke-ao-lewa(?)). One of his functions was rain-producing. Farmers prayed to him: “Send rain to my field; never mind the others.” S. Percy Smith of New Zealand (in a letter to Professor W. D. Alexander) says that in Maori legend Te Orokewa, also called Poporokewa, was one of the male apa, guardians and messengers of Io, the supreme god who presided over the 8th heaven.

14 Ke-olo-ewa, a god represented by an image. Some type of cloud was seen as his body (Ke-ao-lewa(?)). One of his roles was to produce rain. Farmers prayed to him, saying, “Send rain to my field; ignore the others.” S. Percy Smith from New Zealand (in a letter to Professor W. D. Alexander) mentions that in Maori legend, Te Orokewa, also known as Poporokewa, was one of the male apa, the guardians and messengers of Io, the highest god who ruled over the 8th heaven.

According to Hawaiian tradition Ke-olo-ewa was, as Fornander has it, the second son of Kamauaua, a superior chief, or king of Moloka’i, and succeeded his father in the kingship of that island. His brother, Kau-pe’e-pe’e-nui-kauila, it was who stole away Hina, the beautiful wife of Haka-lani-leo of Hilo, and secreted her on the famous promontory of Haupu on Moloka’i. For the story of this interesting tradition see Fornander’s “The Polynesian Race,” Vol. II, p. 31. After death he became deified and was prayed to as a rain god. ↑

According to Hawaiian tradition, Ke-olo-ewa was, as Fornander mentions, the second son of Kamauaua, a respected chief or king of Moloka’i, and he took over his father's kingship of that island. His brother, Kau-pe’e-pe’e-nui-kauila, is the one who kidnapped Hina, the beautiful wife of Haka-lani-leo from Hilo, and hid her on the famous cliff of Haupu on Moloka’i. For more on this fascinating tradition, see Fornander’s “The Polynesian Race,” Vol. II, p. 31. After his death, he was deified and worshipped as a rain god. ↑

15 Kama-ua, literally, the son of rain. ↑

15 Kama-ua, which means, the son of rain. ↑

16 Ulu-nui, meaning the crop-giver. This was the name of a king, or chief of Makawao, Maui, under whom agriculture greatly flourished. ↑

16 Ulu-nui, which means the crop-giver. This was the name of a king, or chief of Makawao, Maui, during a time when agriculture thrived. ↑

17 Me-ha’i-kana, the goddess of the bread-fruit tree; said to be one with Papa. ↑

17 Me-ha’i-kana, the goddess of the breadfruit tree; believed to be one with Papa. ↑

18 Kele honua, an instance of a noun placed after its adjective. The meaning of kele honua, literally, the miry soil, a deep taro patch. ↑

18 Kele honua, an example of a noun following its adjective. The term kele honua literally means the muddy ground, referring to a deep taro patch. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XVIII

HIIAKA EMPLOYS THE ART OF MAGIC AS A MEANS OF DISGUISING HERSELF—SHE VOYAGES TO MOLOKA’I—MEETS THE MO’O KIKI-PUA

“Let us make haste to leave this place,” said Hiiaka. This was because she foresaw that she would be importuned to use her power to restore the dead king to life.

“Let’s hurry to leave this place,” said Hiiaka. She knew she would be pressured to use her power to bring the dead king back to life.

When these akuas, these spirits of necromancy, became convinced that they had been worsted in the fight and that the king was dead beyond all hope of recovery from them, they instructed the kahuna Kaua-kahi-ma-hiku-lani to desist from his useless incantations and to dispatch all his people in search of Hiiaka as the only one capable of reviving the king’s life.

When these akuas, the spirits of necromancy, realized they had lost the battle and that the king was dead beyond any chance of return, they directed the kahuna Kaua-kahi-ma-hiku-lani to stop his pointless chants and send out all his followers to find Hiiaka, the only one who could bring the king back to life.

While toiling up the ascent of the hill Pulehu, the two women saw in the distance a great multitude of people pursuing them. Wahine-oma’o, in alarm, exclaimed, “What in the world shall we do!” At once Hiiaka by the power of enchantment changed Wahine-oma’o into the shape of a little girl leading a dog, while she herself assumed the form of a bent old woman hobbling along with the aid of a stick; and as the multitude drew near they sat down by the wayside as if to rest.

While climbing up the hill Pulehu, the two women noticed a large crowd of people coming after them in the distance. Wahine-oma’o, panicking, said, “What are we going to do?” Immediately, Hiiaka used her magic to transform Wahine-oma’o into a little girl with a dog, while she took on the appearance of a hunched old woman using a stick to walk. As the crowd approached, they sat down by the side of the road as if they were just taking a break.

The people in pursuit had seen and recognized Hiiaka and felt sure of soon overtaking her. But, on coming to the place, they found only a decrepit woman and a child leading a dog. They were taken aback and asked, “Where are the two young women who were traveling this way? Have you not seen them?”

The people chasing her had seen and recognized Hiiaka and were confident they would catch up soon. However, when they arrived at the spot, they only found an elderly woman and a child walking a dog. They were surprised and asked, “Where are the two young women who were passing through here? Haven't you seen them?”

“We have seen nothing of them,” was the answer.

“We haven’t seen any of them,” was the reply.

When the people reported to the kahuna that they had found only an old woman and a girl with a dog in tow, he saw through the trick at once and exclaimed, “Those are the very persons I want. Go and bring them.”

When the people told the kahuna that they had only found an old woman and a girl with a dog, he realized it was a trick right away and said, “Those are exactly who I want. Go and bring them here.”

The messengers of the kahuna next came up with Hiiaka and her companion at a place called Ka-lau-la’ola’o. There they found two girls of tender age busily employed in gathering lehua flowers and stringing them into wreaths; and, as before, they denied all sight and knowledge of the persons inquired for. The kahuna recognized that his people had again been victimized [83]and, upbraiding them for their lack of detective insight, ordered them to renew the pursuit.

The messengers of the kahuna then met Hiiaka and her companion at a place called Ka-lau-la'ola'o. There, they found two young girls busy picking lehua flowers and making them into wreaths; and, just like before, they denied seeing or knowing anything about the people they were looking for. The kahuna realized that his people had been tricked again [__A_TAG_PLACEHOLDER_0__] and, scolding them for their lack of investigative skills, instructed them to continue the search.

Once more, at Kapua, in Ka-ana-pali, did Hiiaka find it necessary to resort to the arts of magic in order to escape from her pursuers. When the scouts of the kahuna arrived at the place they found a household of busy women—a wrinkled matronly figure was braiding a mat, while her companion, just returned from the ocean, was laying a fire to broil a fish for the evening meal. Not until they had gone some distance from the place did it occur to their sharpening wits that the house had looked spick-and-span new, and that they had seen no man about the place. Yes—they had been fooled again by the wonderful art of the girl Hiiaka.

Once again, at Kapua in Ka-ana-pali, Hiiaka found it necessary to use magic to escape her pursuers. When the scouts of the kahuna arrived, they discovered a household of busy women—a wrinkled matron was braiding a mat, while her companion, just back from the ocean, was starting a fire to grill a fish for dinner. It wasn't until they had moved some distance away that they realized the house looked brand new and that they hadn’t seen a man around. Yes—they had been tricked again by the amazing skills of the girl Hiiaka.

Hiiaka was rejoiced to find a canoe on the point of sailing to Moloka’i and the sailors gladly consented to give her a passage. The people of Kapua were greatly taken with the beauty and charm of Hiiaka and proposed, in all seriousness, that she should remain and become one of them. When they found that she was insistent to continue her journey at once, they one and all warned her not to attempt the windward side of Moloka’i, declaring its coast to be precipitous and impassable, besides being infested by a band of man-killing mo’o.

Hiiaka was thrilled to discover a canoe about to sail to Moloka’i, and the sailors happily agreed to give her a ride. The people of Kapua were very captivated by Hiiaka's beauty and charm, and they seriously suggested that she stay and become one of them. When they realized she was determined to continue her journey immediately, they all warned her not to try the windward side of Molokai, saying its coast was steep and impossible to navigate, and that it was also known to be home to a group of deadly mo’o.

Hiiaka had no sooner set foot on Molokai’s beach than her ears were assailed with complaints against those lawless beings, the mo’o. Two women, pallid and wasted with starvation, sat in the open field moaning and bewailing their estate. At sight of Hiiaka, as if recognizing their knight errant, they broke out into loud lamentations. The mo’o had robbed them of their husbands, and with them had gone their means of support and their very desire for food. Hiiaka, as if recognizing their claim upon her knight-errantry, with heartfelt sympathy for their miserable condition, opened her mouth in song:

Hiiaka had barely stepped onto Molokai’s beach when she was bombarded with complaints about those unruly creatures, the mo’o. Two women, pale and emaciated from hunger, sat in the field, moaning and crying over their plight. When they saw Hiiaka, as if they recognized their savior, they erupted into loud wails. The mo’o had taken their husbands, and along with them, their means of survival and even their will to eat. Hiiaka, feeling a strong sense of duty to help them, opened her mouth and sang with deep sympathy for their terrible condition:

Kui na ohi’a hele i ke kaha, e;

Lei hele i ke kaha o Ka-pala-ili-ahi—

Mau akua noho i ka la’i, e-e;

Ua hele wale a lei-ó-a ke kino, e-e!

TRANSLATION

Provide you wreaths of ohi’a

Give you ohi’a wreaths

To gladden the heart of travel: [84]

To brighten the joy of travel: [__A_TAG_PLACEHOLDER_0__]

You’ll bring joy to these barren wastes

You’ll bring happiness to these desolate areas

Of Ka-pala-ili-ohi.—

These creatures, sublime in their misery,

These creatures, magnificent in their suffering,

Sit shelterless, wasted, forlorn.

Sit out in the open, wasted, forlorn.

At this the women spoke up and said: “Our bodies are wasted only from our passionate love for our husbands. When they were taken from us we refused food.”

At this, the women spoke up and said, “Our bodies have withered only from our intense love for our husbands. When they were taken from us, we stopped eating.”

Hiiaka was indignant at such folly and left them to their fate. Their way still continued for some distance through a barren region and Hiiaka again alluded in song to the barrenness of the land and the misery of the women who suffered their bodies to waste away:

Hiiaka was outraged by such foolishness and abandoned them to their destiny. Their path continued for quite a while through a desolate area, and Hiiaka once again referenced in her song the emptiness of the land and the suffering of the women who allowed their bodies to wither away:

Kui na apiki lei hele

O Ka-maló, e:

Akua heahea i ke kaha o Iloli.

Akua appeared in the outline of Iloli.

He iloli aloha;

He loves aloha;

He wi ka ke kino, e-e!

TRANSLATION

Provide you a bundle of wreaths,

Provide you a bunch of wreaths,

When the heart is ashes within.

When the heart is just ashes inside.

The witches were ready with babble

The witches were prepared with chatter.

In the barren land of Iloli:—

In the desolate land of Iloli:—

Their’s merely a passion hysteric,

Theirs is just a crazy passion,

That shrivels the body like famine.

That withers the body like hunger.

The good people of Halawa valley, where Hiiaka found herself well received, made earnest protest against the madness of her determination to make her way along the precipitous coast wall that formed Moloka’i’s windward rampart. The route, they said, was impassable. Its overhanging cliffs, where nested the tropic-bird and the ua’u, dropped the plummet straight into the boiling ocean. Equally to be dreaded was a nest of demonlike creatures, mo’o, that infested the region and had their headquarters at Kiki-pua, which gave name to the chief mo’o. Kiki-pua, being of the female sex, generally chose the form of a woman as a disguise to her character which combined the fierceness and blood-thirstiness of the serpent with the shifty resources of witchcraft, thus enabling her to assume a great variety of physical [85]shapes, as suited her purpose. This last fact, had it stood by itself, would have decided Hiiaka’s choice; for her journey, considered as a pilgrimage, had as an important side-purpose the extermination root-and-branch, of the whole cursed tribe of mo’o from one end of the land to the other.

The good people of Halawa Valley, where Hiiaka was warmly welcomed, strongly protested against her crazy determination to make her way along the steep coastal cliffs that formed Molokai's windward barrier. They claimed the route was impossible. Its overhanging cliffs, home to the tropic-bird and the ua’u, dropped straight into the raging ocean. Equally feared was a nest of demonic creatures, the mo’o, that plagued the area and had their base at Kiki-pua, named after the lead mo’o. Kiki-pua, being female, often took the form of a woman as a disguise for her nature, which combined the ferocity and bloodthirstiness of a serpent with the cunning of witchcraft, allowing her to take on many different physical [__A_TAG_PLACEHOLDER_0__]shapes to suit her needs. This last fact, if considered alone, would have influenced Hiiaka’s decision; for her journey, viewed as a pilgrimage, had an important side goal: the complete extermination of the entire cursed tribe of mo’o from one end of the land to the other.

(This Kiki-pua band of mo’o had included Haka-a’ano, the husband of Kiki-pua, also Papala-ua and her husband Oloku’i.1 Kiki-pua had stolen away and taken to herself Oloku’i, the husband of Papala-ua, thus creating a bitter feud which broke up the solidarity of the band.)

(This Kiki-pua group of mo’o included Haka-a’ano, Kiki-pua's husband, as well as Papala-ua and her husband Oloku’i.1 Kiki-pua had secretly taken Oloku’i, who was Papala-ua's husband, leading to a bitter feud that shattered the unity of the group.)

The way chosen by Hiiaka led along the precipitous face of the mountain by a trail that offered at the best only a precarious foothold or clutch for the hand. At one place a clean break opened sheer and straight into the boiling sea. As they contemplated this impasse, a plank, narrow and tenuous, seemed to bridge the abyss. Wahine-oma’o, rejoicing at the way thus offered, promptly essayed to set foot upon it, thinking thus to make the passage. Hiiaka held her back, and on the instant the bridgelike structure vanished. It was the tongue of the mo’o thrust out in imitation of a plank, a device to lure Hiiaka and her companion to their destruction.

The path chosen by Hiiaka ran along the steep side of the mountain on a trail that at best offered a shaky foothold or grip for the hand. At one point, a clean break opened straight down into the turbulent sea. As they faced this dead end, a narrow and fragile plank appeared to connect the two sides. Wahine-oma’o, excited by the option, quickly tried to step onto it, thinking she could cross over. Hiiaka pulled her back, and in that moment, the bridge-like structure disappeared. It was the tongue of the mo’o extended out to look like a plank, a trick to lure Hiiaka and her companion to their doom.

Hiiaka, not to be outdone as a wonder-worker, spanned the abyss by stretching across it her own magical pa-ú, and over this, as on a bridge, she and Wahine-oma’o passed in security.

Hiiaka, determined to prove her own magical abilities, created a magical skirt that stretched across the chasm, serving as a bridge for her and Wahine-oma’o to safely cross.

The mo’o, Kiki-pua, took flight and hid among the cavernous rocks. But that did not avail for safety. Hiiaka gave chase and, having caught her, put an end to the life of the miserable creature. Thus did Hiiaka take another step towards ridding the land of the mo’o. [86]

The mo’o, Kiki-pua, took off and hid among the rocky caves. But that didn’t offer any safety. Hiiaka pursued her and, after catching her, ended the life of the wretched creature. This was another step for Hiiaka in cleansing the land of the mo’o. [__A_TAG_PLACEHOLDER_0__]

1 Oloku’i, a high bluff that overlooks Pele-kunu and Wailau, valleys on Moloka’i. ↑

1 Oloku’i, a steep cliff that looks down on Pele-kunu and Wailau, valleys on Moloka’i. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XIX

HIIAKA FINDS A RELATIVE IN MAKA-PU’U—KO’OLAU WEATHER—MALEI

Hiiaka’s adventurous tour of Moloka’i ended at Kauna-ka-kai, from which place she found no difficulty in obtaining the offer of transportation to Oahu. The real embarrassment lay in the super-gallantry of the two sailors who manned the canoe. When the two men looked upon Hiiaka and Wahine-oma’o, they were so taken with admiration for their beauty and attractiveness, that they sneaked out of a previous engagement to take their own wives along with them, trumping up some shuffling excuse about the canoe being overladen.

Hiiaka’s adventurous trip to Moloka’i ended at Kauna-ka-kai, where she easily arranged transportation to Oahu. The real awkwardness came from the over-the-top chivalry of the two sailors in the canoe. When the men saw Hiiaka and Wahine-oma’o, they were so impressed by their beauty that they canceled their earlier plans to take their own wives with them, making up a clumsy excuse about the canoe being too full.

Arriving at the desolate landing near the wild promontory of Maka-pu’u, it was only by a piece of well-timed duplicity that Hiiaka and her companion managed to shake off the sailors and relieve themselves from their excessive attentions.

Arriving at the empty landing close to the rugged point of Maka-pu’u, it was only through a clever plan that Hiiaka and her friend were able to get away from the sailors and escape their unwelcome attention.

While in mid channel, in sight of Ulu-ma-wao, a promontory whose name was the same as a near relative of the Pele family, Hiiaka poured out this reminiscence in song:

While in the middle of the channel, in view of Ulu-ma-wao, a promontory named after a close relative of the Pele family, Hiiaka shared this memory through song:

Ku’u kane i ka pali kauhuhu,

Kahi o Maka-pu’u1 huki i ka lani

Kahi o Maka-pu’u1 pulled from the sky

Ka Lae o Ka-laau,2

Ka Lae o Ka-laau,__A_TAG_PLACEHOLDER_0__

Kela pali makua-ole3 olaila:—

Kela is a parental figure __A_TAG_PLACEHOLDER_0__ there:—

Anu ka ua i ka pali o Ulu-ma-wao,4 e;

E mao wale ana i ka lani kela pali:

Ku’i, ha-ina i ke kai.

Ku’i, send it to the sea.

I ke kai ho’i ke Akua,

I go to the ocean as well as to God,

A pololi a moe au, e-e!

Ku’u la pololi, a ola i kou aloha:

Ina’i pu me ka waimaka, e-e!

A e u’wé kaua, e-e!

[87]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Translate

O fellow mine on the stair-like cliff,

O my friend on the stair-like cliff,

Where Maka-pu’u climbs to the sky,

Where Maka-pu’u reaches for the sky,

Companioned by Cape-of-the-woods,

Accompanied by Cape-of-the-woods,

That fatherless bluff over yonder:

That dad-less bluff over there:

Cold cheer the rain on Ulu-ma-wao;

That lone steep faints away in the sky,

That single steep fades away into the sky,

While Ocean pounds and breaks at its base—

While the ocean crashes and breaks at its base—

The sea is the home of the gods.

The ocean is the home of the gods.

I lay in a swoon from hunger

I lay in a daze from hunger.

What time I awoke from love’s dream,

What time I woke up from love’s dream,

Love, salt with the brine of our tears.

Love, seasoned with the brine of our tears.

Let us mingle our tears.

Let's share our tears.

It was a question with Hiiaka whether to follow the Koolau or the Kona side of the island. The consideration that turned the scale in favor of the Koolau route was that thus she would have sight of a large number of aunts and uncles, members of the Pele family, whose ghosts still clung to the dead volcanic cones and headlands which stood as relics of their bygone activities, and where they eked out a miserable existence. The region was thickly strewn with these skeleton forms. Hiiaka first addressed herself to Maka-pu’u:

It was a question for Hiiaka whether to take the Koolau or the Kona side of the island. The deciding factor in favor of the Koolau route was that she would be able to see many aunts and uncles, members of the Pele family, whose spirits still lingered around the dead volcanic cones and headlands that remained as reminders of their past activities, where they barely scraped by. The area was densely populated with these ghostly figures. Hiiaka first spoke to Maka-pu’u:

Noho ana Maka-pu’u i ka lae,

He wahine a ke Akua Pololi:—

Pololi, ai-ole, make i ka pololi, e-e!

Pololi, no way, it makes you hungry, right!

TRANSLATION

Maka-pu’u dwells at the Cape,

Maka-pu’u lives at the Cape,

Wife to the god of Starvation—

Hunger and death from starvation.

Hunger and death by starvation.

To this Maka-pu’u answered: “We love the place, the watch-tower, from which we can see the canoes, with their jibing triangular sails, sailing back and forth between here and Moloka’i.” To this she added a little chanty:

To this, Maka-pu’u replied, “We love the lookout point where we can see the canoes with their triangular sails going back and forth between here and Molokai.” She then added a little song:

E Maka-pu’u nui, kua ke au e!

Na mauü moe o Malei, e-e,

I ai na maua, i ai na maua, e-e!

[88]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Oh Maka-pu’u, the famous,

Oh Maka-pu’u, the legendary,

Back pelted by wind and by tide!

Oh the withered herbs of Malei!

Oh the dried herbs of Malei!

Oh give us some food for us both.

Oh, give us some food for both of us.

To Malei Hiiaka addressed the following condolence:

To Malei, Hiiaka offered her condolences:

Owau e hele i na lae ino o Koolau,

O wau e hele i na lae ino o Koolau,

I na lae maka-kai o Moe-au;

E hele ka wahine au-hula ana o ka pali,

Naná uhu ka’i o Maka-pu’u—

He i’a ai na Malei, na ka wahine

E noho ana i ka ulu o ka makani.

I Koolau ke ola, i ka huaka’i malihini,

I Koolau them living, on the journey of strangers,

Kanaenae i ka we-uwe’u,

Kanaenae in the mourning,

Ola i ka pua o ka mauu.

E Malei e, e uwé kaua;

A e Malei e, aloha-ino no, e.

TRANSLATION

I walk your stormy capes, Koolau,

I walk through your stormy coastlines, Koolau,

The wave-beaten capes of Moe-au,

The rugged coastlines of Moe-au,

Watch-towers, where the women who brave the sea

Watchtowers, where the women who face the ocean

May see the uhu coursing by—

May see the owl flying by—

Meat for the woman who faces the gale,

Meat for the woman who confronts the storm,

Sea-food for the woman Malei;

Seafood for the woman Malei;

For her living comes from Koolau,

From the pilgrim bands that pass her way;

From the groups of travelers that come her way;

Yet we bless the herbs of the field,

Whose bud and flower is meat for Malei:

Whose bud and flower is food for Malei:

We pity and weep for Malei.

We feel sorry for Malei and cry for him.

Note.—Malei was, I am told, a female kupua who assumed various bodily forms. Offerings were necessary, not for her physical but for her spiritual sustenance. The burnt offering was not merely pleasing for its sweet smelling savour, it was an aliment necessary to the creature’s continued existence. For the same or a parallel reason, songs of praise and adulation (kanaenae) were equally acceptable and equally efficacious. Cut off the flowers of speech as well as the offerings of its worshippers, and a kupua would soon dwindle into nothingness. [89]

Note.—Malei was, I’ve heard, a female kupua who took on different physical forms. Offerings were needed, not for her physical needs but for her spiritual nourishment. The burnt offering wasn’t just appreciated for its pleasant aroma; it was a food source essential for the creature’s ongoing existence. For the same or a similar reason, songs of praise and admiration (kanaenae) were also suitable and effective. If you cut off the flowers of speech along with the offerings from its worshippers, a kupua would quickly fade away. [__A_TAG_PLACEHOLDER_0__]

“You are quite right,” answered Malei: “the only food to be had in this desolate spot is the herbage that grows hereabouts; and for clothing we have to put up with such clouts as are tossed us by travelers. When the wind blows one has but to open his mouth to get his belly full. That has been our plight since your sister left us two old people here. Cultivate this plain, you say; plant it with sweet potatoes; see the leaves cover the hills; then make an oven and so relieve your hunger. Impossible.”

“You're absolutely right,” Malei replied. “The only food available in this barren place is the grass that grows around here, and for clothes, we have to settle for whatever travelers toss to us. When the wind blows, if you just open your mouth, you might as well be eating. That’s been our situation since your sister left us, two old folks, here. You say to cultivate this land, plant it with sweet potatoes, and let the leaves cover the hills, then make an oven to satisfy your hunger. That’s impossible.”

As they traveled on Maka-pu’u and its neighbor hills passed out of sight. Arriving at Ka-ala-pueo, they caught view of the desolate hill Pohaku-loa, faint, famished, forlorn. The sight of it drew from Hiiaka this chanting utterance:

As they traveled, Maka-pu’u and the nearby hills disappeared from view. When they arrived at Ka-ala-pueo, they glimpsed the desolate hill Pohaku-loa, appearing faint, starving, and lonely. The sight of it inspired Hiiaka to chant this utterance:

Puanaiea ke kanáka,

Puanaiea the people,

Ke hele i ka li’u-la,

I Koholá-pehu, i ke kaha o Hawí, e.

I Koholá-pehu, at the top of Hawí, yes.

Wi, ai ole, make i ka i’a ole, e.

TRANSLATION

Man faints if he travels till night-fall

Man faints if he travels until nightfall.

In the outer wilds of Kohala,

In the barren lands of Hawi—

It’s famine, privation of bread, of meat!

It’s a famine, a lack of bread, of meat!

“It is indeed a barren land. Fish is the only food it produces. Our vegetables come from Wai-manalo. When the people of that district bring down bundles of food we barter for it our fish. When we have guests, however, we try to set vegetable food before them.”

“It’s definitely a barren land. Fish is the only food it provides. Our vegetables come from Wai-manalo. When the people from that area bring down bundles of food, we trade our fish for it. However, when we have guests, we try to serve them vegetable dishes.”

To speak again of the kupua Malei, a few years ago, as I am told, a Hawaiian woman on entering a certain cave in the region of Wai-manalo, found herself confronted with a stone figure, from which glowed like burning coals a group of eight flaming eyes, being set in deep sockets in the stone. This rare object was soon recognized as the bodily dwelling of the kupua Malei. This little monolith at a later time came into the possession of Mr. John Cummins of Wai-manalo. [90]

To talk again about the kupua Malei, a few years ago, as I've heard, a Hawaiian woman entered a certain cave in the Wai-manalo area and came face-to-face with a stone figure that had a group of eight glowing eyes, shining like burning coals, set deep into the stone. This unusual object was quickly recognized as the physical home of the kupua Malei. Eventually, this small monolith ended up in the possession of Mr. John Cummins from Waimānalo. [__A_TAG_PLACEHOLDER_0__]

1 Maka-pu’u, a headland at the eastern extremity of Oahu, on which a lighthouse of the first class has been established within three years. ↑

1 Maka-pu’u, a point at the eastern tip of Oahu, where a first-class lighthouse has been built in the last three years. ↑

2 Lae o Ka-laau, the south-western cape of Moloka’i, on which is a lighthouse of the first class. ↑

2 Lae o Ka-laau, the southwestern tip of Moloka’i, where there’s a first-class lighthouse. ↑

3 Makua-ole, literally, fatherless or parentless; seemingly a reference to the lonely inhospitable character of the place. ↑

3 Makua-ole, meaning fatherless or parentless; it seems to point to the desolate and unwelcoming nature of the area. ↑

4 Ulu-ma-wao, a hill in the same region as Maka-pu’u point. The name is said to mean a place having a very thin soil. ↑

4 Ulu-ma-wao, a hill near Maka-pu’u point. The name is believed to mean a place with very thin soil. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XX

HIIAKA EXPERIENCES KOOLAU WEATHER

Hiiaka found many things to try her patience and ruffle her temper in Pali-Koolau: Squalls, heavy with rain-drops picked up by the wind in its passage across the broad Pacific, slatted against her and mired the path; but worse than any freak of the weather were her encounters with that outlaw thing, the mo’o; not the bold robber creature of Hawaii which took to the wilds, as if in recognition of its own outlawry, but that meaner skulk, whose degenerate spirit had parted with its last atom of virtuous courage and clung to human society only as a vampire, unwilling to forego its parasitic hold on humanity. It was in the mood and spirit begotten of such experiences that she sang:

Hiiaka encountered many things that tested her patience and stirred her anger in Pali-Koolau: squalls heavy with rain, whipped up by the wind as it crossed the vast Pacific, pelted against her and turned the path into mud; but worse than any unpredictable weather were her run-ins with that outlaw, the mo’o; not the bold robber creature of Hawaii that fled to the wilds, as if acknowledging its own outcast status, but that meaner version, whose corrupt spirit had lost its last bit of noble courage and clung to human society only as a parasite, unwilling to let go of its exploitative grip on humanity. It was in the mood and spirit shaped by these experiences that she sang:

Ino Koolau, e, ino Koolau!

Ino Koolau, oh, ino Koolau!

Ai kena i ka ua o Koolau:

Ke ua mai la i Ma-elieli,

Ke hoowa’awa’a mai la i Heeia,

Ke kupá la ka ua i ke kai.

Ha’a hula le’a ka ua

Dance like the rain

I Ahui-manu, ka ua hooni,

I Ahui-manu, it will rain,

Hoonaue i ka pu’u ko’a,

Hoonaue at the ko’a peak,

Ka ua poai-hale1 o Kaha-lu’u.

Ka ua poai-hale__A_TAG_PLACEHOLDER_0__ of Kaha-lu’u.

Lu’u-lu’u e, lu’u-lu’u iho nei au

Lu’u-lu’u, I’m here now.

I ka puolo waimaka o ka onohi—

Ke kulu iho nei, e.

Not modernizable.

TRANSLATION

Vile, vile is this Koolau weather:

One soaks in the rain till he’s full.

One gets drenched in the rain until he’s satisfied.

The rain, it pours at Ma-eli-eli;

The rain pours down at Ma-eli-eli;

It gutters the land at He-eia;

It drains the land at He-eia;

It lashes the sea with a whip.

It strikes the sea like a whip.

The rain, it dances in glee

The rain dances joyfully.

At Ahui-manu, moving [91]

At Ahui-manu, traveling [__A_TAG_PLACEHOLDER_0__]

And piling the coral in heaps,

And stacking the coral in piles,

Shifting from side to side of the house,

This whisking rain of Kaha-lu’u.

This pouring rain of Kaha-lu’u.

Heavy and sad, alas, am I,

Heavy and sad, unfortunately, I am,

Mine eyes, a bundle of tears,

Are full to o’erflowing.

Are overflowing.

As they approached Kua-loa, the huge mo’o-dragon, Moko-li’i, reared himself up and, pluming and vaunting himself, sought to terrify them and prevent their passage. Hiiaka did not flinch in her attack. When she had killed the monster, she set up his flukes as a landmark which now forms the rock known to this day as Moko-li’i. The body of the dragon she disposed in such a way that it helped form the road-bed of the traveled highway. After this achievement she vented her feelings in an exultant song:

As they got closer to Kua-loa, the massive mo’o-dragon, Moko-li’i, raised himself up and, showing off and boasting, tried to scare them off and block their way. Hiiaka didn’t back down in her attack. After she killed the monster, she set up his fins as a landmark that is still known today as Moko-li’i. She arranged the dragon’s body in a way that helped create the road for the busy highway. Following this victory, she expressed her emotions in a triumphant song:

Ki’e-ki’e Kane-hoa-lani

Ki'e-ki'e Kane-hoa-lani

Au Moko-li’i2 i ke kai,

Au Moko-li’i__A_TAG_PLACEHOLDER_0__ in the ocean,

I keiki, i Makahiapo na Koolau:

Lau Koolau, kena wale i ka ino;

Lau Koolau, caught in the trouble;

He ino loa no, e!

He’s really awesome, right!

TRANSLATION

Kane-hoa lifts to the sky;

Kane-hoa rises to the sky;

Moko-li’i swims in the ocean—

Moko-li’i swims in the sea—

The first-born child of Koolau—

Koolau's firstborn child—

A legion of fiends is Koolau,

A group of demons is Koolau,

Eager for mischief, subtle of trick.

Eager for trouble, clever with tricks.

Coming to where the deep and narrow gorge of Ka-liu-wa’a valley opens out, Hiiaka discerned the nature-carved lineaments of her ancestor Kauhi ke-i-maka-o-ka-lani, as he was epitheted, a rocky form set in the pali, but veiled to ordinary sight by a fringe of ti and kukui. Its eye-sockets, moist with the dripping dew of heaven, gleamed upon her with a wondrous longing, which she answered in song: [92]

Coming to where the deep and narrow gorge of Ka-liu-wa’a valley opens up, Hiiaka saw the nature-carved features of her ancestor Kauhi ke-i-maka-o-ka-lani, as he was called, a rocky figure set in the cliff but hidden from ordinary view by a fringe of ti and kukui. Its eye sockets, glistening with the dripping dew from the heavens, gazed at her with an extraordinary longing, which she responded to with a song: [__A_TAG_PLACEHOLDER_0__]

O Kauhi ke i-maka3 o ka lani,

O ka pali keke’e o halawa-lawa,4

O kuahiwi mauna pali poko, ke he’e ia,

E like la me Ka-liu-wa’a,

Ka pali ololo-é5 o Puna i Hilo;

O ka hala o Manu’u-ke-eu,6

O ka hala o Manu’u-ke-eu,__A_TAG_PLACEHOLDER_0__

E kui, e lei au:

O Kauhi, ka halu’a-pua,7 maka á-lani—

O Kauhi, the halu’a-pua, 7 sees the heavens—

O ka maka o ke akua,

I ka maka o Pe’ape’a.8

I ka maka o Pe’ape’a.__A_TAG_PLACEHOLDER_0__

Uluulu ka manu i kona hulu;

Uluulu the bird in its feather;

Ke lele kaha ia lupe la;

Lawe ka ua, lawe ka makani,

A lawe ke ka-úpu9 hulu manu,

A law for bird trapping, __A_TAG_PLACEHOLDER_0__

Kele-kele i o akua la, e ke Akua.

Kele-kele, it's your spirit, O God.

He akua ia la, aohe ike mai:

O kana luahi10 nui no ka maka,

Ke ala nei;—E ala;

Wake up;—Get up;

E ala, e ala mai ana, e!

E ala e, Hi-ka’a-lani!11

Hey, Hi-ka’a-lani!__A_TAG_PLACEHOLDER_0__

E ala, e, ka Hooilo ua i ka lani!

E ala e, Maú,12 wahine a Maka-li’i;

E ala e, Maú,12 woman of Maka-li’i;

E ala, e!

Hey, wake up!

[93]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Kauhi, thou watch-tower of heaven,

Kauhi, you watchtower of heaven,

Ensconced in the zigzag fluted wall—

Slipp’ry to climb as Ka-liu-wa’a,

Slippery to climb like Ka-liu-wa’a,

Or the straggling Puna-Hilo hills.—

Or the remote Puna-Hilo hills.—

Ah, the drupes of Manu’u-ke-eu!

Ah, the fruits of Manu’u-ke-eu!

Let me string, let me wear them!

Let me thread them, let me put them on!

Thy body lies smothered in ferns;

Your body lies covered in ferns;

Thine eye shines on high like a star,

Your eye shines brightly like a star,

Or jeweled eye of bat, Pe’a-pe’a.

As a bird, now ruffle your plumage—

As a bird, now fluff up your feathers—

How sways the kite in the wind!

How the kite sways in the wind!

On balanced wing, then swing and float,

On a balanced wing, then swing and glide,

Warding off rain, warding off wind,

Like a sea-gull, clad in feathery mail,

Like a seagull, dressed in feathered armor,

Course about on the wings of a god.

He’s surely a god; yet hears he not;

He’s definitely a god; yet he doesn’t hear;

Fierceness gleams from his eye.

Intensity gleams from his eye.

Now he looks, now turns—and to me!

Now he looks, now turns—and he's looking at me!

Awake, thou explorer of heaven!

Awake, you explorer of heaven!

Awake, thou sender of Winter’s rain!

Awake, you bringer of Winter's rain!

The spouse, Ma-ú, of Winter is night;

The partner, Ma-ú, of Winter is night;

The time of arising has come!

The time to wake up has arrived!

This kupua, Kauhi, termed the watch-tower of heaven, having come from Kahiki in the train of Pele’s followers, and having been stationed in this cliff, had got no further in his travels than Oahu. He bemoaned his fate as that of a malihini god, a stranger to the rest of the group. On being roused by this prayer-song of Hiiaka, as he gazed upon the beautiful goddess, a divine ambition stirred within him—to journey with her, enjoy her society, and make acquaintance with the land to which he was still a stranger. With this purpose in mind, at the conclusion of her address, he chanted this response:

This kupua, Kauhi, called the watchtower of heaven, had come from Kahiki with Pele’s followers and was stationed on this cliff, having traveled no further than Oahu. He lamented his fate as a malihini god, an outsider to the rest of the group. When he heard Hiiaka's prayer-song and looked upon the beautiful goddess, a divine ambition sparked inside him—to travel with her, enjoy her company, and get to know the land he still considered foreign. With this intention, at the end of her speech, he chanted this response:

O Pele la ko’u akua:

O Pele is my god.

Miha ka lani, miha ka honua: [94]

Miha ka lani, miha ka honua: [__A_TAG_PLACEHOLDER_0__]

Awa i-ku,13 awa i-lani,13 keia awa,

Awa Iku,__A_TAG_PLACEHOLDER_0__ awa Ilani,__A_TAG_PLACEHOLDER_1__ this awa,

Ka awa nei o Hiiaka,

I ku ai, ku i Mauli-ola;14

I Mauli-ola he awa kaulu-ola,15 e,

I Mauli-ola he awa kaulu-ola,__A_TAG_PLACEHOLDER_0__ e,

No na Wahine,—e kapu-kapu-kai16 ka awa,

No na Wahine,—e kapu-kapu-kai__A_TAG_PLACEHOLDER_0__ the river,

E Pele honua-mea!

E kala, e Haumea17 wahine;

E kala, e Haumea__A_TAG_PLACEHOLDER_0__ woman;

O ka Wahine i Kilauea,

O ka Wahine at Kilauea,

Nana i ai18 a hohonu ka Lua;

Nana is at __A_TAG_PLACEHOLDER_0__ a deep place;

O Ma-ú,19 wahine a Maka-li’i;

O Ma-ú, __A_TAG_PLACEHOLDER_0__ woman of Maka-li’i;

O Lua-wahine20 ka lani;

O Lua-wahine__A_TAG_PLACEHOLDER_0__ the queen;

O Kukuena;21 o na wahine

O Kukuena;__A_TAG_PLACEHOLDER_0__ of the women

I ka inu hana awa;

I drink island tea;

Kanaenae a ke akua malihini,22 e! [95]

Kanaenae a ke akua malihini,__A_TAG_PLACEHOLDER_0__ e! [__A_TAG_PLACEHOLDER_1__]

Hele ho’i ke ala mauka o Ka-ú

Hele ho’i ke ala makai o Puna,

I Ka-ma’a-ma’a,23 i ka puale’i,24

I Ka-ma’a-ma’a,__A_TAG_PLACEHOLDER_0__ in the garden,__A_TAG_PLACEHOLDER_1__

E loa’a ka awa i Apua;25

Ka pi’i’na i Ku-ka-la-ula;26

Ka pi’i’na i Ku-ka-la-ula;__A_TAG_PLACEHOLDER_0__

Hoopuka aku la i kai o Pu’u-lena—27

Aina a ke Akua28 i noho ai.—

Kanaenae a ke ’kua malihini.

TRANSLATION

Pele, indeed, is my god.

Pele is definitely my god.

Calm be the heavens, peaceful the earth:

Here’s awa fresh-torn from the ground,

Here’s a fresh one just pulled from the ground,

Awa that’s been lifted to heaven,

Awa that's been raised to heaven,

An off’ring for goddess Hiiaka,

An offering for goddess Hi’iaka,

A growth of the kingdom Mauli-ola,

Awa that makes for health and peace;

Awa that brings health and peace;

Its woman-ban cleared by aspersion.

Its woman ban cleared by slander.

Pele, O Pele of the sacred land,

Pele, O Pele of the holy land,

And thou, O Mother Haumea;

And you, O Mother Haumea;

Thou Woman of Kilauea,

You Woman of Kilauea,

Fire-goddess who dug the Pit deep;

Fire goddess who dug the pit deep;

Niece to Ma-ú, Maka-li’i’s wife;

Niece of Ma-ú, Maka-li’i’s wife;

Own child of heavenly Haumea;

And thou Kukuena, that rules

And you Kukuena, who rules

In the rite of toothing the awa—

In the rite of teething the awa—

A brew that is fit for the gods—

A drink that's worthy of the gods—

Love-offering this of the stranger god,

Denied, alas, the road through upland

Denied, unfortunately, the road through the highlands

Ka-ú and the lowlands of Puna, [96]

Ka-ú and the lowlands of Puna, [__A_TAG_PLACEHOLDER_0__]

To Ka-ma’a and the bird-limed tree—

To Ka-ma’a and the sticky tree—

Sure route to the potent root of Apua—

Sure route to the powerful root of Apua—

The up-road to Ku-ka-la-ula,

The road up to Ku-ka-la-ula,

Thence leading to Sulphur-hill:

Leading to Sulphur Hill:

Land where the gods did once dwell!

Land where the gods once lived!

A laud this, voiced by the stranger god.

A praise this, spoken by the unknown god.

At the conclusion of this kanaenae Kauhi said to Hiiaka, “If you are the woman that consumes the forests of Puna, when you travel I will go with you.” (“Ina ooe ka wahine ai laau o Puna, ooe hele, oau hele.”)

At the end of this encounter, Kauhi said to Hiiaka, “If you are the woman who consumes the forests of Puna, I'll go with you wherever you go.” (“Ina ooe ka wahine ai laau o Puna, ooe hele, oau hele.”)

Hiiaka did not wish to offend the aggrieved deity; at the same time she could not consent to his proposition. In this dilemma she did her best to soothe his feelings and reconcile him to his lot:

Hiiaka didn’t want to upset the hurt deity; at the same time, she couldn’t agree to his offer. Stuck in this situation, she tried her best to ease his feelings and help him come to terms with his situation.

Ku’u Akua i ka hale hau,

Hale kanáka ole,

No people,

E noho i ke kai o Ma’a-kua,

Alae ia e ke ki ohuohu, e!

Pene’i wale no ka iki Akua.

Auwe, ku’u Akua, e!

Oh no, my God!

TRANSLATION

My god of the chilly mansion,—

My god of the cold mansion,—

A house without human tenant,—

A house without a tenant,—

Abide yet the blasts of the sea,

Abide still the waves of the sea,

The slap of the broad leafy ti.

The sound of the broad leafy ti.

Such the advice of a lesser god:

Such is the advice of a minor god:

My tender farewell this to Thee.

My heartfelt goodbye.

Kauhi was indignant at this evasive dismissal of his entreaty. The thought that Hiiaka should countenance his perpetual imprisonment in the bleak cliff filled him with rage. With a mighty effort he lifted himself and tore away the covering of tree-roots, earth and rocks that embraced him until he came to a crouching position. That was the limit of his power: he could do no more. A stony form in the mountain wall of Kahana, resembling the shape of a man on all-fours, remains to vouch for the truth of this legend.

Kauhi was furious at this vague refusal of his plea. The idea that Hiiaka could accept his endless confinement in the harsh cliff filled him with anger. With a great effort, he lifted himself and pulled away the covering of tree roots, dirt, and rocks that surrounded him until he reached a crouching position. That was the extent of his strength: he couldn’t do anything else. A rocky figure in the mountain wall of Kahana, resembling a man on all fours, still stands as proof of this legend.

HALEMAUMAU—THE LAKE OF FIRE

Halemaʻumaʻu—The Lake of Fire

[97]

[__A_TAG_PLACEHOLDER_0__]

1 Ua poai-hale, a rain that whisked about on all sides of a house. ↑

1 It’s a rain, swirling all around a house. ↑

2 Moko-li’i (little snake), compound of moko, archaic form of mo’o, and li’i. ↑

2 Moko-li’i (little snake), made up of moko, an old form of mo’o, and li’i. ↑

3 I-maka, a watch-tower. (This is a new word, not in the dictionary.) ↑

3 I-maka, a lookout tower. (This is a new word, not in the dictionary.) ↑

4 Ha-lawa-lawa, zigzag. ↑

4 Ha-lawa-lawa, zigzag. __A_TAG_PLACEHOLDER_1__

5 Ololo-e, out of line; out of order; irregular. See ololo, in Andrews’ Hawaiian Dictionary. Keke’e, halawalawa and ololo-e have the same generic meaning. ↑

5 Ololo-e, not in line; messy; not normal. See ololo, in Andrews’ Hawaiian Dictionary. Keke’e, halawalawa, and ololo-e all share the same general meaning. ↑

6 Manu’u-ke-eu, the name of a mythical hala tree that once grew in Puna. The seed was brought from Kahiki by Ka-moho-alii, when he came from that land with Pele and others. They ate the drupe of it with salt and sugar-cane, and then Ka-moho-alii planted the seed. The tree that grew up was, of course, a kupua. ↑

6 Manu’u-ke-eu, the name of a legendary hala tree that once thrived in Puna. The seed was brought from Kahiki by Ka-moho-alii when he arrived from that place along with Pele and others. They enjoyed the fruit with salt and sugar-cane, and then Ka-moho-alii planted the seed. The tree that grew was, of course, a kupua. ↑

7 Halu’a-pua, flower-bedecked; compound of halu’a (covered), and pua (a flower). ↑

7 Halu’a-pua, adorned with flowers; a combination of halu’a (covered) and pua (a flower). ↑

8 Pe’ape’a, a bat; a creature regarded as a kupua. ↑

8 Pe’ape’a, a bat; a creature seen as a demigod. ↑

9 Ka-upu, some sort of a sea-gull. ↑

9 Ka-upu, a kind of seagull. __A_TAG_PLACEHOLDER_1__

10 Lu-ahi, the object of a person’s wrath or indignation. ↑

10 Lu-ahi, the target of someone’s anger or frustration. ↑

11 Hika’a-lani, facing heaven; looking up to heaven. This was the name given later to a beautiful princess on Oahu. ↑

11 Hika’a-lani, looking up to the sky; gazing toward the heavens. This was the name later given to a beautiful princess on Oahu. ↑

12 Ma-u, literally, damp; the name of the wife of Maka-li’i, as here indicated. Maka-li’i, here used as the name of a deity, is also, 1. the name of the Pleiades; 2. the name of the month in which that constellation rises at the time of sunset; 3. the name sometimes applied to the six summer months collectively. The visible sign of Maka-li’i, as a deity or kupua, was a rain-cloud. ↑

12 Ma-u, which means damp; the name of the wife of Maka-li’i, as noted here. Maka-li’i, used here as the name of a deity, is also 1. the name of the Pleiades; 2. the name of the month when that constellation rises at sunset; 3. sometimes used to refer to the six summer months together. The visible sign of Maka-li’i, as a deity or kupua, was a rain-cloud. ↑

13 Awa i-ku, awa i-lani. A clear understanding of these words calls for a reference to the customs, that had almost the dignity of a rite, that were observed in the handling of awa for purposes of worship, or as an offering to the gods. This began with the very digging of the awa root. He who did this had first to purify himself by a bath in the ocean, followed by an ablution in fresh water and completing the lustration with an aspersion of water containing turmeric, administered by a priest. Then, having arrayed himself in a clean malo, he knelt with both knees upon the ground and tore the root from its bed. Now, rising to his feet, he lifted the awa root to heaven, and by this act the awa was dignified and was called awa i-ku. The utterance (by the priest?) of the kanaenae, or prayer of consecration and eulogy, still further enhanced this dignity and set it apart as a special sacrifice to some god, or to the gods of some class. Awa thus consecrated was known as awa i-lani. ↑

13 Awa i-ku, awa i-lani. To truly grasp the meaning of these words, it's essential to understand the customs that nearly resembled a ritual, practiced during the handling of awa for worship or as offerings to the gods. This process began with digging up the awa root. The person performing this task had to first purify themselves by bathing in the ocean, followed by rinsing in fresh water, and finishing the purification with a sprinkle of water mixed with turmeric, done by a priest. Next, dressed in a clean malo, they knelt down and pulled the root from the ground. After standing up, they lifted the awa root towards the sky, signifying its honor and designating it as awa i-ku. The saying of the kanaenae, or prayer of consecration and praise, by the priest further elevated this honor, making it a special sacrifice to a particular god or to deities of a certain category. Awa that was consecrated in this way was referred to as awa i-lani. ↑

14 Mauli-ola, the God of Health; also the name of a place. The same name was applied also to the breath of life, and to the kahuna’s power of healing. In the Maori tongue the word mauri means life, the seat of life. In Samoan mauli means heart; in Hawaiian it means to faint. “Sneeze, living heart” (“Tihe, mauri ora”), says the New Zealand mother to her infant when it utters a sneeze. The Hawaiian mother makes the same ejaculation. ↑

14 Mauli-ola, the God of Health; it’s also the name of a place. The same name was used for the breath of life and the kahuna's healing power. In Maori, the word mauri means life, the essence of life. In Samoan, mauli means heart; in Hawaiian, it means to faint. “Sneeze, living heart” (“Tihe, mauri ora”), says the New Zealand mother to her baby when it sneezes. The Hawaiian mother expresses the same sentiment. ↑

15 Ka-ulu-ola. I can throw no light on this phrase further than is to be obtained in the above note. ↑

15 Ka-ulu-ola. I can't provide any more insight into this phrase beyond what is mentioned in the note above. ↑

16 Kapu-kapu-kai. Awa was forbidden to women. Under certain circumstances, however, it was set before them. In such a case the tabu was first removed by sprinkling the root with sea water (kapu-kai). ↑

16 Kapu-kapu-kai. Awa was off-limits to women. However, there were specific situations where it could be offered to them. In these cases, the taboo was lifted by sprinkling the root with seawater (kapu-kai). ↑

17 Haumea, the mother of Pele. ↑

17 Haumea, Pele's mother. __A_TAG_PLACEHOLDER_1__

18 Ai. In another version, instead of ai, I find eli or elieli used. ↑

18 Yes. In another version, instead of yes, I see no or nope used. ↑

19 Ma-u, the sister of Haumea, therefore aunt to Pele, also the wife of Maka-li’i. ↑

19 Ma-u, the sister of Haumea, and aunt to Pele, is also the wife of Maka-li’i. ↑

20 Lua-wahine, (lua-hine?), said to be an incarnation, or more properly, perhaps, a spiritual form (kino-lau) of Haumea. ↑

20 Lua-wahine, (lua-hine?), is said to be a manifestation or, more accurately, a spiritual essence (kino-lau) of Haumea. ↑

21 Kukuena, the goddess, au-makua, who presided over the ceremony of preparing awa for drinking; said to be an elder sister of Pele. ↑

21 Kukuena, the goddess, au-makua, who oversaw the ceremony of preparing awa for drinking; believed to be an older sister of Pele. ↑

22 Akua malihini, an epithet applied to himself by Kauhi, because, as previously stated, he had since his arrival from Kahiki been obliged to remain fixed in his station in the cliff and had thus been denied acquaintance with the other islands, especially the big island of Hawaii. ↑

22 Akua malihini, a name he gave himself, because, as mentioned earlier, since arriving from Kahiki, he had to stay put in his spot on the cliff and was therefore unable to get to know the other islands, particularly the big island of Hawaii. ↑

23 Ka-ma’a-ma’a, a land in Puna. ↑

23 Ka-ma’a-ma’a, a location in Puna. __A_TAG_PLACEHOLDER_1__

24 Pua-le’i. Bird-hunters often stripped off the lower branches from a selected lehua tree that was in full flower and then limed it to ensnare the birds that were attracted to its rich clusters. Such a tree was termed pua-le’i. ↑

24 Pua-le’i. Bird-hunters would often remove the lower branches from a chosen lehua tree that was in full bloom and then cover it with lime to trap the birds drawn to its abundant clusters. This type of tree was called pua-le’i. ↑

25 Apua, a place in Puna. ↑

25 Apua, a place in Puna. __A_TAG_PLACEHOLDER_1__

26 Ku-ka-la-ula, a place on the road that ascends from Puna to Kilauea. The same term was applied to the ruddy glow that appears on a mountain horizon just before sunrise. ↑

26 Ku-ka-la-ula, a spot on the road that climbs from Puna to Kilauea. The same word was used to describe the reddish glow that shows up on a mountain horizon just before dawn. ↑

27 Pu’u-lena, said to be the name of a hill near Kilauea-iki. It is now commonly employed as the name of a wind, as in the old saying: “Ua hala ka Pu’u-lena, aia i Hilo.” ↑

27 Pu’u-lena is the name of a hill near Kilauea-iki. It's now often used to refer to a wind, as in the old saying: “Ua hala ka Pu’u-lena, aia i Hilo.” ↑

28 Akua. That was Pele herself. “Aina a ke Akua i noho ai” has passed into a saying. ↑

28 God. That was Pele herself. “The land where God resides” has become a saying. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXI1

HIIAKA DESCRIBES THE SCENE BEFORE HER

Hiiaka constantly showed a lively interest in the important features of the landscape, often addressing them as if they had been sentient beings. At Kai-papa’u, looking out upon cape Lani-loa, she greeted it as if it had been an old friend of the family:

Hiiaka always displayed a keen interest in the key aspects of the landscape, often speaking to them as if they were living beings. At Kai-papa’u, looking out at cape Lani-loa, she welcomed it like an old family friend:

Lele Lani-loa; ua malie;

Lele Lani-loa; it's calm;

Ke hoe a’e la ka Moa’e,

Ahu kai i na pali;

Fishing is good on the cliffs;

Kaiko’o lalo, e.

Get down, now.

Ua pi’i kai i uka, e.

TRANSLATION

Fly, Lani-loa, fly in the calm.

Fly, Lani-loa, fly in peace.

At the moaning of Moa’e,2

At the request of Moa’e, __A_TAG_PLACEHOLDER_0__

Mist veils the mountain walls.

Fog obscures the mountain walls.

The breakers roll ever below,

The waves crash ever below,

While Ocean climbs to the hills.

While Ocean climbs up the hills.

They passed through the lands of Laie, Malae-kahana and Keana and at Kahipa they saw the crouching figures of Punahe’e-lapa and Pahi-pahi-alua, who stole away into the shelter of the pandanus groves without deigning to give them any salutation. At this show of disrespect, Hiiaka called out:

They passed through the lands of Laie, Malae-kahana, and Keana, and at Kahipa, they saw the crouching figures of Punahe’e-lapa and Pahi-pahi-alua, who slipped away into the shelter of the pandanus groves without bothering to greet them. Seeing this disrespect, Hiiaka called out:

Komo i ka nahele ulu hinalo,

Nahele hala o Po’o-kaha-lulu;

Po’o-kaha-lulu forest of hala;

Oia nahele hala makai o Kahuku.

Heaha la ho’i ka hala3

Heaha la ho’i ka hala__A_TAG_PLACEHOLDER_0__

I kapu ai o ka leo, e?

I Hookuli ai oe i ka uwalo, e?

E uwalo aku ana au;

Maloko mai oe, e!

What's up, guys!

[98]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

We enter the fragrant groves,

We enter the scented groves,

Hala groves whose heads make a calm,

Hala groves with their tops creating a peaceful,

Wild growths by the sea of Kahuku,

But what, indeed, are your halas?

But what exactly are your halas?

Shall their murmur forbid you speech?

Shall their whisper stop you from speaking?

Make you dumb to my salutation?

Make you dumb to my greeting?

I make this kindly entreaty

I make this request kindly.

To you who sit in the grove.

To you sitting in the grove.

They crossed the Waimea stream on the sand-bar, which in ordinary weather dams its mouth and, climbing the rocky bluff Kehu-o-hapu’u, had a fine view of the ocean surges tossing up their white spray as they ceaselessly beat against the near-by elevated reef-fringe that parapets this coast, as well as of the Ka-ala mountains, blue in the distance.

They crossed the Waimea stream on the sandbar, which usually blocks its mouth in calm weather. Climbing the rocky bluff Kehu-o-hapu’u, they enjoyed a great view of the ocean waves crashing and spraying white foam as they constantly pounded against the nearby elevated reef that lines the coast, as well as the Ka-ala mountains, which appeared blue in the distance.

(This bluff of Kehu-o-hapu’u until within a few years was the site of a little heiau, the resort of fishermen; and in it stood a rude stone figure of the fish-god Ku-ula. From the non-mention of this interesting object, we have to argue either that the discovery and worship of this idol was of later date than the times of Hiiaka or that she ignored it.)

(This bluff of Kehu-o-hapu’u until a few years ago was the site of a small heiau, frequented by fishermen; and in it stood a crude stone figure of the fish-god Ku-ula. Since this interesting object isn’t mentioned, we can deduce either that the discovery and worship of this idol happened after Hiiaka's time or that she simply overlooked it.)

Hiiaka, casting her eye about for objects of interest, was attracted by the odd appearance of the lily-like water-plant uki, the detached floating clumps of which looked as if they had been fire-smitten:

Hiiaka, looking around for things to notice, was drawn to the strange look of the lily-like water plant uki, whose detached floating clumps appeared as if they had been scorched by fire:

Ke ai’na mai la e ka wai

Ka maha uki o Ihu-koko;

There are many arts of Jesus;

Ke puhi ia la e ka makani.

Hako’i ka ua, ka wai iluna:

Hako’i the rain, the water above:

Ke kina’i ia ho’i ka iwi o ka wai a éha.

E há i ka leo—he leo wale no.

TRANSLATION

The lily tufts of Ihu-koko

The lily clumps of Ihu-koko

Are gnawed away by the water

Are worn down by the water

And thrashed about by the wind. [99]

And tossed around by the wind. [__A_TAG_PLACEHOLDER_0__]

Beat down by the rain from heaven,

Beat down by the rain from above,

The wave-ribs are flattened out.

The wave ribs are flattened.

Hushed be the voice—merely the voice.

Hush the voice—only the voice.

From the same vantage-ground—that of Kehu-o-hapu’u—Hiiaka not only saw the dash of the ocean against the buttresses of the near-by coast, her ears also were filled with a murmurous ocean-roar that gave to the air a tremor like that of a deep organ-tone:

From the same viewpoint—Kehu-o-hapu’u—Hiiaka not only saw the waves crashing against the nearby coast, but she also heard a deep, rumbling sound of the ocean that filled the air with a vibration like that of a deep organ note:

O Wai-alua, kai leo nui:

O Wai-alua, great voice waters:

Ua lono ka uka o Lihu’e;

Ke wa la Wahi-awá, e.

Kuli wale, kuli wale i ka leo;

He leo no ke kai, e.

TRANSLATION

Wai-alua, land of the sounding sea,

Wai-alua, land of the echoing sea,

With audience in upland Lihu’e—

With an audience in upland Lihu’e—

A voice that reaches Wahi-awá:

Our ears are stunned by this voice—

Our ears are shocked by this voice—

The voice, I say, of old Ocean!

The voice, I tell you, of the great Ocean!

The landscape still held her, and she continued:

The landscape still captivated her, and she kept going:

O Wai-alua, la’i ehá, e!

O Wai-alua, calm four, e!

Ehá ka malino lalo o Wai-alua.

TRANSLATION

Wai-alua has a fourfold calm,

Wai-alua has a calmness of four.

That enfolds and broods o’er the land.

That wraps around and watches over the land.

“Let us move on,” said Hiiaka to her companion, “there’s a pang next my heart. Had I meat in my hand, we’d trudge to a water-spring and so be refreshed until we came to the house of a friend. Let us move.”

“Let’s keep going,” Hiiaka said to her companion, “there’s a pain in my heart. If I had food with me, we could walk to a water spring and refresh ourselves until we reach a friend’s house. Let’s move.”

From the plain near Lau-hulu Hiiaka took a fresh view of Mount Ka-ala and, in a tone of bantering apology, said, “Forget me not, O Ka-ala. Perhaps you complain that I have not chanted your praises:” [100]

From the flatland near Lau-hulu, Hiiaka looked at Mount Ka-ala and, in a lighthearted way, said, “Don’t forget me, Ka-ala. Maybe you’re upset that I haven’t sung your praises.” [__A_TAG_PLACEHOLDER_0__]

O Ka-ala, kuahiwi mauna kehau,

O Ka-ala, misty mountain

Ke opú mai la, la, i Ka-maóha;

Poluea4 iho la ilalo o Hale-auau;

Poluea __A_TAG_PLACEHOLDER_0__ down there under Hale-auau;

Ke kini ke kehau anu o Ka-lena.

Akahi no ka nele o ka la pomaikai:

Aohe moe-wa’a5 o ka po nei—

No rest for the weary—__A_TAG_PLACEHOLDER_0__

Ka moe-wa’a, e!

TRANSLATION

Ka-ala, dewy and forest-clad,

Ka-ala, misty and forest-covered,

Bellies the plain at Ma-óha,

As it slopes to the land below.

As it slopes down to the land below.

The cool dew-fall comforts Ka-lena:

The cool dewfall comforts Ka-lena:

First pinch this of want mid good luck—

First, pinch this feeling of desire amid good fortune—

No dream of canoe-voyage last night,

No dream about a canoe trip last night,

No dream of disaster at sea.

No nightmares about disasters at sea.

The story of Cape Ka-ena, that finger-like thrusts itself out into the ocean from the western extremity of Oahu, touches Hawaiian mythology at many points: Its mountain eminence was a leina uhane, jumping-off place, where the spirits of the deceased took their flying leap into ghost-land. Here it was that the demigod Mawi had his pou sto when he made the supreme effort of his life to align and unite the scattered group of islands; and here can still be seen Pohaku o Kauai, the one fragment of terra firma his hook could wrench from its base. Here, too, it was that Pele stood when she chaffed the old demi-god for having lured her on, as she supposed, with drum and fife to the pursuit of Lohiau; and now her sister Hiiaka stands in the same place. The subject was well worthy Hiiaka’s muse:

The story of Cape Ka-ena, which juts out into the ocean from the west side of Oahu, connects with Hawaiian mythology in many ways: Its mountain peak was a leina uhane, a jumping-off point where the spirits of the dead would leap into the afterlife. This was where the demigod Maui had his pou sto when he made the ultimate effort of his life to unite the scattered islands; and here you can still see Pohaku o Kauai, the one piece of terra firma his hook managed to pull from its base. It was also where Pele stood when she scolded the old demigod for what she thought was his manipulation with drum and fife to lead her in the pursuit of Lohiau; and now her sister Hiiaka stands in that same spot. The topic was truly worthy of Hiiaka’s inspiration:

Lele ana o Ka-ena

Lele ana o Kaena

Me he manu la i ka malie; [101]

Me he manu la i ka malie; [__A_TAG_PLACEHOLDER_0__]

Me he kaha na ka uwa’u6 la

Na pali o Nene-le’a;7

Na pali o Nene-le’a;__A_TAG_PLACEHOLDER_0__

Me he upa’i na ke koa’e8 la

Ka ale iwaho o Ka-ieie;9

Go outside of Ka-ieie; __A_TAG_PLACEHOLDER_0__

Me he kanáka hoonu’u la i ka malie

Ka papa kea i ke alo o ka alá;

Ua ku’i ’a e ke kai,

A uli, a nono, a ula

Ka maka o ka alá,

The eye of the world,

E no-noho ana i ke kai o Ka-peku.10

Ka-peku ka leo o ke kai—

O Hoo-ilo11 ka malama.—

O Hoo-ilo__A_TAG_PLACEHOLDER_0__ in the season.

Ke ku mai la ka pauli i kai,

Ka hoailona kai o ka aina:

A’e kai o Ka-hulu-manu;12

A’e kai of Ka-hulu-manu; __A_TAG_PLACEHOLDER_0__

Kai a moana ka aina.

Ahu wale ka pae ki’i,

Ka pae newe-newe,

Ka pae ma nu’u a Kana-loa:—

A he hoa, a oia.

A friend, that’s right.

Hoohaehae13 ana ka Lae-o-ka-laau,14

Hoohaehae__A_TAG_PLACEHOLDER_0__ and Lae-o-ka-laau,__A_TAG_PLACEHOLDER_1__

I kihe15 ia e ke kai o Wawalu,16

Na owaewae17 pali o Unu-lau

Na owaewae __A_TAG_PLACEHOLDER_0__ pali o Unu-lau

Inu aku i ka wai o Kohe-iki i ka pali— [102]

Inu aku i ka wai o Kohe-iki i ka pali— [__A_TAG_PLACEHOLDER_0__]

I ka pali ka wai,

Kau pu me ka laau.

You put me in the woods.

Hoole ke kupa, huná i ka wai.18

Ehá ka muli-wai, wai19 o Ka-ena.

Ehá ka muli-wai, wai__A_TAG_PLACEHOLDER_0__ of Ka-ena.

Ena iho la e ka la o ka Maka-li’i;

O-i’o mai ana ke a me he kanaka koa la,

Maalo ana i ku’u maka;

Me he hauka’i la o ia kalana pali,

Kuamo’o loa, pali o Lei-honua.

Kuamo'o loa, cliffs of Lei-honua.

Hiki iho nei no ka hauoli

I ka hiki’na mai a nei makani.

I ka hiki'na mai a nei makani.

Heaha la ka’u makana i ku’u hilahila?

O ka’u wale iho la no ia, o ka leo, e!

TRANSLATION

Ka-ena Point flies on its way

Ka-ena Point is soaring on its journey.

Like a sea-bird in fair weather;

Like a seagull in nice weather;

Like the wings of a swooping gull

Like the wings of a diving seagull

Are the cliffs of Nene-le’a;

Are the cliffs of Nene-le’a?

Like the lash of the bosen’s wings

Like the crack of the bosun's whip

Is the curl of the breaking wave

In the channel of Ië-ië.

In the Ië-ië channel.

The gray sand that borders the lava

The gray sand that lines the lava

Drinks the waves like a thirsting man;

Drinks the waves like a thirsty man;

And purple and pink and red

And purple, pink, and red

Are the eye-spots of the bazalt

Are the eye spots of the basalt

That gleam in the sea of Ka-peku.

That shine in the sea of Ka-peku.

The sea gives a querulous tone—

The sea has a complaining tone—

The season is that of Ho-ilo.

The season is Fall.

A cloud-pall shadows the ocean,

A cloud covers the ocean,

Sure sign of a turbulent sea,

Sure sign of a rough sea,

Of a tide that will deluge the land,

Of a tide that will flood the land,

Like the Flood of Ka-hulu-manu.

Like the Ka-hulu-manu Flood.

The god-forms stand in due order,

The god-forms stand in proper order,

Forms that are swollen to bursting,

Forms that are filled to the brim,

The group on Kana-loa’s altar:— [103]

The group on Kana-loa’s altar:— [__A_TAG_PLACEHOLDER_0__]

Friends, allies, I reckon them all.

Friends, allies, I consider them all.

Cape-of-the-Woods entices us on,

Cape of the Woods draws us in,

Besprayed by the sea of Wawalu,

Forefront Unulau’s gullied cliffs.

Forefront of Unulau's gullied cliffs.

I drink of the water distilled

I drink distilled water

By the dripping pali walls,

By the dripping palisade walls,

Led forth in a hollowed log.

The rustic denies it and hides it:

The country person denies it and keeps it hidden:

Four water-streams has Ka-ena;

Ka-ena has four water streams;

And the summer sun is ardent.

And the summer sun is blazing.

The blocks of stone, like warriors,

The blocks of stone, like soldiers,

Move in procession before me—

Walk in a procession before me—

Pilgrims that march along the crest

Pilgrims who walk along the ridge

Of the steep ridge Lei-honua.

Ah, a new joy now do I find:

Ah, I now find a new joy:

It comes with the breath of this wind!

And what is my gift in return?

And what do I get in return?

To my shame, it’s only my voice.

To my shame, it’s just my voice.

The rocks and huge bowlders that dotted the barren waste of Ka-ena seemed to the travelers to glow and vibrate as if they were about to melt under the heat of the sun, a phenomenon that stirred the imagination of Hiiaka to song:

The rocks and giant boulders scattered across the barren wasteland of Ka-ena appeared to the travelers to glow and vibrate as if they were on the verge of melting under the sun’s heat, a phenomenon that inspired Hiiaka to break into song:

Liu’a ke kaha o Ka-ena, wela i ka La;

Liu'a is the strength of Ka-ena, burning in the sun;

Ai’na iho la ka pohaku a mo’a wela;

Kahuli oni’o, holo ana i ka malie;

Kahuli oni’o, running through the calm;

Ha’aha’a ka puka one, ki’eki’e ke ko’a,

I ka hapai ia e ka makani, ka Malua:

O’u hoa ia i ke Koolau, e.

O kaua ia i ke Koolau, e.

A pa Koolau, hoolale kula hulu;

Kahea ke keiki i ka wa’a,

’E holo, oi malie ke kaha o Nene-le’a;

Aohe halawai me ka ino i ka makani;

Ka pipi lua o ka ale i ka ihu o ka wa’a.

He wa’awa’a20 ka makani, he naaupo;

He was the wind, a fool;

Ke kai ku’i-ké, koke nalo ka pohaku! [104]

Ke kai ku’i-ké, quickly the rock disappears! [__A_TAG_PLACEHOLDER_0__]

Ke kupa hoolono kai, o Pohaku-o-Kaua’i,21 e,

A noho ana o Pohaku o Kaua’i i kai, e!

TRANSLATION

Ka-ena, salty and barren,

Ka-ena, salty and lifeless,

Now throbs with the blaze of the sun;

Now pulses with the heat of the sun;

The rocks are consumed by the heat,

The rocks are melted by the heat,

Dappled and changed in their color:

The sand-holes sink, the coral forms heaps,

The sand pits sink, the coral piles up,

Urged by the breath of Malua—

That fellow of mine from Koolau:

That guy of mine from Koolau:

When blows Koolau, then bristles the plain.

When Koolau strikes, the plain bristles.

Then calls the lad to the sailor,

Then the boy calls out to the sailor,

Speed on while calm is Nene-le’a;

Such time you’ll meet with good weather;

Good weather will come eventually;

The lap of the sea ’gainst the bow—

The waves of the sea against the front—

A most thoughtless, good-natured, wind, that.

A really careless, easygoing breeze, that.

When choppy the sea, hid are the rocks!

When the sea is choppy, the rocks are hidden!

A man of the sea art thou, well versed

A man of the sea you are, well versed

In its signs of storm and of calm,

In its signs of storm and calm,

O Rock, thou Rock of Kaua’i!

O Rock, you Rock of Kaua’i!

[105]

[__A_TAG_PLACEHOLDER_0__]

1 I have purposely weeded out from the narrative, as popularly told, several incidents that have but little interest and no seeming pertinence to the real purpose of the story. ↑

1 I have intentionally removed from the narrative, as it is commonly told, several events that have little interest and no apparent relevance to the main purpose of the story. ↑

2 Moa’e, the trade wind. ↑

2 Moa’e, the trade winds. __A_TAG_PLACEHOLDER_1__

3 There seems to lurk a play in this word hala. It stood not only for the pandanus tree; it also meant a fault, a sin. ↑

3 There seems to be a hidden meaning in the word hala. It not only referred to the pandanus tree; it also signified a mistake, a wrongdoing. ↑

4 Poluea, ordinary meaning, to be nauseated; here it means to slope down. ↑

4 Poluea, which generally means to feel sick; in this context, it refers to sloping down. ↑

5 Moe-wa’a, literally, a canoe-dream. To dream of a canoe-voyage was considered an omen of very bad luck. ↑

5 Moe-wa’a, which means a canoe dream. Dreaming of a canoe journey was seen as a sign of really bad luck. ↑

6 Uwa’u, a sea-bird, a gull. ↑

6 Uwa’u, a sea bird, a gull. ↑

7 Nene-le’a, a place near Ka-ena point, close to Pohaku o Kaua’i. ↑

7 Nene-le’a, a spot near Ka-ena point, close to Pohaku o Kaua’i. ↑

8 Koa’e, the tropic-bird, or bosen-bird. ↑

8 Koa’e, the tropicbird, or bosun bird. ↑

9 Ka-ieie, the channel between Oahu and Kauai. ↑

9 Ka-ieie, the strait between Oahu and Kauai. ↑

10 Ka-peku. The word kapeku, at the beginning of verse 13, means, I am told, querulous. ↑

10 Ka-peku. The word kapeku, at the beginning of verse 13, means, I've been informed, complaining or whiny. ↑

11 Ho’o-ilo, or Ho-ilo, the cool or rainy season of the year, covering six months according to the Hawaiians. There was no such month (mahina) as Ho’o-ilo, or Ho-ilo. ↑

11 Ho’o-ilo, or Ho-ilo, is the cool or rainy season of the year, lasting six months according to Hawaiian tradition. There was no month (mahina) known as Ho’o-ilo, or Ho-ilo. ↑

12 Ka-hulu-manu. The kai o Ka-hulu-manu is, as reported to me by a well-informed Hawaiian, a flood that submerged the land in mythological times, distinct from Kai-a-ka-hina-alii. ↑

12 Ka-hulu-manu. The sea of Ka-hulu-manu, according to a knowledgeable Hawaiian, is a flood that covered the land in ancient times, separate from Kai-a-ka-hina-alii. ↑

13 Hoohaehae, to chase, to irritate, to tease. ↑

13 Hoohaehae, to pursue, to annoy, to provoke. ↑

14 Lae-o-ka-laau, (literally, Cape of the Trees), the south-western cape of Moloka’i, on which the United States have established a first-class lighthouse. ↑

14 Lae-o-ka-laau, (which means Cape of the Trees), the southwestern tip of Moloka’i, where the United States has built a first-class lighthouse. ↑

15 Kihe, to sneeze; to spatter; to wet with spray. ↑

15 Kihe, to sneeze; to splash; to wet with spray. ↑

16 Wawalu, a cove. ↑

16 Wawalu, a cove. __A_TAG_PLACEHOLDER_1__

17 Owaewae, gullied. This is an instance of the adjective being placed before its noun. ↑

17 Owaewae, found in a ravine. This is an example of the adjective being positioned before its noun. ↑

18 Huna i ka wai. The people of the region concealed the holes where water dripped, as it was very scarce. ↑

18 Huna i ka wai. The locals hid the spots where water leaked, as it was extremely rare. ↑

19 Muli-wai, literally a river, a poetical exaggeration. ↑

19 Muli-wai, which means a river, is a poetic exaggeration. ↑

20 Wa’a-wa’a, simple-minded; unsophisticated; “green;” the name of two youths mentioned in tradition, one of whom committed blunder after blunder from his soft-hearted stupidity. ↑

20 Wa’a-wa’a, naive; unrefined; “inexperienced;” the name of two young men referenced in tradition, one of whom made mistake after mistake due to his kind-hearted foolishness. ↑

21 Pohaku o Kaua’i. The most audacious terrestrial undertaking of the demigod Mawi was his attempt to rearrange the islands of the group and assemble them into one solid mass. Having chosen his station at Kaena Point, the western extremity of Oahu, from which the island of Kaua’i is clearly visible on a bright day, he cast his wonderful hook, Mana-ia-ka-lani, far out into the ocean that it might engage itself in the foundations of Kaua’i. When he felt that it had taken a good hold, he gave a mighty tug at the line. A huge bowlder, the Pohaku o Kaua’i, fell at his feet. The mystic hook, having freed itself from its entanglement, dropped into Palolo Valley and hollowed out the crater, that is its grave. This failure to move the whole mass of the island argues no engineering miscalculation on Mawi’s part. It was due to the underhand working of spiritual forces. Had Mawi been more politic, more observant of spiritual etiquette, more diplomatic in his dealings with the heavenly powers, his ambitious plans would, no doubt, have met with better success. ↑

21 Pohaku o Kaua’i. The boldest land project of the demigod Mawi was his attempt to rearrange the islands into one solid mass. He picked his spot at Kaena Point, the western tip of Oahu, where he could see Kaua’i clearly on a bright day. He cast his magical hook, Mana-ia-ka-lani, far into the ocean to catch the foundations of Kaua’i. When he felt it had a solid grip, he yanked on the line with all his strength. A massive boulder, the Pohaku o Kaua’i, fell at his feet. The magical hook, having freed itself from the entanglement, dropped into Palolo Valley and created the crater that became its grave. The failure to move the whole island doesn’t indicate any engineering failure on Mawi’s part. It was due to the subtle actions of spiritual forces. If Mawi had been more tactful, more aware of spiritual customs, and more diplomatic with the heavenly powers, his ambitious plans would likely have succeeded better. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXII

HIIAKA ADDRESSES POHAKU-O-KAUA’I—THE TWO WOMEN RIG UP A CANOE—SHE SALUTES KAENA—SALUTE TO HAUPU—SEES LOHIAU’S SPIRIT FORM

Hiiaka had large acquaintance with the natural features of every landscape, and if those features were of volcanic origin she might claim them as kindred through her own relationship with Pele. It was hers to find friendship, if not sermons, in stones. This Pohaku-o-Kaua’i, to whom Hiiaka now addressed herself, though in outward form an unshapen bowlder, as we see it today,—the very one that Mawi drew from its ocean-bed with his magic hook Mana-ia-ka-lani—was in truth a sentient being, alive to all the honor-claims of kinship. To him, in her need, Hiiaka addressed herself:

Hiiaka was well-acquainted with the natural features of every landscape, and if those features were volcanic, she considered them family because of her connection to Pele. She found friendship, if not lessons, in stones. This Pohaku-o-Kaua’i, to whom Hiiaka now spoke, though it appeared to be just a shapeless boulder today—the very one Mawi pulled from its ocean bed with his magical hook Mana-ia-ka-lani—was actually a sentient being, aware of all the bonds of kinship. In her time of need, Hiiaka turned to him:

E Pohaku o Kaua’i i kai, e,

A po Ka-ena i na pali,

I wa’a no maua

I won't do that

E ike aku ai i ka maka o ke hoa,

O Lohiau ipo, e!

Oh Lohiau, my love!

TRANSLATION

Translation

O sea-planted Rock of Kaua’i,

Kaua’i’s ocean-planted rock,

Night shadows the cliffs of Ka-ena:

Night casts shadows on the cliffs of Ka-ena:

A canoe for me and my fellow;

A canoe for me and my friend;

We would look on the face of our friend,

We would look at our friend's face,

Lohiau the dearly beloved.

Lohiau the beloved.

“I have no canoe,” said Pohaku-o-Kaua’i. “The one I had was wrecked in a storm while on a fishing trip. One huge wave came aboard and split her from end to end. We had to swim for it. But surely, such a beautiful woman as you will have no trouble in finding a canoe. There must be no lack of canoes making the trip to Kaua’i.”

“I don’t have a canoe,” said Pohaku of Kaua’i. “The one I had got wrecked in a storm when I was on a fishing trip. A massive wave crashed on board and split it right down the middle. We had to swim for our lives. But surely, a beautiful woman like you won’t have any trouble finding a canoe. There must be plenty of canoes heading to Kaua’i.”

“In the lack of a canoe, let us have a plank, such as I see you are there using for a shelf.” [106]

“In the absence of a canoe, let’s use a plank, like the one I see you’re using as a shelf.” [__A_TAG_PLACEHOLDER_0__]

“If that will serve you, you are welcome,” said the old man.

“If that works for you, you’re welcome,” said the old man.

“We shall also need an outrigger-float for our craft,” Hiiaka remarked.

“We also need an outrigger float for our boat,” Hiiaka said.

“An ama (outrigger-float) is a thing I lack,” he answered.

“An ama (outrigger-float) is something I don’t have,” he replied.

“You must have some block of wili-wili—such as that one, for instance, which you use to hold your fishhooks,” Hiiaka urged.

“You need some piece of wili-wili—like that one, for example, which you use to hold your fishhooks,” Hiiaka insisted.

The old man was able to meet their demands. The two women then set their wits to work and finally succeeded in lashing the parts together in such fashion as to make something that would serve as a canoe.

The old man was able to meet their demands. The two women then used their cleverness and finally succeeded in tying the pieces together in a way that created something that would work as a canoe.

Hiiaka, as the one in command, sat astern and Wahine-oma’o in the bow. As they sailed away Hiiaka saluted Cape Ka-ena in these words:

Hiiaka, in charge, sat at the back while Wahine-oma’o was at the front. As they sailed away Hiiaka waved goodbye to Cape Ka-ena, saying:

Holo Ka-ena, la,

Holo Ka-ena, the,

Me he wa’a kaukahi la i ka malie;—

Ka lau hoe, lau hoe o Kua-o-ka-la;1

Ke kowelowelo2 la o Lehua, e;

Ke kowelowelo__A_TAG_PLACEHOLDER_0__ la o Lehua, e;

O Lehua ho’i, e!

Oh Lehua, here we go!

TRANSLATION

Translation

Ka-ena speeds along

Ka-ena zooms along

A single canoe in the calm;

A single canoe on the still water;

The four hundred rays that dart from

The four hundred rays that shoot from

The Back of the Sun sink down

The back of the sun sinks down

In the sea at Lehua,

In the ocean at Lehua,

The western waves of Lehua.

When well out in the channel of Kaieie the sight of the famous Hill of Haupu, that now appeared to lift its head like a water-fowl stemming the tide, was an inspiration to song. Mingled with the pleasure, however, was the chagrin and indignation that came from knowing that at that very moment her own lehua preserves in Kona were suffering ravage from fire by the act of Pele: [107]

When we were far out in the Kaieie channel, seeing the famous Hill of Haupu, which looked like a bird fighting against the waves, inspired us to sing. But along with the joy, we felt frustration and anger knowing that at that very moment, her own lehua preserves in Kona were being devastated by fire due to Pele's actions. [__A_TAG_PLACEHOLDER_0__]

O Haupu,3 mauna ki’e-ki’e,

O Haupu, __A_TAG_PLACEHOLDER_0__ mountain peak,

Huki a’e la, pa i ka lani;

Waha4 keiki ma ke kua;

Waha __A_TAG_PLACEHOLDER_0__ kids on the back;

Hi’i Ke-olewa5 ma ke alo;

Hi’i Ke-olewa__A_TAG_PLACEHOLDER_0__ at the front;

Au ana Ni’ihau i ke kai.

Pau a’u lehua i ka manu, e,

Pau, e, o a’u lehua, ho’i, e!

TRANSLATION

Famed Haupu, the mighty hill,

Famous Haupu, the mighty hill,

Lifts head till she touches heaven;

Lifts her head until she reaches the sky;

On her back strapped a suckling child,

On her back was a nursing baby,

While she fondles a fleecy cloud,

While she touches a soft cloud,

And Niihau swims the ocean tide.

And Niihau swims through the ocean waves.

Oh, my lehuas! spoiled by the birds!

Oh, my lehuas! ruined by the birds!

Alas, my lehuas, alas!

“What a notion!” Wahine-oma’o exclaimed. “Who in the world is meddling with your lehuas?”

“What a thought!” Wahine-oma’o exclaimed. “Who in the world is messing with your lehuas?”

While they were sailing along the precipitous coast of Ka-lalau, set in the windward wall of the island, Hiiaka saw standing at the mouth of a cave high up on the precipice, the spirit form of one who was no other than Lohiau, and again she was moved to song:

While they were sailing along the steep coast of Ka-lalau, located on the windward side of the island, Hiiaka saw at the entrance of a cave high on the cliff, the spirit of none other than Lohiau, and once again she felt inspired to sing:

A Ka-lalau, a Ke-é,

A ka pali au i Haena,

E peahi mai ana ka lawakua6 ia’u la;

Peahi, e peahi mai ana ka lawakua ia’u.

Peahi, the ocean is calling me.

Owau keia, o ka maka o ke aloha, la,

Owau kēia, o ka maka o ke aloha, la,

O ke aloha, ho’i, e!

Aloha, let's go back!

TRANSLATION

Off the coast of Lalau, off Ke-é,

Off the coast of Lalau, near Ke-é,

When nigh the cliffs of Haena, [108]

When near the cliffs of Haena, [__A_TAG_PLACEHOLDER_0__]

The loved one beckons, he beckons,

The loved one calls, he calls,

The loved one beckons to me.

The loved one is calling to me.

I am the one—the eye-scout of love:

I am the one—the love scout:

Love, indeed, is my errand, aye love!

Love, really, is my mission, yes, love!

The ghost-form of Lohiau still continued to show itself as they sailed; and when it signalled a recognition of Hiiaka by beckoning to her, she could but answer it:

The ghost of Lohiau still kept appearing as they sailed, and when it signaled to Hiiaka with a beckon of recognition, she could only respond to it:

Ua pu’e ia e ke one ka lehua o uka;

Ua ho-á iki ka ula i ka papa;

Ua huná i ke kino i ka pohaku;

O ka pua na’e, ke ahu nei i ke ala—

Alanui hele o Ka-unu-kupukupu;7

Alanui hele o Ka-unu-kupukupu; __A_TAG_PLACEHOLDER_0__

Hele li’u-lá8 o ka poha-kau,9 e;

Hele li’u-lá__A_TAG_PLACEHOLDER_0__ to the poha-kau,__A_TAG_PLACEHOLDER_1__ e;

Kaulia10 a ka poha-kau he kilohana11 ia;

Kaulia__A_TAG_PLACEHOLDER_0__ a ka poha-kau he kilohana__A_TAG_PLACEHOLDER_1__ ia;

He maka’ika’i ia no Ka-hua-nui;12

He watches over Ka-hua-nui;__A_TAG_PLACEHOLDER_0__

He kahiko ia no ka wai o kaunu,13 e.

A kaunu anei, o ke aloha ia?

A ia’u la, éha oe!

Aloha to you, four!

TRANSLATION

The upland lehua is clinker-heaped;

The upland lehua is cluttered;

Wee flame-buds crop up on the plain;

Wee flame-buds pop up on the plain;

The tree-trunk is hidden with rocks,

The tree trunk is covered with rocks,

Yet its flowers encarpet the path:

Yet its flowers carpet the path:

The road this that leads to desire—

The road that leads to desire—

One’s travel stays not at twilight, [109]

One's travels don't stop at twilight, [__A_TAG_PLACEHOLDER_0__]

Nor to ease one’s back of its load.

Nor to lighten someone's burden.

My journey’s to Ka-hua-nui;

My journey's to Ka-hua-nui;

She is the goal of my passion.

She is the target of my passion.

If love be the targe of thy aim,

If love is the target of your goal,

And I that targe, ruin awaits thee!

And I that shield, destruction is coming for you!

1 Kua-o-ka-La (the back of the sun), a personification and deification of that orb. ↑

1 Kua-o-ka-La (the back of the sun), a character that represents and embodies that celestial body. ↑

2 Kowelowelo, to sink into; to be submerged. ↑

2 Kowelowelo, to sink down; to be underwater. ↑

3 Haupu, a famous hill on Kauai, visible from Oahu. When it was capped with a cloud, Hawaiians said, “Ua kau mai ka pua’a i Haupu; e ua ana.” If that occurred in the rainy season, they said it was about to clear. ↑

3 Haupu, a well-known hill on Kauai that can be seen from Oahu. When it had a cloud on top, Hawaiians would say, “Ua kau mai ka pua’a i Haupu; e ua ana.” If that happened during the rainy season, they believed it was about to clear up. ↑

4 Waha, the same as haawe, i.e., a load for the back. In this case it was a bank of mist or clouds. ↑

4 Waha, like haawe, means a load on the back. In this context, it referred to a bank of mist or clouds. ↑

5 Ke-olewa, a hill, smaller than Haupu, on the side towards Kipu-kai. The word also applied to the floating clouds about the mountain. ↑

5 Ke-olewa, a hill smaller than Haupu, located on the side facing Kipu-kai. The term was also used to refer to the floating clouds around the mountain. ↑

6 Lawa-kua, a precious object bound to the back; applied, therefore, to a child, a dear friend and the like; the local name applied to a wind at Ka-lalau. ↑

6 Lawa-kua, a treasured item secured to the back; thus, it refers to a child, a close friend, and similar connections; the local term used for a wind at Ka-lalau. ↑

7 Ka-unu-kupukupu, a land in Puna. The intrinsic meaning of the phrase is an increasing, overmastering, passion ka-unu, a passion; kupukupu, to grow up, to increase. ↑

7 Ka-unu-kupukupu, a place in Puna. The basic meaning of the term conveys a growing, overwhelming passion: ka-unu, which means passion; and kupukupu, which means to grow or to increase. ↑

8 Li’u-la, twilight. ↑

8 Li’u-la, dusk. __A_TAG_PLACEHOLDER_1__

9 Poha-kau, a resting place where the burden-carrier leaned back and relieved his shoulders of their burden for a time. ↑

9 Poha-kau, a place to take a break where the burden-carrier relaxed and eased the weight off his shoulders for a while. ↑

10 Kaulia, old form of kauia (kau ia). It connotes the removing from the back the haawe, preliminary to a long rest. ↑

10 Kaulia, an ancient version of kauia (kau ia). It means taking off the haawe from your back, getting ready for a long break. ↑

11 Kilohana, here means a comfort, a relief. ↑

11 Kilohana means comfort or ease. __A_TAG_PLACEHOLDER_1__

12 Ka-hua-nui, the elder sister of Lohiau. ↑

12 Ka-hua-nui, the big sister of Lohiau. ↑

13 Kau-nu, desire, passion. Wai o kau-nu, lit., the water of love—“the warm effects.” ↑

13 Kau-nu, desire, passion. Wai o kau-nu, literally, the water of love—“the warm effects.” ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXIII

THE LAME FISHERMAN—HIS EPIC RECITAL CELEBRATING PELE

On arriving at Haena, Hiiaka did not go at once to Lohiau’s place but to the house of Malae-ha’a-koa, a man of chiefish rank, and one who had the reputation of being a seer. He was lame and unable to walk. For this reason his wife, Wailua-nui-a-hoano, had carried him down to the seashore and, leaving him there to his fishing, had gone home to her work of tapa-making. She was busily wielding the tapa club in the hale kuku kapa while Hiiaka stood outside the enclosure and sang:

On arriving at Haena, Hiiaka didn’t go straight to Lohiau’s place but instead went to the home of Malae-ha’a-koa, a man of high status who was known for being a seer. He was lame and couldn’t walk. Because of this, his wife, Wailua-nui-a-hoano, had brought him down to the beach and left him there to fish while she went back to her work making tapa. She was busy working the tapa club in the hale kuku kapa while Hiiaka stood outside the enclosure and sang:

Kunihi ka mauna i ka la’i, e,

O Wai-aleale, la, i Wai-lua;

O Wai-aleale, there, in Wai-lua;

Huki iluna ka popo ua o Ka-wai-kini;

Alai ia a’e la e Nounou,

Nalo ka Ipu-ha’a,

Ka laula ma uka o Ka-pa’a, e.

I pa’a i ka leo, he ole e hea mai.

E hea mai ka leo, e!

TRANSLATION

The mountain turns the cold shoulder,

The mountain is harsh,

Facing away from Wai-lua,

Albeit in time of fair weather.

Even in good weather.

Wai-kini flaunts, toplofty, its rain-cap;

Wai-kini flaunts, proudly, its rain hat;

And the view is cut off by Nounou,

And the view is blocked by Nounou,

Thus Humility Hill is not seen,

Thus, Humility Hill isn't visible,

Nor Ka-pa’a’s broad upland plain.

Nor Ka-pa’a’s wide upland plain.

You seal your lips and are voiceless:

You keep your mouth shut and stay silent:

Best to open your mouth and speak.

[110]

[__A_TAG_PLACEHOLDER_0__]

The woman Wai-lua-nui-a-hoano received in silence this sharp reproof of her haughty and inhospitable conduct, couched, though it was, in the veiled language of symbol. Her eyes left the work in hand and followed Hiiaka and Wahine-oma’o as they turned and faced the path that climbed the pali wall.

The woman Wai-lua-nui-a-hoano took this harsh criticism of her arrogant and unfriendly behavior in silence, even though it was expressed in a subtle, symbolic way. Her gaze shifted from her task to Hiiaka and Wahine-oma’o as they turned to face the path that led up the cliff.

Malae-ha’a-koa, lame, guileless, innocent of all transgression, meanwhile, sat and fished. He had cast afresh his triple-hooked line, blown from his mouth into the water the comminuted fragments of the shrimps whose bodies baited his hooks and, as he waited for a bite he chanted a song (to the god of good luck) that reached Hiiaka’s ear:

Malae-ha’a-koa, lame, honest, and completely innocent of any wrongdoing, sat and fished. He had just cast his triple-hooked line again, blowing the tiny bits of shrimp that once made up the bait into the water, and while he waited for a bite, he sang a song to the god of good luck that reached Hiiaka’s ear:

Pa mai ka makani o ka lele wa’a, e:

Makani kai ehu lalo o ka pali o Ki-pú.

Makani kai ehu at the base of the cliff of Ki-pú.

I malenalena i Wai-niha i ka’u makau:

He i’a, he i’a na ka lawaia, na Malae-ha’a-koa, e!

TRANSLATION

A wind-squall drives the canoes in flight,

A gust of wind sends the canoes flying,

Dashing the spray ’gainst the cliff of Kipú.

Dashing the spray against the cliff of Kipú.

Peace, waves, for my hook at Wai-niha:

Peace, waves, for my fishing line at Wai-niha:

Come, fish, to the hook of the fisher,

Come, fish, to the fisher's hook,

The hook of Malae-ha’a-koa!

The hook of Malae-ha'a-koa!

Hiiaka’s answer to this was a song:

Hiiaka’s response to this was a song:

O Malae-ha’a-koa, lawaia o ka pali,

Keiki lawaia oe a Wai-niha,

Mo’opuna oe a Ka-nea-lani,

You are the grandchild of Ka-nea-lani,

Lawaia ku pali o Haena;

Au umauma o ke ala haki;

He i’a na ka lawaia,

He is a skilled fisherman.

Na Malae-ha’a-koa, e.

TRANSLATION

Translation

I hail thee, Malae-ha’a-koa,

I greet you, Malae-ha’a-koa,

Thou fisherman of the cliffs.

You fisherman of the cliffs.

As a youth you fished at Wai-niha;

As a kid, you fished at Wai-niha;

Grandson thou to Ka-noa-lani,

Grandson of Ka-noa-lani,

Fishing now ’neath the bluffs of Haena, [111]

Fishing now beneath the cliffs of Haena, [__A_TAG_PLACEHOLDER_0__]

Sometime breasting the steep mountain ladder.

Sometime climbing the steep mountain ladder.

Send fish, O Heaven, to this fisherman;

Send fish to Malae-ha’a-koa.

As if obedient to the charm of Hiiaka’s incantation, the breeze sank to a whisper and the ruffled surface of the ocean took on a calm that brought fish to the fisherman’s hooks.

As if responding to the magic of Hiiaka’s spell, the breeze quieted to a whisper and the choppy surface of the ocean became calm, making it easier for the fisherman to catch fish.

Malae-ha’a-koa looked up from his work and, though he did not recognize Hiiaka, he had an intuitive sense that it was her power that had quieted the elements and, with a shrewd insight, he divined that she was of the Pele family. “It is you then that has made this day one of calm;” and he continued his address in song:

Malae-ha’a-koa looked up from his work and, although he didn’t recognize Hiiaka, he had a gut feeling that it was her power that had calmed the elements. With keen insight, he figured out that she was part of the Pele family. “So it’s you who has made this day peaceful;” and he continued speaking to her in song:

Ooe ia, e ka wahine ai laau o Puna,

E ka lalá i ka ulu1 o Wahine-kapu, e;

He i’a, he i’a na ka lawaia,

Na na Akua wahine o Puna, e.

TRANSLATION

Thou art she, O tree-eater of Puna,

O branch of Wahine-kapu’s bread-tree.

O branch of Wahine-kapu’s breadfruit tree.

Swarm, fish, to the fisherman’s hook—

Swarm, fish, to the angler's hook—

Fish for the godlike woman of Puna.

Fish for the divine woman of Puna.

Malae-ha’a-koa felt a genial thrill pervading his system; new vigor came to him; he found himself able to stand on his feet and walk. Some new and wonderful power had come into his life. In the first flush of his ecstacy, he gathered up his fishing tackle, thrust the hooks and lines into his basket and walked triumphantly home on his own feet. Without a word to his wife, he began to tear down a portion of the fence that enclosed the house-lot.

Malae-ha’a-koa felt a warm rush filling him; he was filled with new energy; he realized he could stand up and walk. Something amazing and powerful had entered his life. In the excitement of the moment, he grabbed his fishing gear, stuffed the hooks and lines into his basket, and walked home triumphantly on his own. Without saying a word to his wife, he started to take down part of the fence surrounding the yard.

“What are you about?” exclaimed his wife; “tearing down our fence!… But what has happened to you? Here you are for the first time in many years able to walk on your feet!”

“What are you doing?” his wife exclaimed. “Tearing down our fence!… But what’s happened to you? You’re actually able to walk on your own for the first time in years!”

The man made no immediate reply, but kept on with his work. When she repeated her questionings and expressions of wonder, [112]he quietly asked, “Have you not seen two women about the place?”

The man didn’t respond right away but continued with his task. When she asked her questions and expressed her curiosity again, [__A_TAG_PLACEHOLDER_0__]he calmly asked, “Haven’t you seen two women around here?”

“There were two women who came this way,” she answered thoughtfully.

“There were two women who came through here,” she replied thoughtfully.

“Would you think it! They were divine beings,” he exclaimed in a tone of conviction. “We must spread for them a feast. You had better prepare some luau.”

“Can you believe it? They were divine beings,” he said firmly. “We need to prepare a feast for them. You should get ready for a luau.”

Malae-ha’a-koa himself, alii as he was, with his own hands set about dressing and preparing a dog for the oven. This was his own token of service. At his command his people brought the material for an abundant feast.

Malae-ha’a-koa himself, as a leader, started to dress and prepare a dog for the oven. This was his personal way of serving others. At his orders, his people gathered the supplies for a large feast.

Hiiaka saw from a distance the smoke of Malae-ha’a-koa’s imu and recognized the bustle preparatory to a feast, she exclaimed to her companion, “The lame man has saved the day.”

Hiiaka spotted the smoke from Malae-ha’a-koa’s imu in the distance and noticed the activity leading up to a feast. She exclaimed to her companion, “The lame man has saved the day.”

When the repast was nearing its end and the people had well eaten, Malae-ha’a-koa and his wife stood forth and led in the performance of a sacred dance, accompanying their rhythmic motions with a long mele that recited the deeds, the events, the mysteries that had marked Pele’s reign since the establishment of her dominion in Hawaii:

When the meal was almost finished and everyone had enjoyed their food, Malae-ha’a-koa and his wife stepped forward and led a sacred dance, matching their rhythmic movements with a long chant that recounted the actions, events, and mysteries that defined Pele’s rule since she first claimed her dominion in Hawaii:

O kaua a Pele i haká i Kahiki,

I hakaká ai me Na-maka-o-ka-ha’i.2

I hack the AI with Na-maka-o-ka-ha’i.__A_TAG_PLACEHOLDER_0__

Mahuka mai Pele i Hawaii;

Rise up Pele in Hawaii;

Mahuka Pele i ona onohi,

Mahuka Pele and its beauty,

I na lapa uwila,

E lapa i na mahina, la!

Elieli, kau mai!3

Elieli, come here! __A_TAG_PLACEHOLDER_0__

He kai moe nei no Pele,

No ke Akua;

No God;

He kai hoolale i na moku.

Ha’i aku kai i Hana-kahi,4 [113]

Ha'i aku kai i Hana-kahi, __A_TAG_PLACEHOLDER_0__ [__A_TAG_PLACEHOLDER_1__]

I ke one o Wai-olama5 iluna.

I like one of Wai-olama__A_TAG_PLACEHOLDER_0__ up.

Ako ia ka hale6 a ke Akua;

Ke amo ’a la ke ko’i7

Ke Akua la i uka.

Ke Akua is up north.

Haki nu’anu’a mai ka nalu mai Kahiki;

Haki nu’anu’a from the waves of Kahiki;

Popo’i aku i ke alo o Kilauea,

Ke kai huli i ke alo o Papa-lau-ahi.

Kanáka hea i ke ála—

Kanáka, where are you going?

Kou pua’a-kanu,8 Wahine kui lehua

Kou pua’a-kanu, __A_TAG_PLACEHOLDER_0__ Lehua flower women

Ka uka i Ola’a, ku’u moku lehua

I ke alo o Heeia, o Kukuena9 wahine.

I ke alo o Heeia, o Kukuena9 woman.

Komo i ka lauwili10 na hoalii

Komo i ka lauwili__A_TAG_PLACEHOLDER_0__ na hoalii

I ka nahele o Puna—

In the wilderness of Puna—

A’e, a’e a noho.

A’e, stay put.

Eia makou, kou lau kaula, la!

Eia makou, your green leaves, wow!

Elieli, kau mai!

Elieli, come here!

[114]

[__A_TAG_PLACEHOLDER_0__]

He kai ehu ko Kohala-loa,

Kai apa’apa’a11 ko ka pali i uka;

Kai apa’apa’a__A_TAG_PLACEHOLDER_0__ is the inland cliff;

He kai kiei pali ko Kupehau,

Kai pi’i hala o ka aina:

Ke popo’i aku la i kai o Maui

Ke kai a ka Wahine ali’i,

O ke kai kui lehua a Pele,

A ko’u akua la, e!

My god, wow!

Elieli, kau mai!

Elieli, come here!

Hiiaka was so greatly impressed with this mele that she commanded Wahine-oma’o to restrain herself and observe the dignity of the occasion by eating more quietly. The young woman, thereupon, moderated her gusto and concluded her repast with less smacking of the lips; and the singers proceeded:

Hiiaka was so impressed with this song that she asked Wahine-oma’o to hold back and respect the dignity of the moment by eating more quietly. The young woman then toned down her enthusiasm and finished her meal without making as much noise; and the singers continued:

E oe mauna i ka ohu ka pali,

Kahá ka leo o ka ohi’a, uwé:

Ike au i ke ahi ai alá,

Ka luahine moe naná12

Ka luahine sleep __A_TAG_PLACEHOLDER_0__

A pápa enaena, wai hau, a wa’a kauhí.13

Ilaila Pepe mua, Pepe waena,14

Ilaila Pepe before, Pepe middle,__A_TAG_PLACEHOLDER_0__

O Pepe ka muimui—15

O Pepe ka muimui—__A_TAG_PLACEHOLDER_0__

O kihele ia ulu,16 ka maka hakaikea

O Niheu17 Kalohe, ka maka kahá la.

O Niheu__A_TAG_PLACEHOLDER_0__ Kalohe, the eye glows.

Elieli, kau mai!

Elieli, come here!

[115]

[__A_TAG_PLACEHOLDER_0__]

A Moloka’i nui a Hina,18

A Molokai nui a Hina,__A_TAG_PLACEHOLDER_0__

A Kaunu-ohua19 he pali,

A Kaunu-ohua__A_TAG_PLACEHOLDER_0__ the cliffs,

A kukui o Haupu.20

A kukui of Haupu.__A_TAG_PLACEHOLDER_0__

Haupu ke akua li’ili’i;

Haupu the little god;

Puka mai Pele, ke Akua nui,

Puka mai Pele, the great God,

Me Haumea, me Hiiaka,

Me Kukuena, me Okaoka:21

Me Kukuena, me Okaoka:__A_TAG_PLACEHOLDER_0__

O ke a ke ahi iki, e a!

He onohi no Pele,

He is Pele's heir,

Ka oaka o ka lani la, e!

Elieli, kau mai!

Elieli, come here!

A Nana’i22 Ka-ula-hea,23

A Nana’i __A_TAG_PLACEHOLDER_0__ Ka-ula-hea, __A_TAG_PLACEHOLDER_1__

A Mauna-lei kui ka lei.

A Mauna-lei joins the lei.

Lei Pele i ka i-e-i-e, la;

Wai hinu po’o o Hiiaka;

Holapu ili o Haumea.

Holapu or Haumea.

Ua ono o Pele i kana i’a,

O ka honu o Poli-hua—24

O ka honu o Poli-hua—__A_TAG_PLACEHOLDER_0__

Honu iki, a-ï no’uno’u,

Kua papa’i o ka moana;

The ocean is calm;

Ka eä nui, kua wawaka.

Hoolike i ka ai na Pele,

I na oaoaka oaka i ka lani, la!

Elieli, kau mai!

Elieli, come here!

A Kaua’i, i ke olewa iluna,

A Kaua’i, in the open sky,

A ka pua lana i kai o Wai-lua,

Naná mai Pele ilaila:

Nana, mother of Pele, tonight:

E waiho aku ana o Ahu. [116]

E waiho aku ana o Ahu. [__A_TAG_PLACEHOLDER_0__]

Aloha i ka wai li’u25 o ka aina:

Aloha to the clear waters of the land:

E ála mai ana Mokihana,

It’s about Mokihana now,

Wai auau o Hiiaka.

Hiiaka's journey.

Hoopa’apa’a26 Pele ilaila;

Hoopa’apa’a__A_TAG_PLACEHOLDER_0__ Pele is here;

Aohe kahu e ulu27 ai.

No one watches over __A_TAG_PLACEHOLDER_0__ food.

Keehi aku Pele i ka ale kua loloa:

He onohi no Pele,

He is Pele's descendant,

Ka oaka o ka Lani, la.

Elieli, kau mai!

Elieli, come here!

Holo mai Pele mai ka Hikina,

Holo mai Pele from the East,

A kau ka wa’a i Mo’o-kini;28

Noho ka ua i Kumalae;

Ho’okú Pele ma i ke ki’i;

Noho i ke ki’i a Pele ma,

A ka puá o Ko’i.29

A ka puá o Ko’i.__A_TAG_PLACEHOLDER_0__

Kanaenae Pele ma ilaila;

Kanaenae Pele poise there;

Ka’i a huaka’i mai Pele

Ka’i a huaka’i from Pele

A ka lae i Lele-iwi;30

A ka lae i Lele-iwi;__A_TAG_PLACEHOLDER_0__

Honi i ke ala o ka hala,

Honi in the way of the hala,

O ka lehua o Mokau-lele;31

O ka lehua o Mokau-lele;__A_TAG_PLACEHOLDER_0__

Oia ka Pele a kui la.

He kunana hale ka Pu’u-lena,

He hale moe o Papa-lau-ahi,

He sleeps well under the stars,

He halau no Kilauea.

He left from Kilauea.

Elieli, kau mai!

Elieli, come here!

[117]

[__A_TAG_PLACEHOLDER_0__]

Haule mai Pele mai Kahiki mai;

O ka hekili, o ke ola’i, o ka ua loku,

O ka ua páka o Ha’i-ha’i-lau-mea-iku

O na wahine i ka wao o Mau-kele, la.

Ho mai ana Pele li’u la, e;

Au miki, au huki ka ale kua loloa;

Nu’anu’a ka moana i ka lili32 o Pele:

Nu’anu’a the ocean in the anger of Pele:

O ke ’Kua nui ke ku’i la iluna o ka lani;

Wahi’a ka papa ku, ka papa i ao’a,

Ka papa a Kane ma i he’e ai i Maui.—

Ka Haili-opua,33 ke ’Kua o ka La.

A Wai-a-kahala-loa34 i akea.

A Wai-a-kahala-loa__A_TAG_PLACEHOLDER_0__ is rising.

Elieli, kau mai!

Elieli, come here!

O Wa’a35 ka i naná i ka auwa’a lawaia

O Wa’a35 is a good fishing boat.

Ku kapa kai, e Kohala,

O ke ’Kua lapu, e Pu’u-loa,

Ke uwalo la i ka mea hele;

Ke Akua kui lehua o Kua-o-ka-la,

Kui mai ana i Maka-noni;

Ka la pu’u, la helu o pua36 la’a;

Ka la aku ho’i, e Kahuoi, i ka uka anu.

E olohe Ko’e-ula,37 e mauna mai ana

Ka hikina o ka La o Kumu-kahi ma.

E haliko a’e ana ka a’ama,38 lele hihe’e;

O Kohala ke kaula’i ’na la,

O Kohala, the bright one,

E ka la pumehana ole o ka po; [118]

E ka la pumehana ole o ka po; [__A_TAG_PLACEHOLDER_0__]

O ka la pe’39 ai, o ke ao kau aku iluna

I ka malama, la.

Take care, okay.

Elieli, kau mai!

Elieli, come here!

He make no Aua’a-hea, i kalua ia

I ka pua’a aohe ihi40 ka lau ahea—

Ka ipu kaumaha a ke Akua,

Ka mamala kapu a na hoali’i.

Ku’i i ka lani ka hekili;

O ka ua loku o Ka-ula-hea;41

O ka oka’i nu’u o ke ao,

O Ka-o-mea-lani42 e ua la:

O Ka-o-mea-lani__A_TAG_PLACEHOLDER_0__ is here:

Aha o ka hala ia.

Líli ke Akua:

Líli to God:

Akahi Pele a hokahoka;43

Akahi Pele is released; __A_TAG_PLACEHOLDER_0__

Akahi Pele la a ne’ene’e;44

Akahi Pele is now; __A_TAG_PLACEHOLDER_0__

Akahi Pele la a ai pau;45

I pau i kou hoa, i oni i ke a;

I pahoehoe,46 ai oe i ka mauna.

I pahoehoe,46 I see you on the mountain.

Auhea pahoehoe la?

Where's the lava flow?

Noho iho la ka lau kaula

E ka pau47 hale o ke Akua— [119]

E ka pau47 hale o ke Akua— [__A_TAG_PLACEHOLDER_0__]

E Kane-ula-a-Pele,48 o Ku-ihi-malanai-akea,49

E Kane-ula-a-Pele,__A_TAG_PLACEHOLDER_0__ of Ku-ihi-malanai-akea,__A_TAG_PLACEHOLDER_1__

He hoalii na Pele, he noho ana ai50 laau,

Na wahine pule mana, nána i papawalu.51

Elieli, kau mai!

Elieli, come here!

Kiope,52 kiope mai ana ke ahi a kánaka

Kiope,52 the fire of the people is burning.

Ilalo o Kilauea, a i ku mau-mau wá;53

A ikuwá mai ana ka pihe a ke akua

Iluna, i ka pali o Mauli;54 [120]

Iluna, at the cliff of Mauli;54 [__A_TAG_PLACEHOLDER_0__]

O ka huawai maka55 i ane’i,

O ka huawai maka__A_TAG_PLACEHOLDER_0__ i neia,

O kánaka nana i huli-pueo55 ka wai.

O kánaka who looked for the owl55 the water.

Pu oe i kau laau me kou makaainana;56

Hopu au i ka’u laau, hahau57 i ke Akua.

Ku’u’a58 a’e Pele lapu’u’na59 Pele;

Ku’u’a__A_TAG_PLACEHOLDER_0__ a’e Pele’s power__A_TAG_PLACEHOLDER_1__ Pele;

Waiho ana ilalo, lapu’u ka moe,

A kau la ilalo la pahoehoe ai oe.

Auwe! pahoehoe la, e holo e ka wa’a;

Auwe! Smooth lava, let’s paddle the canoe;

E ka’a ka mauna.

Let’s climb the mountain.

Ola Hiiaka i ka poli o Pele.

Ola Hiiaka in the heart of Pele.

Ho’i aku e, ho’i aku iluna i ka maláma.

A’ama pi’i a’e iluna i Kauwiki;60

Iho mai a’ama i ke aka o kánaka;

Ho’oili61 a’ama, ku i ka laau;

Ho’oili61 the crab, stand by the tree;

Lawe’a a’ama, hao’na i ka eke;

Kaohi paiea62 i ka pola o ka malo;

Kaohi paiea62 at the edge of the malo;

Ku ana paiea ilo’ ka unuunu;

Lei ana paiea i ka hua limu-kala;

Kau ana paiea iluna i ka alá;

Maunu63 paiea, ha’alele i ka eke.

Maunu63 is great, leaving the struggle behind.

[121]

[__A_TAG_PLACEHOLDER_0__]

Nie64 au, Moala, ehia inu awa?

Nie64 au, Moala, how many drinks do you want?

Ehá: o Eä,65 o Honu,66 o Kukuau,67 o Hinalea,68

Ehá: the Eä,65 the Honu,66 the Kukuau,67 the Hinalea,68

O ka apu-hihi,69 o ka hihi-wai;70

O ka apu-hihi,__A_TAG_PLACEHOLDER_0__ o ka hihi-wai;__A_TAG_PLACEHOLDER_1__

Ei’ a’e loli-pua,71 ei’ a’e loli-koko;

Ei’ a’e loli-pua,__A_TAG_PLACEHOLDER_0__ ei’ a’e loli-koko;

Ei’ a’e loli-ka’e, ei’ a’e Leleä.72

O Leleä makua, makua o Kahi-kona,73

O Leleä makua, makua o Kahi-kona, 73

Nána i hanu, kaha ka ua koko:

Ha’i’na a’e ana ka mana

O ke Akua iwaho la, i líli.

Elieli, kau mai!

Elieli, come here!

Pelei-oho-lani informs me that the following verses are found in another version of this mele immediately following verse ¹⁸³:

Pelei-oho-lani tells me that the following lines are in another version of this song right after verse ¹⁸³:

O kukulu ka pahu a ka leo hokiki74 kanawai,

He kua75 a, he kai76 oki’a, he ala77 muku.

TRANSLATION

Let the drum, tho torn, snarl out the law

Let the drum, though tattered, roar out the law.

Of the burning back, deep ocean’s gulf,

Of the blazing back, deep sea’s chasm,

And God’s short bridge to heaven by the bow.

And God's quick path to heaven by the bow.

[122]

[__A_TAG_PLACEHOLDER_0__]

Ua lilí ka lani me ka ua;

Ua o’oki ka lani, poele ka honua

I ka hanau ana o na hoali’i:

Hanau ke kaikamahine ho’onout78 o ka lani;

Hemo mai he keiki kane;

Here comes a boy;

Oili ka ua koko iluna.

The rain poured heavily.

Hanau o Kuwalu79 me kana kane,

Hanau o Kuwalu__A_TAG_PLACEHOLDER_0__ is a man,

O Ku-ihi-malanai-akea:

A ai, e Pele, i kou aina—

Ai’na ka ohi’a, ka ulu hala i kai o Lele-iwi.

He moku Pana-ewa, he oka wale Ka-ú;

He pu’u o Pele nui.

The eruption of Pele nui.

Kahi, e Pele, i kou aina, hoolewa ke au.

Kahi, oh Pele, in your land, the era flourishes.

Elieli, kau mai!

Elieli, come here!

Ku i Wai-lua ka pou hale a ka ipo;

Hoolono i ka uwalo, ka wawa nui

O Ulupo80 ma oli nei; aohe uwalo mai, e.

O Ulupo80 is calling; no one is answering, though.

Aloha ino o Ikuwá81 ma oli nei.

Ke lele la ka eká mua,82

Ka ino a ka makani.

The wind is strong.

Ukiuki, kolo e, Kau-lana,

Ka ua lele aku a lele mai:

Lele a Puhi-lala, lele a kau-lana—

Ka hoaka,83 e Hiiaka, e!

Ka hoaka,__A_TAG_PLACEHOLDER_0__ e Hiiaka, e!

Nowai ke kanaenae?

No ka ohana a Haumea ke kanaenae.

Ku’u ’a e Kane ke ko’a:

I ka ia nei manawa ia.

No Pele, no Hiiaka no ka honua,

Ka honua ne’i, ka honua lewa,

Ka lani iluna. [123]

The sky is above. [__A_TAG_PLACEHOLDER_0__]

O Ana-ku,84 ku ka aha iloko:

O Ana-ku,84 I will say something inside:

O Haamo85 he ala i hei a’e ia,

He pahu86 i kula’i ’na, he pa i a’e ia;

He pahu86 at school, it hit him;

He kahua i hele ia, he luana mau’u;

He kaunana ko, okana piko;

He hola moena, he lawe’na ipukai;

He ukuhi’na wai, he kaumaha ai:

He hainá no ka hale, e.

Noa, noa ia hale—ua a’e ’a,

Ua komohia no wai-honua.

Ku ana o halau87 ololo,

Ku ana o halau__A_TAG_PLACEHOLDER_0__ ololo,

Ka hale o Pele i noho ai.

Maka’ika’i mai Kini o ke Akua.

Ho’i aku e, ho’i aku iwaho ’na!

He kahuna pule ole, he li’i pule ole!

Mai komo wale mai i ka hale o Pele,

O ko’u Akua, la!

O my God, wow!

Elieli, kau mai!

Elieli, come here!

E kau ana kiko88 i ke alia kiko;

Hele a mo’a89 kiko akahi nei au;

Hele a mo’a89 I'm feeling right now;

Kaele pu’epu’e,90 ne’ine’i;91

Kaele pu’epu’e, __A_TAG_PLACEHOLDER_0__ today; __A_TAG_PLACEHOLDER_1__

Ka-ele pa-kiko-kiko.92 [124]

Ka-ele pa-kiko-kiko.__A_TAG_PLACEHOLDER_0__ [__A_TAG_PLACEHOLDER_1__]

Ua noa ka aina; e kapu keiki;

E kapu ke nui; e kahe na wai;

E ka haki ana, ku ka opeope;

O Kulipe’e noho i ka Lua;

O Kulipe’e lives in the Lua;

A lele, e, na hoalii o Ku-wawá;

O Ku-haili-moe, o ka naele o Hawaii.

O Ku-haili-moe, the chief of Hawaii.

Akahi nei au a ho’i aku nei mai ou aku la,

A lele pakohana mai.

Elieli, kau mai!

Elieli, come here!

TRANSLATION

Translation

Of Pele, her warfare in Kahiki

Of Pele, her battles in Kahiki

With her sister Na-maka-o-ka-ha’i;

Of her flight to the land of Hawaii,

About her trip to Hawaii,

A flight like the eye-shot of dawn,

A flight like the sight of dawn,

A flight like the lightning’s flash,

A flight like a lightning flash,

That rivals the full of the moon!

That rivals the fullness of the moon!

Wonder and awe possess me!

I’m filled with wonder!

For Pele the ocean sleeps afar,

For Pele, the ocean rests in the distance,

For Pele the godlike one!

For Pele, the legendary one!

A surge now cradles the islands

A wave now embraces the islands

And breaks on the land Hana-kahi,

O’erflooding the sands of Wai-o-lama.

Flooding the sands of Wai-o-lama.

God’s temple is roofed with the fingers,

God’s temple is covered with the fingers,

And the thumb is lifted in earnest prayer

And the thumb is raised in sincere prayer.

By the concourse met in the uplands.

By the gathering place in the hills.

High piles the surf that sweeps from Kahiki;

It breaks at the foot of Kilauea;

It breaks at the base of Kilauea;

Is driven back by the hot lava plates.

Is pushed back by the hot lava flows.

Now calls from the wayside a human voice;

Now, there's a human voice calling from the roadside;

Your suitor, Goddess who rifled the bloom

Your admirer, Goddess who plucked the flower

From my Ola’an park of lehua

That smile in the lap of Heeia

That smile on the lap of Heeia

And the wreath-goddess Kukuena.

And the goddess Kukuena of the wreath.

What a bestial and nondescript mix-up

What a brutal and unremarkable mess

Embroiled our chief in the thickets of Puna!

What a passionate mounting! what a stay!

What a passionate buildup! What a pause!

Small show of regard for your fellow peers!

Small show of respect for your fellow peers!

Wonder and awe possess me!

I'm filled with wonder and awe!

[125]

[__A_TAG_PLACEHOLDER_0__]

Wild the sea-mist at Kohala-loa,

Wild sea mist at Kohala-loa,

Sea roughed by the breeze from the upper hills,

Sea disturbed by the breeze from the upper hills,

Sea that peeps o’er the cliffs of Kupehau,

Sea that looks over the cliffs of Kupehau,

Invading the groves of pandamus;

Invading the pandamus groves;

It reaches the lowlands of Maui—

The sea of this Goddess, this Queen.

The ocean of this Goddess, this Queen.

The lehuas are twisted like garlands

The lehuas are twisted like wreaths.

At the touch of this sea of god Pele;

At the touch of this ocean of the goddess Pele;

For Pele, indeed, is my god.

For Pele, truly, is my god.

Wonder and awe possess me!

I’m filled with wonder and awe!

Thou mountain wall all swathed in mist,

Now groans the mountain-apple tree;

Now the mountain apple tree groans;

I see a fire of blazing rocks;

I see a fire of burning stones;

I see an aged dame, who snores

I see an old lady, who snores.

On lava plate, now hot, now cold;

On the lava plateau, sometimes hot, sometimes cold;

Now ’tis canoe in shape, well propped,

Now it’s shaped like a canoe, well supported,

A chock ’neath bow, midships, astern;

A support under the bow, in the middle, at the back;

Needs bail the waist where drains the bilge,

Else salt will crust like staring eye—

Else salt will crust like a staring eye—

Gray roving eye of lawless Niheu.

Wonder and awe possess me!

I'm filled with wonder!

On famed Moloka’i of Hina,

On famous Moloka’i of Hina,

At the pali of Unu-ohua.

Where burn the lamps of Haupu,

Where the lamps of Haupu burn,

Assemble the throng of little gods.

Gather the crowd of little gods.

Then comes forth Pele, a great god,

Then comes Pele, a powerful god,

Haumea and Hiiaka,

And Kukuena and Okaoka:

If the small fire burns, let it burn!

If the small fire is burning, let it burn!

’Tis the beaming of Pele’s eye,

'Tis the shining of Pele's eye,

The flashing of heavenly fire.

The flashing of divine fire.

Wonder and awe possess me!

I’m filled with wonder!

Now to Nana’i of Ka-ula-hea;

At Mauna-lei Pele plaits her a wreath;

At Mauna-lei, Pele weaves her a wreath;

She plaits it of í-e-íe;

She braids it of í-e-íe;

Hiiaka pelts head with ginger cone;

Hiiaka hits her head with a ginger cone;

Haumea anoints her body;

Haumea blesses her body;

And Pele eats with zest the flesh

And Pele eagerly eats the flesh.

From the turtle of Poli-hua— [126]

From the turtle of Poli-hua— [__A_TAG_PLACEHOLDER_0__]

A young thing, short in the neck,

A young girl, short in the neck,

Backed like a crab from the sea,

Backed like a crab from the ocean,

Like a sea-turtle plated and patterned—

Like a sea turtle, covered in shells and designs—

Turned into meat for Pele,

Food for the heavenly flame.

Food for the divine fire.

Wonder and awe possess me!

I’m filled with wonder!

From the ether above Kaua’i

From the sky above Kaua’i

To the blossoms afloat at Wailua

To the blossoms floating at Wailua

Ranges the flight of Pele’s gaze.

Ranges the flight of Pele's gaze.

She sees Oahu floating afar;

She sees Oahu floating in the distance;

Feels thirst for the wat’ry mirage;

Feels thirsty for the watery illusion;

Inhales the scent of mokihana—

Inhales the smell of mokihana—

The bath-water of Hiiaka.

Hiiaka's bathwater.

She once had a contest there;

She once held a competition there;

She had no tenant to guard the place.

She didn't have anyone renting the place to look after it.

Pele spurns with her feet the long waves;

Pele kicks away the long waves with her feet;

They give back a flash like her eye,

A flash that’s repeated on high.

A flash that keeps repeating up high.

Wonder and awe possess me!

I'm filled with wonder and awe!

When Pele came voyaging from the east

When Pele arrived sailing from the east

And landed at Mo’o-kini—

And arrived at Mo’o-kini—

The rain poured down at Ku-malae—

Her people set up an image,

Her people made an image,

And there they made their abode,

And there they made their home,

With the workmen who carve the canoe;

With the workers who shape the canoe;

And they offered prayers and gave thanks.

And they said prayers and expressed their gratitude.

Then Pele led them in journey

Then Pele guided them on their journey.

To the cape of Lele-iwi,

To Lele-iwi's cape,

Where they breathed the incense of hala.

Where they breathed in the scent of hala.

With Mokau-lele’s rich lehua

With Mokau-lele’s vibrant lehua

Goddess Pele weaved her a wreath.

Goddess Pele made her a wreath.

They built a village at Pu’u-lena,

Her bedroom at Papa-lau-ahi,

A mighty hall at Kilauea.

A grand hall at Kilauea.

Wonder and awe possess me!

I'm filled with wonder and awe!

When Pele fell through from Kahiki

When Pele fell down from Kahiki

Bitter the rain, lightning and quaking—

Bitter is the rain, the lightning, and the shaking—

The big-dropped rain that shatters the leaves

The heavy rain that breaks apart the leaves

Of the women folk in Mau-kele’s wilds. [127]

Of the women in Mau-kele’s wilderness. [__A_TAG_PLACEHOLDER_0__]

Pele came in the dusk of the night,

Pele arrived at dusk,

With toss and sway of the long-backed waves.

With the rise and fall of the long, rolling waves.

The ocean heaved at Pele’s rush;

The ocean surged with Pele's speed;

The great god thundered in heaven;

The mighty god rumbled in the sky;

The strata of earth were uptorn;

The layers of the earth were torn up;

The reef-plates broken, crushed; and rent

The reef plates are broken, crushed, and torn.

Was the surf-plank of Kane at Maui.

Was Kane's surfboard in Maui?

What a piling of portents by the Sun-god

What a stack of omens from the Sun-god!

Over the Green Lake Ka-hala-loa!

Wonder and awe possess me!

I'm filled with wonder and awe!

It was Wa’a gazed on the fishing fleet,

It was Wa’a looking at the fishing fleet,

His watch-tower the cliffs of Kohala;

His lookout is the cliffs of Kohala;

While the witch-ruler, O Pu’u-loa,

While the witch-queen, O Pu’u-loa,

Entreated the wayfaring one,

Begged the traveler,

And the goddess who gilds the lehua

And the goddess who decorates the lehua

Set aglow Maka-noni’s sunlit verge.

Light up Maka-noni's sunny edge.

One day for gath’ring and choosing

One day for gathering and choosing

The flowers devoted to worship,

The worship flowers,

The next day in upland frosty Huoï.

The next day in the chilly upland of Huoï.

The earth-creatures glimmer and glow

The creatures of the Earth shine.

While the eastern sun tops Kumu-kahi.

While the eastern sun rises over Kumu-kahi.

Sidewise the black crab springs from his hole

Sideways, the black crab jumps out of its hole.

And Kohala spreads out ’neath the orb

And Kohala spreads out beneath the orb

That fails to give warmth to the night,

That doesn’t bring warmth to the night,

And the Sun hangs low in the sky,

And the sun hangs low in the sky,

And the clouds, they canopy heaven.

And the clouds cover the sky.

Wonder and awe possess me!

I'm filled with wonder!

Aua’a-hea meets death, spite of

Aua’a-hea faces death, despite

Steam-bath,—a boar unpurged of bristles—

Steam bath—an unshorn boar—

And poultice hot of aheahea,

And hot poultice of aheahea,

An herb that serves as a dish for the gods,

An herb that is a delicacy for the gods,

A tidbit for the king’s table.

A snack for the king's table.

Thunder resounds in the heavens; rain falls,

Thunder roars in the sky; rain pours,

Bitter as tears of Ka-ula-hea;

Bitter as Ka-ula-hea's tears;

Clouds, torn and ragged, fill the sky,

Clouds, tattered and jagged, fill the sky,

A piled-up ominous cloud-pillar,

A looming, ominous cloud pillar,

A fabric reared by heaven’s rain-god—

A fabric created by the rain god of the heavens—

A collect of evils was that. [128]

A collection of evils was that. [__A_TAG_PLACEHOLDER_0__]

The gods were aghast at the scandal:

The gods were shocked by the scandal:

For once Pele found herself duped;

For once, Pele found herself tricked;

For once Pele shifted in bed;

For once, Pele moved in bed;

For once Pele drank to the dregs—

For once Pele drank it all—

The cup was the brew of her consort;

The cup was the drink made by her partner;

Her bed the spikes of a-ä.

Her bed is the spikes of a-ä.

Stone-armored, passion had slaked.

Stone-armored, passion had cooled.

Where then was her armor of stone?

Where was her armor of stone?

The prophets, in congress assembled,

The prophets, gathered in meeting,

Consult on the rape of the goddess—

Red-headed Kane, Ku of the Trade-wind,

Red-headed Kane, Ku of the Trade Wind,

Compeers of Pele, consumers of trees,

The women of eight-fold incantations.

The women of eight spells.

Wonder and awe possess me!

I’m filled with wonder and awe!

They stamp out the fire in the Pit;

They put out the fire in the Pit;

“Stand shoulder to shoulder,” their cry;

“Stand side by side,” their shout;

“Shoulder to shoulder,” echoes the throng

“Shoulder to shoulder,” echoes the crowd.

On the heights of Mauli-ola,—

On the slopes of Mauli-ola,—

Where the green leaf distills the water

Where the green leaf collects the water

Men search for like hov’ring owls.

Men search like watchful owls.

Chew thou the herb with thy friend,

Chew the herb with your friend,

I will offer mine to my god.

I will give mine to my God.

The fault of Pele’s condoned;

Pele’s fault accepted;

She lifts herself from her huddle in bed—

She gets up from her curled-up position in bed—

A couch far down in the Pit—

A couch way down in the Pit—

It now becomes plates of smooth lava,

It now turns into smooth lava plates,

How like the flight of a swift canoe

How similar to the journey of a quick canoe

Is the flow of the pahoehoe,

As the mountain melts and rolls away!

Hiiaka, the darling of Pele,

Hiiaka, Pele's favorite

Then soars aloft to the realms of light,

Then soars up to the realms of light,

As the crab climbs up Kau-wiki—

The crab retreats from man’s shadow—

The crab moves away from a human's shadow—

And when these black ones huddle together

And when these black ones group together

They are easily clubbed with a stick;

They can be easily hit with a stick;

Their bodies then are thrust in the bag.

Their bodies are then shoved into the bag.

As the gray crab tugs at the malo’s fold;

As the gray crab pulls at the malo’s fold;

As he stands mid the heaped-up coral,

As he stands among the piles of coral,

While round him wave the pods of rough moss,

While the rough moss pods wave around him,

Or he rests on the flat coral plate;

Or he relaxes on the flat coral surface;

As, ta’en from the bag, he’s chewed into bait, [129]

As he took it from the bag, he chewed on it like bait, [__A_TAG_PLACEHOLDER_0__]

So men spit forth their bitter words.

So men release their harsh words.

How many guests at awa, Sir Crab?

How many guests at dinner, Sir Crab?

Four gods, is the answer returned,

Four gods, is the answer given,

Tortoise, and Turtle, and Kukuau,

Tortoise, Turtle, and Kukuau,

And Hinalea, and with them are

Apu-hihi and Hihi-wai, along with

Loli-pua and Loli-koko,

And Loli-ka’e and Lele-á.

Lele-a-makua fathered

Lele-a-makua had a child

The fisherman’s god, Kahi-kona.

The fisherman’s deity, Kahi-kona.

When he breathed, red as blood poured the rain,

When he breathed, red like blood poured down the rain,

A sign of the power and wrath of the god.

A sign of the god's power and anger.

Wonder and awe possess me!

I'm filled with wonder and awe!

The heavens were turmoiled with rain clouds,

The sky was filled with stormy rain clouds,

The firmament sealed, earth black as midnight,

The sky closed off, the earth dark as night,

At the birth of the princely ones:

At the birth of the princes:

The heaven-urging princess was born;

The sky-reaching princess was born;

Then came forth a man-child, a prince,

Then a baby boy was born, a prince,

And the blood-red rain poured down.

And the blood-red rain came pouring down.

Then was born Ku-walu and her lord,

Then Ku-walu and her lord were born,

Mala-nai, the far-breathing Trade-wind;

Mala-nai, the distant Trade-wind;

And thou, O Pele, then ate of thy land,

And you, O Pele, then ate from your land,

Consuming the groves of ohi’a

Eating the ohi’a trees

And Lele-iwi’s palms by the sea.

And Lele-iwi’s hands by the ocean.

Pana-ewa still was a park;

Pana-ewa was still a park;

Ka-ú was made a cinder-patch;

Ka-ú was turned into ash;

By her might Pele threw up a mountain.

By her power, Pele raised a mountain.

Overwhelm your lands, O Pele;

Conquer your lands, O Pele;

Let your fire-streams flow!

Let your flames flow!

Wonder and awe possess me!

I'm filled with wonder and awe!

Her lover’s house-post stands in Wai-lua;

Her lover's house post is in Wai-lua;

There Pele hears a call that appeals;

There Pele hears a call that resonates;

’Tis a song voiced by Ulu-pó.

It’s a song sung by Ulu-pó.

She utters no word to answer

She doesn't say a word in response.

This pleading babel of voices,

This chaotic mix of voices,

Now comes the first thrill to virgin flesh;

Now comes the first thrill to untouched skin;

Impatient, the princeling crawls on his knees;

Impatient, the young prince crawls on his knees;

There’s plenteous downfall of tears, as when

There’s a lot of tears falling, just like when

Rain-columns fall, or men leap and dive,

Rain falls in columns, or men jump and dive,

Head-first, feet-first, into the flood. [130]

Head-first, feet-first, into the flood. [__A_TAG_PLACEHOLDER_0__]

These symbols will tell the tale, Hiiaka.

These symbols will tell the story, Hiiaka.

For whom do I make this offering of song?

For whom am I singing this song?

For the ancient stock of Haumea.

For the ancient lineage of Haumea.

God Kane planted the coral reefs;

A work that done in Pele’s time;

A work that was done in Pele’s time;

For Pele, for Hiiaka the land—

For Pele, for Hi'iaka the land—

This solid ground that swings and floats

This solid ground that moves and drifts

Beneath the o’erhanging arch of heaven.

Under the arching sky.

At Ana-kú once met the gods; the road

At Ana-kú, the gods once met; the road

Thither lay through Ha-ámo;—but now,

There lay through Ha-ámo;—but now,

Its drum is dismantled, its fence o’erleaped;

Its drum is taken apart, its fence jumped over;

The terrace trampled, a litter of straw,

The terrace was trampled, covered in a mess of straw,

Champed sugar-cane, heaped odds and ends;

Chomped sugarcane, piled-up odds and ends;

A spread for mats; a clutter of dishes;

A spread for mats; a pile of dishes;

There’s dipping of water, serving of food.—

There’s dipping water and serving food.

What a desecration of the house!

What a disgrace to the home!

The house is degraded and trodden;

The house is run-down and worn out;

Its tabu place entered, deflowered—

Its taboo place entered, deflowered—

Now stands a hall of common resort

Now there is a hall for everyone to gather.

Where once stood the house of Pele.

Where the house of Pele once stood.

Now come the Pigmy Gods on a visit.

Now the Pigmy Gods are here for a visit.

Be off! be gone from the place!

Get out! Leave this place!

A prayerless priest, a prayerless king is yours:

A priest without prayer, a king without prayer is yours:

Enter not prayerless the house of Pele.

Enter the house of Pele without offering a prayer.

For Pele, I swear it, is my god!

For Pele, I swear, is my god!

Wonder and awe possess me!

I'm filled with wonder!

The tabu flags fluttered in place, just now;

The tabu flags were fluttering in place just now;

And now, the flags are removed by you.

And now, you take down the flags.

Men parcel the hills in the taro patch;

Men divide up the hills in the taro field;

They parcel the clumps in the taro ditch:

They divide the bunches in the taro ditch:

The land goes free, the children secure;

The land is free, and the children are safe;

Unvexed be the people; the waters run free;

Unbothered are the people; the waters flow freely;

Food-bundles shall bulk in the patch;

Food bundles will gather in the garden;

Kuli-pe’e shall keep to the Pit;

Kuli-pe’e will stay in the Pit;

The princes of clamor shall fly away.

The loud princes will vanish.

Give place to Ku, the smoother of lands,

Give way to Ku, the one who makes the land smooth,

The planter of forest and field.

The person who plants trees and crops.

I go in peace from your presence forth;

I leave your presence in peace;

I came to you in my nakedness.

I came to you completely exposed.

Wonder and awe possess me!

I'm filled with wonder!

[131]

[__A_TAG_PLACEHOLDER_0__]

1 Ulu o Wahine-Kapu. Wahine-kapu was the name given to the plateau over which Kaneohoalii presided, a very tabu place. As to the bread-fruit tree Ulu, I have been able to learn nothing; this is the first mention of it I have met with. ↑

1 Ulu o Wahine-Kapu. Wahine-kapu was the name for the plateau ruled by Kaneohoalii, a highly restricted area. Regarding the breadfruit tree Ulu, I haven't been able to find any information; this is the first time I've encountered a reference to it. ↑

2 Na-maka-o-ka-ha’i, an elder sister of Pele, with whom she had trouble over the question of tabus, rights and privileges, involving the right to dominion over the volcanic fires. Pele was not only a stickler for her own rights and privileges but ambitious for their extension. The result was she had to flee for her life. (For the story of this trouble see p. V of the introduction.) ↑

2 Na-maka-o-ka-ha’i, an older sister of Pele, had conflicts with her over issues of taboos, rights, and privileges, specifically concerning control over the volcanic fires. Pele was not only very protective of her own rights and privileges but also eager to expand them. As a result, she had to escape for her life. (For the story of this conflict, see p. V of the introduction.) ↑

3 Elieli, kau mai! A solemn expression often found at the end of a prayer. Hawaiians are unable to give an exact account of its meaning. The phrase kau mai by itself means overshadow me, sit upon me, possess me. ↑

3 Elieli, kau mai! A serious phrase commonly heard at the conclusion of a prayer. Hawaiians can't pinpoint its exact meaning. The phrase kau mai alone translates to overshadow me, sit upon me, or possess me. ↑

4 Hana-kahi, an appelation applied to Hilo derived from the name of an ancient king. ↑

4 Hana-kahi, a name for Hilo that comes from the name of an ancient king. ↑

5 Wai-o-lama, the name applied to the eastern section of Hilo town, including the sand-beach and the river there located. ↑

5 Wai-o-lama, the name given to the eastern part of Hilo town, which includes the beach and the river located there. ↑

6 Ako ia ka hale. The hands elevated and the fingers brought together in the form of an inverted V were, I am informed, an accepted symbol that might be used in place of a heiau at a time when distress or emergency made impossible the erection of such a structure. David Malo narrates a similar incident as occurring in the mythical story of Wakea at a time when he was in peril and beset by his enemies. ↑

6 Ako ia ka hale. The hands raised with fingers brought together to form an upside-down V were, I've been told, a recognized symbol used instead of a heiau when circumstances made it impossible to build one. David Malo tells a similar story from the mythology of Wakea, during a time when he was in danger and surrounded by his enemies. ↑

7 Ko’i ke Akua. There is a division of opinion as to the meaning of this passage. Some, including J. W. P., think it may be the shortened, poetical form of ko’iko’i, heavy, referring to the timber used in building a temple for the deity. Others take the view that the word ko’i should be given its face-value. I see in it a possible reference to pahoehoe, the plates of which, in their hot and nascent state, are capable of felling a forest as effectively as a ko’i. One expounder (Pelei-oho-lani) finds in this word ko’i a reference to a symbolical lifting of the thumb of the left hand as a sign of prayer. The arguments on the one side and on the other are not quite convincing. ↑

7 Ko’i ke Akua. There's a disagreement about the meaning of this passage. Some people, including J. W. P., believe it may be a shortened, poetic version of ko’iko’i, meaning heavy, referring to the wood used in constructing a temple for the deity. Others argue that the word ko’i should be taken literally. I see it as possibly referring to pahoehoe, the plates of which, in their hot and formative state, can clear a forest just as effectively as a ko’i. One interpreter (Pelei-oho-lani) finds that this word ko’i symbolizes the lifting of the thumb of the left hand as a sign of prayer. The arguments on both sides are not completely convincing. ↑

8 Kou pua’a kanu. Pua’a-kanu is the name of a place in Puna, said to be the spot where Pele had her sexual encounter with Kama-pua’a, the swine-god. I look upon it as meaning the encounter itself. ↑

8 Kou pua’a kanu. Pua’a-kanu is a location in Puna, believed to be where Pele had her romantic encounter with Kama-pua’a, the pig god. I see it as representing the encounter itself. ↑

9 Kukuena wahine, an elder sister of Pele. (Some one says the first born of the Pele family. This assertion is not verified by other authorities.) She had charge of the making and distribution of the leis and of the ceremonies connected with formal awa-drinking. She was, in short, a sort of lady of the bedchamber to Pele. ↑

9 Kukuena wahine, an elder sister of Pele. (Some say she was the firstborn of the Pele family. This claim isn't confirmed by other sources.) She was responsible for making and distributing the leis and overseeing the ceremonies related to formal awa-drinking. In short, she served as a kind of lady-in-waiting to Pele. ↑

10 Lauwili, literally, an entanglement. It refers to the lustful attack made by Kama-pua’a on Pele, an attack to which she gave seeming acquiescence. ↑

10 Lauwili, which means an entanglement. It describes the passionate assault by Kama-pua’a on Pele, an assault to which she appeared to consent. ↑

11 Apa’apa’a, the name of a violent wind, here used adjectively. ↑

11 Apa’apa’a, a term for a fierce wind, used here as an adjective. ↑

12 Luahine moe nana, Pele, who is depicted as an old woman huddled up on a lava plate. The snoring must refer to the sounds made by the lava while in action. ↑

12 Luahine moe nana, Pele, is shown as an older woman curled up on a lava rock. The snoring likely represents the sounds made by the lava as it flows. ↑

13 Wa’a kauhi, an unrigged canoe, without iako or ama. ↑

13 Wa’a kauhi, a canoe without a rig, no iako or ama. ↑

14 Pepe mua, Pepe waena. This a detail in the development of the figure in which flowing lava is compared to a canoe. The pepe is a chock such as is put under the canoe when it is at rest on land. Mua, waena and muimui mean respectively at the bow, amidships and astern. ↑

14 Pepe mua, Pepe waena. This is a detail in the development of the figure where flowing lava is compared to a canoe. The pepe is a block placed under the canoe when it rests on land. Mua, waena, and muimui refer to the bow, the middle, and the stern, respectively. ↑

15 Muimui, an elided form of mulimuli, the hindmost. ↑

15 Muimui, a shortened version of mulimuli, which means the backmost. ↑

16 Kihele ia ulu. Kihele, to bail out; ulu—the belly of the canoe, its swell amidships, the place where the bilge would settle. The implication is that, if the water is not bailed out, the incrusted salt will form a spot like the staring eye of Niheu. ↑

16 Kihele ia ulu. Kihele means to bail out out; ulu refers to the belly of the kayak, the raised part in the middle where water collects. The idea is that if the water isn't bailed out, the salt buildup will create a spot that resembles the glaring eye of Niheu. ↑

17 Niheu, a mythological hero who is always spoken of as kalohe, mischievous, because of his restlessness and stirring energy. His mother, Hina, had been abducted by a pirate chief who lived on the high bluff of Haupu, on Moloka’i. Niheu and his brother Kana, whose body was a rope of immense length, went to their mother’s rescue, in which they succeeded, after many adventures. The eyes of Niheu were a marked feature in his appearance, being described as large and searching. ↑

17 Niheu, a mythological hero known for being kalohe, or mischievous, because of his restless and energetic nature. His mother, Hina, had been kidnapped by a pirate chief who lived on the high bluff of Haupu, on Moloka’i. Niheu and his brother Kana, who had a body that resembled an incredibly long rope, went to rescue their mother and succeeded after many adventures. Niheu's large, searching eyes were a notable feature of his appearance. ↑

18 Hina, the goddess with whom Wakea consorted after he had divorced his wife Papa by spitting in her face. Hina became the mother of the island of Moloka’i. From such a distinguished parentage arose the proverbial saying “Moloka’i nui a Hina.” ↑

18 Hina, the goddess with whom Wakea was romantically involved after he divorced his wife Papa by spitting in her face. Hina became the mother of the island of Moloka’i. This noble lineage gave rise to the famous saying “Moloka’i nui a Hina.” ↑

19 Kaunu-ohua, a hill on Moloka’i between Halawa valley and Puko’o, where is said to repose the body of Pele. ↑

19 Kaunu-ohua, a hill on Moloka’i located between Halawa Valley and Puko’o, where it is believed the body of Pele rests. ↑

20 Haupu, a hill on Moloka’i. ↑

20 Haupu, a hill on Molokai. __A_TAG_PLACEHOLDER_1__

21 Okaoka, said to be the flame-body of Pele, or the small stones, iliili, that entered into the composition of her body. ↑

21 Okaoka, thought to be the fiery essence of Pele, or the tiny stones, iliili, that were part of her makeup. ↑

22 Nana’i, an archaic form of Lana’i. ↑

22 Nana’i, an old version of Lana’i. ↑

23 Ka-ula-hea, a goddess with whom Wakea consorted after his divorce of Papa. The name also of a historic king of Lana’i, as well as of a kaula—prophet—attached to the disreputable set of gods that infested Lana’i at one time. ↑

23 Ka-ula-hea, a goddess who was with Wakea after he divorced Papa. This is also the name of a historic king of Lana’i, as well as a kaula—prophet—linked to the infamous group of gods that once plagued Lana’i. ↑

24 Poli-hua, a sandy cape on Lana’i famous for its sea-turtles. ↑

24 Poli-hua is a sandy cape on Lana’i known for its sea turtles. ↑

25 Wai-li’u, full form, wai-li’u-la, mirage. ↑

25 Wai-li’u, full form, wai-li’u-la, illusion. __A_TAG_PLACEHOLDER_1__

26 Hoopa’apa’a Pele ilaila. Pele had planted a spring at this place, near Wai-lua, Kaua’i. Kama-pua’a, in company with two dragon-goddesses, Ka-la-mai-nu’u and Kilioe, who will find mention later in the story, took possession and moved the spring to another spot. When Pele came that way again, after a wordy contention with the two dragons, she slew them. ↑

26 Hoopa’apa’a Pele ilaila. Pele had established a spring at this location, near Wai-lua, Kaua’i. Kama-pua’a, along with two dragon-goddesses, Ka-la-mai-nu’u and Kilioe, who will be mentioned later in the story, took over and relocated the spring. When Pele passed by again, after a long argument with the two dragons, she killed them. ↑

27 Ulu, to guard, to farm, to protect. The kahu was the one who offered the sacrifices and prayers that were necessary to the maintenance of power and life in an artificial divinity, such as many of the Hawaiian deities were. ↑

27 Ulu, to nurture, to cultivate, to safeguard. The kahu was responsible for making the sacrifices and prayers essential for sustaining power and life in a constructed divinity, like many of the Hawaiian gods were. ↑

28 Mo’o-kini, literally, the multitude (40,000) of dragons; the name of a heiau in Puna. There is also a heiau in Kohala called by the same name. ↑

28 Mo’o-kini, which means the countless (40,000) dragons; this is the name of a heiau in Puna. There's also a heiau in Kohala with the same name. ↑

29 Ko’i, said to be a kupua who had to do with carving and finishing the canoe. Pua seems to be epithet applied to the group of workmen who assisted him. ↑

29 Ko’i, believed to be a kupua involved in carving and finishing the canoe. Pua appears to be a title given to the group of workers who helped him. ↑

30 Lele-iwi, a cape on the Puna side of Hilo bay. ↑

30 Lele-iwi, a cape on the Puna side of Hilo Bay. ↑

31 Mokau-lele, the name of a little land in Hilo situated near the point where the eruption of 1881–1882 came to a stand-still. ↑

31 Mokau-lele is the name of a small area in Hilo, located near the spot where the eruption of 1881–1882 finally stopped. ↑

32 Lili. This word, accented on the final syllable, means to rush, to move with one fixed purpose in view. It is to be distinguished from lili, having the accent on the penult, and meaning to be angry, jealous, alienated. (My authority is J. M. Poepoe). The word is not given by Andrews in his Dictionary. ↑

32 Lili. This word, stressed on the last syllable, means to hurry or to move with a single goal in mind. It's different from lili, which is stressed on the second-to-last syllable and means to be angry, jealous, or disconnected. (My source is J. M. Poepoe). The word isn't listed in Andrews' Dictionary. ↑

33 Haili-opua, the name of a deity. It means the piling-up of cloud-portents. ↑

33 Haili-opua, the name of a god. It signifies the accumulation of cloud signs. ↑

34 Wai-a-kahala-loa, the Green lake, in Puna. This was, no doubt, much larger and of more importance in ancient times than it is now. ↑

34 Waiākahala Loa, the Green Lake, in Puna. It was definitely much larger and more significant in ancient times than it is today. ↑

35 Wa’a, the name of a kaula, soothsayer, who observed the omens in the heavens and instructed the fishermen. He had his station on or near the hill Maka-noni, in Puna. ↑

35 Wa’a was a kaula, or soothsayer, who watched the signs in the sky and guided the fishermen. He was based on or near the hill Maka-noni, in Puna. ↑

36 In one text this is Pu-ala’a, said to be a place in Puna. I have amended it to make better sense. ↑

36 In one text, this is Pu-ala’a, which is described as a location in Puna. I have adjusted it for clarity. ↑

37 Ko’e-ula, a family of Kupua, superhuman creatures, who had power over men’s lives. They were, in truth, some kind of mud-worms, or glow-worms. They came out from their subterranean retreats to see Pele. ↑

37 Ko’e-ula, a family of Kupua, superhuman beings with control over human lives. They were, in reality, a type of mud-worm or glow-worm. They emerged from their underground homes to visit Pele. ↑

38 A’ama, an edible black crab whose shell has a highly decorative pattern. It is said to have been used as a special, or sacred food by certain priests. ↑

38 A’ama is a type of edible black crab with a beautifully patterned shell. It is believed to have been served as a special or sacred food by certain priests. ↑

39 Pe’ai, a contracted form from pe’e, to hide. In this case, the meaning seems to be to hang low in the heavens. ↑

39 Pe’ai, a shortened version of pe’e, which means to hide. Here, it appears to mean hanging low in the sky. ↑

40 Ihi, another form for uhi, to cover, or covered. The ahea, or aheahea is a common plant that was cooked and eaten like luau. It was also used as a poultice, after heating. ↑

40 Ihi, a variant of uhi, meaning to cover or covered. The ahea, or aheahea, is a popular plant that was cooked and eaten like luau. It was also used as a poultice after being heated. ↑

41 Ka-ula-hea. See note 22. ↑

41 Ka-ula-hea. See note __A_TAG_PLACEHOLDER_1__. __A_TAG_PLACEHOLDER_2__

42 Ka-o-mea-lani, a god of rain. He indicated his presence by piling up volumes of white clouds. ↑

42 Ka-o-mea-lani, a rain god. He made his presence known by gathering thick white clouds. ↑

43 Hokahoka, disappointed, fooled, deceived; said of Pele in view of her painful experience with Kama-pua’a. ↑

43 Hokahoka, let down, tricked, misled; refers to Pele in light of her tough experiences with Kama-pua’a. ↑

44 Ne’ene’e, to shift about, as Pele had to do because her back was pierced to the bone by the sharp points of a-a on which she lay during her affair with Kama-pua’a. The point of the irony is to be found in the fact that she was as a rule indifferent to the roughness of the bed on which she lay. Yet she was accustomed—so the story goes—to choose pahoehoe as a bed. ↑

44 Ne’ene’e, to move around, just like Pele had to because her back was stabbed to the bone by the sharp edges of a-a that she rested on during her relationship with Kama-pua’a. The irony lies in the fact that she usually didn't care about the roughness of the bed she lay on. However, according to the story, she was used to picking pahoehoe as her bed. ↑

45 Ai pau, literally, to eat the whole; and for the first time. ↑

45 Ai pau, which means to eat everything; and for the first time. ↑

46 Pahoehoe. The mention of pahoehoe in this and in the following line has reference to a saying, or belief, which asserted that Pele was covered with an armor of pahoehoe. It is as if the poet sought to banter her on this popular notion. ↑

46 Pahoehoe. The reference to pahoehoe in this line and the next refers to a saying or belief that Pele was protected by a layer of pahoehoe. It’s as if the poet is playfully teasing her about this common idea. ↑

47 Pau hale, literally, the destruction of the house, meaning, of course, the deflowering of Pele. ↑

47 Pau hale, which literally means the destruction of the house, refers, of course, to the loss of innocence of Pele. ↑

48 Kane-ula-a-Pele, literally, the red man of Pele, meaning Ka-moho-alii, a brother of Pele. He is described as having a ruddy complexion and reddish hair. He presided over the council of the Pele gods. ↑

48 Kane-ula-a-Pele, which means the red man of Pele, referring to Ka-moho-alii, a brother of Pele. He is depicted as having a reddish complexion and red hair. He led the council of the Pele gods. ↑

49 Ku-ihi-malanai-akea, one of the forms or attributes of god Ku, the Trade-wind. The word Malanai by itself is often used in modern Hawaiian poetry to signify the same thing.

49 Ku-ihi-malanai-akea, one of the forms or qualities of the god Ku, the Trade-wind. The term Malanai on its own is commonly used in contemporary Hawaiian poetry to convey the same meaning.

N.B.—The occurrence of the preposition e in verse 147 illustrates the somewhat vague and, at times illogical, use of prepositions in Hawaiian poetry. If I read this passage correctly, Kane-ula-a-Pele and Ku-ihi-malanai-akea are in apposition with hoalii, the subject of the verb noho; and, that being the case, instead of the preposition e we should have the particle o standing before Kane-… as we find it before Ku-.… The explanation of this anomaly, it seems to me, is to be found in the demand of the Hawaiian ear for tone-color, at any cost, even at the expense of grammar. ↑

N.B.—The presence of the preposition e in verse 147 shows the somewhat unclear and, at times, illogical use of prepositions in Hawaiian poetry. If I understand this passage correctly, Kane-ula-a-Pele and Ku-ihi-malanai-akea are in apposition with hoalii, the subject of the verb noho; and, if that’s the case, instead of the preposition e, we should have the particle o placed before Kane-… as it is before Ku-… The reason for this anomaly, it seems to me, lies in the Hawaiian ear's demand for tone-color, even at the expense of grammar. ↑

50 He noho ana ai laau, a session of the gods in which they partook in common of some laau, medicine, or spiritual corrective, as a sign of mutual amity, even as the North American Indians smoked the peace-pipe in token of friendly relation between the participants. This laau is said to have been none other than the tender buds of the a’ali’i, which was chewed by the members of the assembly and was deemed to be not merely a symbol but an active agent in the production of amity and a good understanding. ↑

50 He noho ana ai laau, a gathering of the gods where they shared a common laau, medicine, or spiritual remedy, to show their friendship, similar to how North American Indians smoked the peace pipe to symbolize good relations among participants. This laau was said to be the tender buds of the a’ali’i, which the members of the group chewed, believing it to be more than just a symbol but a real way to foster friendship and understanding. ↑

51 Papa-walu, literally, eightfold. The wahine are the Hiiaka sisters, seven in number. The inclusion of Kukuena fills the number to eight.

51 Papa-walu, which means eightfold. The wahine are the Hiiaka sisters, totaling seven. Adding Kukuena brings the total to eight.

N.B.—It should be noted that during the time of Pele’s disqualification, or retirement, or disgrace, Hiiaka-i-ka-poli-o-Pele would be the one to control the affairs of the Pele family. ↑

N.B.—It’s important to note that during Pele’s disqualification, retirement, or disgrace, Hiiaka-i-ka-poli-o-Pele would be the one to manage the affairs of the Pele family. ↑

52 Kiope, to scatter, said of a fire, in order to extinguish it. ↑

52 Kiope, to spread out, referring to a fire, in order to put it out. ↑

53 Ku mau-mau wa. The literal meaning is, stand in order, or, as I have put it, stand shoulder to shoulder. It corresponded to and served the purpose of a sailor’s chantey, and was employed in the ancient times to Hawaiian history to give spirit and precision to the work of the men straining at the hauling line of a canoe-log. The koa tree has been felled and rudely fashioned; a strong line is made fast to one end of it, and the men, having ranged themselves along, rope in hand, their chief, sometimes standing on the log itself, gives the signal for them to be ready for a start by uttering the inspiring cry “I ku mau-mau wa!” “I ku mau wa,” answer the men, and with a mighty pull the huge log starts on its way to its ocean-home. ↑

53 Ku mau-mau wa. It literally means, stand in order, or as I’ve said, stand shoulder to shoulder. It acted like a sailor’s chant and was used in ancient Hawaiian history to give energy and focus to the men pulling on the line of a canoe-log. The koa tree has been cut down and roughly shaped; a sturdy line is secured to one end of it, and the men, lined up with ropes in hand, await their chief, who sometimes stands on the log itself. He signals them to get ready by shouting the motivating phrase “I ku mau-mau wa!” The men respond with “I ku mau wa,” and with a powerful pull, the massive log begins its journey to the ocean. ↑

54 Mauli, contracted form of Mauli-ola; the name of a kupua, a deity, who had to do with health, after some ideal fashion, a sort of Hygeia; also the name of that kupua’s mystical abode. The name Mauli, or Mauli-ola, was also given, as I learn, to the site of the present Kilauea Volcano House. ↑

54 Mauli, short for Mauli-ola; the name of a kupua, a deity associated with health, in an idealistic way, similar to Hygeia; it is also the name of that kupua’s mystical home. The name Mauli, or Mauli-ola, was also given, as I’ve learned, to the location of the current Kilauea Volcano House. ↑

55 Hua-wai maka, literally, an unripe water-gourd. In this place it means a small collection of dew or rain-water, a water-hole, a thing much sought after by men, even as the owl—as remarks the poet in the next verse—searches after it. Whether the poet is correct in his assertion about the owl, is more than I can say. ↑

55 Hua-wai maka, which literally means an unripe water-gourd. Here, it refers to a small collection of dew or rainwater, a waterhole, something that is highly sought after by people, just like the owl— as the poet points out in the next line—looks for it. Whether the poet is right about the owl, I can't say. ↑

56 Pu oe i kau laau me kou makaainana. Kou makaainana is, undoubtedly, Pele. The reference is to the practice spoken of in note 48. ↑

56 You plant your tree with your ancestors. Your ancestors are, without a doubt, Pele. This refers to the practice mentioned in note 48. ↑

57 Hahau i ke Akua, offer to the god. ↑

57 Hahau i ke Akua, a gift for the god. ↑

58 Ku’u ia a’e Pele. (In the text the ia is shortened to a). The meaning seems to be that Pele is exonerated from blame. That would not, however, alter the facts and render back to Pele the sacredness that belonged to her uncontaminated body. ↑

58 Ku’u ia a’e Pele. (In the text the ia is shortened to a). The meaning seems to be that Pele is cleared of blame. However, that wouldn’t change the facts or restore the sacredness that belonged to her untainted body. ↑

59 Lapu’u ’na Pele. This seems to have a double meaning, referring at once to the dismissal of hard feelings against Pele and to her rising up from her customary attitude in repose, that with her head crouched forward and her legs drawn up towards the body. ↑

59 Lapu’u ’na Pele. This appears to have a dual meaning, both addressing the release of negative emotions towards Pele and to her getting up from her usual resting position, where she typically has her head bowed and her legs pulled in towards her body. ↑

60 Kauwiki, a hill in Hana, Maui, famous in history. ↑

60 Kauwiki, a hill in Hana, Maui, known for its historical significance. ↑

61 Ho’oili, to come together in a bunch, said of fish. This is an unusual use of the word, though an old Hawaiian (J. T. P.) tells me his mother used it in this way. It refers not to the swarming of fish, but their bunching together when driven. ↑

61 Ho’oili, which means to gather together in a group, typically refers to fish. This is a unique use of the term, although an old Hawaiian (J. T. P.) shared with me that his mother used it this way. It pertains not to fish swarming but to them grouping together when they are driven. ↑

62 Paiea, a species of crab that resembles the a’ama. The background color of the paiea is black; this is strewn with spots and markings of dark red, producing a highly artistic effect. The specimen I examined was found in the Honolulu fish market and came from Kona, Hawaii. In spite of mutilation, it still retained a formidable claw. ↑

62 Paiea is a type of crab that looks like the a’ama. Its background color is black, marked with spots and patterns of dark red, creating a striking appearance. The specimen I looked at was found in the Honolulu fish market and was sourced from Kona, Hawaii. Despite having some damage, it still had a powerful claw. ↑

63 Maunu paiea. The Hawaiian fisherman often prepared his bait by chewing it fine, after which he blew it into the water to attract the fish. The poet finds a parallel between this action of the fisherman and the discharge of venomous words by an angered person. ↑

63 Maunu paiea. The Hawaiian fisherman usually got his bait ready by chewing it up really fine, then blowing it into the water to draw in the fish. The poet sees a similarity between what the fisherman does and how an angry person unleashes hurtful words. ↑

64 Nie, an elided form of niele, to question. ↑

64 Nie, a shortened version of niele, means to ask. ↑

65 Ea, the sea-turtle. ↑

65 Ea, the sea turtle. __A_TAG_PLACEHOLDER_1__

66 Honu, the land-turtle. ↑

66 Honu, the land turtle. __A_TAG_PLACEHOLDER_1__

67 Kukuau, a hairy, spotted crab, said to be poisonous. ↑

67 Kukuau, a hairy, spotted crab, said to be toxic. ↑

68 Hinalea, a name applied to fish of several different species, among which one that is rare is the Hinalea akilolo (Macropharyngodon geoffroy, Quoy and Gaimard). Another less rare, though beautiful, species is the Hinalea i’iwi (Gomphosus tricolor, Quoy and Gaimard). ↑

68 Hinalea is a name used for several types of fish, including the rare Hinalea akilolo (Macropharyngodon geoffroy, Quoy and Gaimard). Another species, which is less rare but just as beautiful, is the Hinalea i’iwi (Gomphosus tricolor, Quoy and Gaimard). ↑

69 Apuhihi. ↑

69 Apuhihi. __A_TAG_PLACEHOLDER_1__

70 Hihi-wai, a bivalve shell that is found clinging to rocks or reeds in fresh or brackish water streams. Its dorsum is jetty black, its front white, shading into yellow. ↑

70 Hihi-wai is a bivalve shell that attaches to rocks or reeds in freshwater or brackish water streams. Its top is deep black, while the front is white, transitioning to yellow. ↑

71 Loli-pua, loli-koko and loli-ka’e, different species of holothuriae, or sea-slugs, some of which are esteemed as food by the Hawaiians. They were, nevertheless, looked upon as kupua. ↑

71 Loli-pua, loli-koko, and loli-ka’e, different types of sea cucumbers, or sea slugs, some of which are regarded as food by Hawaiians. However, they were still seen as kupua. ↑

72 Lelea, a marine creature that is said to be slimy and adheres to the rocks. ↑

72 Lelea, a sea creature that is described as slimy and sticks to the rocks. ↑

73 Kahi-kona, said to be a god of the fishermen. ↑

73 Kahi-kona, known as the god of fishermen. ↑

74 Leo hokiki, an imperfect tone caused by a torn drumhead. ↑

74 Leo hokiki, a flawed sound produced by a ripped drumhead. ↑

75 Kua a. The penalty of approaching Pele from behind was death: she is said to have had a consuming back. ↑

75 Kua a. The punishment for getting too close to Pele from behind was death: it is said that she had a burning back. ↑

76 Kai oki’a, an engulfing abyss. ↑

76 Kai oki’a, a vast and deep ocean. ↑

77 Ala muku, the rainbow. (For further comments on these difficult passages, see notes 11, 12, and 13, on page 114.) ↑

77 Ala muku, the rainbow. (For more insights on these challenging sections, check notes 11, 12, and 13, on page 114.) ↑

78 Ho’o-nou o ka lani. This must be Pele. The word ho-onou is used of a person striving to accomplish some physical task, as of a woman straining in labor. ↑

78 Ho’o-nou o ka lani. This has to be Pele. The term ho-onou refers to someone working hard to achieve a physical task, like a woman in labor. ↑

79 Ku-walu, literally, eighth in order of succession. ↑

79 Ku-walu, which means eighth in line of succession. ↑

80 Ulu-po, said to be the name of a heiau at Kailua, Oahu. ↑

80 Ulu-po, believed to be the name of a temple at Kailua, Oahu. ↑

81 Iku-wa, the name of a month in the Hawaiian year, corresponding, according to one account, pretty closely to October; according to another nomenclature it corresponds pretty nearly to our April. The name etymologically connoted thunder and reverberations. ↑

81 Iku-wa is the name of a month in the Hawaiian calendar, which, according to one source, closely matches October, while another source suggests it aligns more with our April. The name is etymologically linked to thunder and echoes. ↑

82 Eka mua, literally, the first blast of a storm; here used figuratively to mean the first sexual ecstacy. ↑

82 Eka mua, which means the first blast of a storm; here it's used to refer to the first experience of sexual ecstasy. ↑

83 Hoaka, a setting forth in figures. (Hoakaka). ↑

83 Hoaka, a presentation in numbers. (Hoakaka). ↑

84 Ana-ku, the name of a cave situated somewhere in the caldera of Kilauea, a place of assembly for the gods. Its use here is evidently for a highly figurative purpose, and has, of course, to do with Pele and her affair with Kama-pua’a. ↑

84 Ana-ku is the name of a cave located somewhere in the caldera of Kilauea, a gathering place for the gods. Its mention here is clearly metaphorical and relates to Pele and her relationship with Kama-pua’a. ↑

85 Ha-amo, the name of the road to Ana-ku. (Peleioholani). ↑

86 Pahu. It is doubtful whether this means a drum or a post. In either case, in the smash-up of the one or the overthrow of the other, the figure evidently is designed to set forth the confusion caused by the catastrophe—Pele’s debauchment. The other figures that follow have the same purpose. ↑

86 Pahu. It's unclear if this refers to a drum or a post. Either way, in the destruction of one or the downfall of the other, the image clearly aims to illustrate the chaos brought about by the disaster—Pele's wild behavior. The other figures that follow serve the same purpose. ↑

87 Halau ololo, literally, a long shed or canoe-house, meaning a place of common assembly for people. The figure is applied to Pele and is intended to declare that, through her affair with Kama-pua’a she had degraded herself and robbed her body of its tabu, its sanctity. ↑

87 Halau ololo, which means a long shed or canoe-house, refers to a gathering place for people. This term is associated with Pele and suggests that, through her relationship with Kama-pua’a, she has lowered herself and lost the sacredness of her body. ↑

88 Kiko, a mark to indicate a tabu. Two ti leaves placed crosswise, and held in place by a pebble, would constitute a kiko. ↑

88 Kiko, a sign to indicate something forbidden. Two ti leaves crossed over each other and secured with a small stone would make a kiko. ↑

89 Mo’a, literally, cooked; meaning that the tabu has expired, been abrogated. ↑

89 Mo’a, which means cooked; indicating that the taboo has ended or been revoked. ↑

90 Pu’e-pu’e, the hills of taro. Kaele means the division or apportioning of them. ↑

90 Pu’e-pu’e, the taro hills. Kaele refers to the dividing or distributing of them. ↑

91 Ne’ine’i, the more scattered, smaller, hills of taro, those that are nearer the bank. ↑

91 Not long ago, the smaller, more spread-out taro patches that are closer to the riverbank. ↑

92 Pakikokiko, the scattered taro plants that grow in the water-course. ↑

92 Pakikokiko, the dispersed taro plants that thrive in the stream. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXIV

HIIAKA LEARNS OF THE DEATH OF LOHIAU

With a nice feeling of etiquette, Hiiaka’s hosts allowed the day of her arrival to pass with no inquiry as to the purpose of her visit. But on the morning of the morrow Malae-ha’a-koa asked the question that put himself in sympathetic touch with his guests.

With a pleasant sense of manners, Hiiaka's hosts let the day of her arrival go by without asking why she was visiting. But the next morning, Malae-ha’a-koa asked the question that connected him with his guests.

“I have come to escort Lohiau as a lover to the bed of Pele,” said Hiiaka.

“I've come to guide Lohiau as his lover to Pele's bed,” said Hiiaka.

“Lohiau has been dead many days,” they both exclaimed. “He took his own life out of a passionate infatuation for one of the Hono-pú1 women.”

“Lohiau has been dead for many days,” they both exclaimed. “He took his own life out of a deep infatuation for one of the Hono-pú1 women.”

“Let that be as it may,” Hiiaka answered; “I will go and see for myself.”

“Whatever the case may be,” Hiiaka replied, “I will go and see for myself.”

Now Kahua-nui, the sister of Lohiau, had laid his body to rest in a sepulcher close to her own residence; but on examination the place was found to be empty. It was evident that the body had been spirited away. Hiiaka, turning her gaze to the mountain, discerned a ghostly form standing at the mouth of a cave. It was the ghost of Lohiau. In an effort to soothe and attract him, Hiiaka, with arms extended and face uplifted, in passionate utterance gave vent to her emotions:

Now Kahua-nui, Lohiau's sister, had laid his body to rest in a tomb near her home; but when they checked, they found it empty. It was clear that the body had been taken away. Hiiaka, looking toward the mountain, saw a ghostly figure standing at the entrance of a cave. It was Lohiau's ghost. To comfort and draw him closer, Hiiaka raised her arms and tilted her face up, expressing her feelings passionately:

Ku’u kane i ka pali o Haena,

Mai na aina pali a pau loa,

Mai Hoolulu no a Poli-hale la;

Ku’u kane ho’i, e-e!

My man, let's go!

TRANSLATION

At last, my dear man, at last,

On this rugged cliff of Haena!

On this rough cliff of Haena!

I have searched the whole mountain side,

I have searched the entire mountainside,

From Ho’o-lulu’s booming fall

From Honolulu's booming fall

To Poli-hale’s buttressed flank.

To Poli-hale’s reinforced side.

I have found thee at last, my man!

I finally found you, my man!

[132]

[__A_TAG_PLACEHOLDER_0__]

Again she scanned the lineaments of the shadowy form if she might find there the picture her mind had imaged. At second view, the ghostly unreality of the tenuous image so greatly shocked her imagination by its contrast to her ideal of a true flesh-and-blood lover, that she amended her first utterance:

Again she looked at the features of the shadowy figure, hoping to find the image her mind had created. Upon further inspection, the ghostly and insubstantial nature of the faint image shocked her imagination so much in contrast to her ideal of a real, flesh-and-blood lover, that she revised her first statement:

Aole a’e nei ke kane,

Here comes the man,

He hoa pili no ke ahiahi,

He hoa kaunu no ke aumoe,

No ka waena po loloa

O ke hooilo, la:

Ku’u kane ho’i, e-e!

My man, let’s go!

TRANSLATION

Translation

This, surely, is not the lover

This, for sure, is not the lover

To cling to one in the twilight,

To hold onto someone in the evening,

To fondle in the midnight watch

To touch during the midnight watch

Of a long, long, wint’ry night.

Of a long, long, wintry night.

Where, oh where art thou, my man?

Where, oh where are you, my man?

A creepy thrill came over Hiiaka as she saw the bloodless lips open and heard these answering words from the mouth of the weird object that stood on the pali wall:

A chilling thrill washed over Hiiaka as she saw the bloodless lips part and heard the words reply from the strange figure standing on the cliff wall:

Ku’u wahine, e-e!

My woman, hey!

Hoohewahewa oe ia’u, la.

Hoohewahewa you to me, okay.

Eia au la i Ka-lalau, e-e;

I ka pali au o Hoo-lulu, la;

Ku’u wahine ho’i, e-e!

My woman, come back!

TRANSLATION

Alas, my woman, alas!

Oh no, my love, oh no!

You wail in soul-recognition.

You cry in soul recognition.

I was yonder at Ka-lalau,

I was over there at Ka-lalau,

Or some time perched at Ho’o-lulu.

Or some time hanging out at Honolulu.

Surely thou art the woman, thou!

Surely you are the woman, you!

With the desire to soothe the bewildered soul Hiiaka again spoke: [133]

With the intention of comforting the confused spirit, Hiiaka spoke again: [__A_TAG_PLACEHOLDER_0__]

Ku’u kane i ka makani Kilihau,2 Kili-opu,3

Ke pu’e4 ka wai o ka mauna;

He mauna pali no Ka-lalau

He mountain cliff for Ka-lalau

A maua e hele ai—

Me oe, me ke kane la, ku’u kane,

Ku’u kane o ka wa po wale,

O ku’u wa iluna o ke alo la—

Ku’u kane ho-i, e!

My man, come!

TRANSLATION

Translation

My man of the wind-driven mist,

My guy of the wind-driven fog,

Or rain that plunges clean as a diver,

Or rain that drops down fresh like a diver,

What time the mountain stream runs cold

What time the mountain stream gets cold.

Adown the steps at Ka-lalau—

Down the steps at Ka-lalau—

Where we shall ere long climb together,

Where we will soon climb together,

With you, my friend, with you,

Companion of the pitchy night,

Companion of the dark night,

When heavenward turns my face—

When I look up to heaven—

Thou art, indeed, my man.

You are, indeed, my man.

A moment’s pause and she resumed:

A brief pause and she continued:

E ku’u kane, e-e,

He leo e wale ho’i kou,

He leo no ka hanehane,5

He loves to sing. __A_TAG_PLACEHOLDER_0__

No ka pololei6 kani kau mauna o uka la;

Ku’u kane ho’i, e-e!

Bro, let’s go!

TRANSLATION

Alas, my man, alas!

Unfortunately, my man, unfortunately!

How altered is your voice,

How changed is your voice,

Changed to the trilling note [134]

Changed to the trilling note [__A_TAG_PLACEHOLDER_0__]

Of the plaintive Pololei

Of the mournful Pololei

That trills on the mountain ridge:

That sings on the mountain ridge:

Yet thou art, indeed, my man!

Yet you are, indeed, my man!

Kahua-nui was greatly moved when she heard the words of Hiiaka and said, with emotion, “It is evident you loved my brother, that handsome fellow—dead! If only the woman had been like you! What a pity that he should have wasted himself on such a good-for-nothing!”

Kahua-nui was deeply touched when she heard Hiiaka's words and said, emotionally, “It's clear you loved my brother, that good-looking guy—dead! If only the woman had been like you! What a shame he wasted himself on such a loser!”

“Tell me, pray, where did you lay your brother’s body?” asked Hiiaka.

“Please tell me, where did you put your brother’s body?” asked Hiiaka.

“Yonder,” said she, pointing to a grass house. “Lima-loa, who hails from Kauna-lewa, in Mana, bound on the thatch. That job completed, he went away with all the men of the place to bewail him. We two women alone remain to keep watch over him. There he lies and we stand guard over his sepulcher.”

“Over there,” she said, pointing to a grass hut. “Lima-loa, who comes from Kauna-lewa in Mana, is on the thatch. Once that job was finished, he left with all the men from the area to mourn him. Only the two of us women are left to keep watch over him. He lies there, and we stand guard over his grave.”

Then Hiiaka, girding herself with her divine attributes as a goddess of Kilauea—the power which, on occasion, availed to flood the plains of Puna with sounding plates of pahoehoe, or to heap up the rugged aä at Maukele—reached into the sepulcher in search of Lohiau’s body. But it was not there. It had been stolen away by the two mo’o-witches (Kilioe and Ka-lana-mai-nu’u) and lodged in a cave high up in the inaccessible mountain side.

Then Hiiaka, preparing herself with her divine powers as the goddess of Kilauea—the strength that sometimes flooded the plains of Puna with flowing lava or piled the rough a’a at Maukele—searched the tomb for Lohiau’s body. But it wasn’t there. It had been taken by the two mo’o-witches (Kilioe and Ka-lana-mai-nu’u) and hidden in a cave high up on the steep mountain side.

The emotions of Hiiaka at this turn of events found expression in song:

The emotions of Hiiaka about this turn of events were expressed through song:

A Lima-loa7 i ke kaha

A Lima-loa__A_TAG_PLACEHOLDER_0__ in the drawing

O Kauna-lewa ho’i e-e:

O Kauna-lewa too!

Ako Mana i ka hale ohai—

Aina ko hele la, e-e,—

Aina is on the way, eh,—

Hoopunipuni i ka malihini:

House guests are special:

Puni ho’i au, e-e!

I'm sorry, wow!

TRANSLATION

The deed this of Lima-loa,

The deed of Lima-loa,

That wonder-monger who works

That hype person who works

In the barren land of Maná;

In the desolate land of Maná;

Who roofs Maná with ohai— [135]

Who roofs Maná with ohai— [__A_TAG_PLACEHOLDER_0__]

One there munches cane as he plods.

One munches on cane as he walks.

His to deceive the stranger;

His to trick the stranger;

I’m the victim of his deceit!

I'm the victim of his lies!

Hiiaka, at the mention of Lima-loa and the part he had taken in constructing the house that served as a sepulcher for Lohiau, jumped to the conclusion that he had been the body-snatcher of Lohiau. Kahuanui strongly dissented from this view. “There can be no doubt,” said she, “that my brother’s body lies in that sepulcher at this very moment. That is the reason for my keeping guard over the place. But why stand we here? Let us go to my home.”

Hiiaka, hearing about Lima-loa and his role in building the house that served as Lohiau's tomb, immediately assumed that he was the one who took Lohiau's body. Kahuanui strongly disagreed. “There’s no question,” she said, “that my brother’s body is in that tomb right now. That’s why I’m keeping watch over it. But why are we standing here? Let’s go to my house.”

As Hiiaka went with her she again had sight of the ghost-form of Lohiau standing in the door of the cavern, and she addressed to him this mele:

As Hiiaka walked with her, she once more saw the ghostly figure of Lohiau standing at the entrance of the cave, and she spoke this mele to him:

Ako nanani maka i Wawae-nohu,8 e-e;

Ako nanani maka i Wawae-nohu,__A_TAG_PLACEHOLDER_0__ e-e;

Me he nanai hale la Ka-ula i ke kai;

Ke amo a’e la i ka lima o Kaunu-lau, e-e;

Ke hoa la i ke kua o Lei-no-ai—

He ai aloha na olua, e-e!

TRANSLATION

His airy phantoms queer the eye

His light illusions mess with your perception.

At Wawae-nohu, and yon islet

At Wawae-nohu, and that islet

Ka-ula, like a lanai, looms at sea;

Ka-ula, like a porch, rises at sea;

While lifts the hand of Kauna-la’a

To smite the back of Lei-no-ai:

To hit the back of Lei-no-ai:

The sight enchants you twain.

The view captivates you both.

Hiiaka paused for a moment and then continued in a reflective mood:

Hiiaka paused for a moment and then continued, lost in thought:

O Ka-ula nui ka i akaka,

Ua po Ka-halau-a-ola9 i ka noe; [136]

Ua po Ka-halau-a-ola__A_TAG_PLACEHOLDER_0__ in the mist; [__A_TAG_PLACEHOLDER_1__]

O ka manu na’e ke lele nei

Kai luna o Wa’a-hila, la;

Ke noho la i Lei-no-ai:

Staying in Lei-no-ai:

He ai aloha keia ia oe la, e-e!

He ai aloha kēia iā ʻoe lā, e-e!

TRANSLATION

Famous Ka-ula looms crystal clear;

Famous Ka-ula looms clearly;

Misty and dark the Temple of Health:

Misty and dark, the Temple of Health:

Yet the birds keep flying around

Yet the birds keep flying around.

And about the hill Wa’a-hila.

And about Wa’a-hila hill.

They settle at Lei-no-ai,

They settle at Lei-no-ai.

A sight most pleasing to you.

A sight that's very pleasing to you.

Hiiaka now perceived two female figures squatted at the entrance of the cavern, which they had carefully blocked and were guarding. These were the creatures that had stolen away the body of Lohiau. She at once raised her voice and addressed them with this threatening language:

Hiiaka saw two women crouched at the entrance of the cave, which they had carefully blocked and were guarding. These were the beings who had taken Lohiau's body. She immediately raised her voice and spoke to them in a threatening manner:

E Aka, e Kilioe-i-ka-pua, e-e!

Na wahine kapa ole e nene’e wale nei

I ka hapapa ku’i opihi,

O ka luna i Hala-aniani,10 la;

O ka luna i Hala-aniani,__A_TAG_PLACEHOLDER_0__ is felt;

Na wahine kapa ole.

No women without a name.

TRANSLATION

Ah!—Aka, and you Kilioë,

Dowered with flowerlike beauty,

Gifted with flower-like beauty,

You women with naked bodies,

You women with bare bodies,

Who sometime flit o’er the reef-plates,

Who sometimes glides over the reef plates,

Now squat over Hala-aniani!

You shameless, you naked ones!

You shameless, naked people!

The magic of these words worked their death-purpose. The way to the sepulchral cave was now unobstructed. As they came, however, to the base of the cliff, they found that the ladder had been removed—the mischievous work of the witches. [137]Wahine-oma’o was aghast. “There is no ladder for us to climb up by,” said the woman.

The magic of these words had achieved their deadly purpose. The path to the burial cave was now clear. However, when they reached the base of the cliff, they discovered that the ladder was gone—the trickery of the witches. [__A_TAG_PLACEHOLDER_0__]Wahine-oma’o was shocked. “There’s no ladder for us to climb,” the woman said.

“Turn your face to the cliff,” was Hiiaka’s answer.

“Face the cliff,” Hiiaka said.

The girl did so and used her best efforts to climb the mountain wall. The day was far spent and darkness would soon come on. Thereupon Hiiaka invoked the Sun, bidding it stand still at the mouth of the river Hea:

The girl did so and did her best to climb the mountain wall. The day was nearly over, and darkness would soon fall. Then Hiiaka called upon the Sun, asking it to pause at the mouth of the river Hea:

E Kini, e hiki i Kauai, i kou aina;

O koa maka-iwa11 o Halawa,12

O koa maka-iwa__A_TAG_PLACEHOLDER_0__ of Halawa,__A_TAG_PLACEHOLDER_1__

Paia Kona i ou kino,

Paia Kona in your body,

Akua nui o Hiiaka, la.

Akua nui of Hiiaka, la.

Hiki e, pi’i e, iho e!

Hiki up, climb up, come down!

E kau i ka muli o Hea;13

Kau malie oe, e ka La!

TRANSLATION

Translation

Come to your land to Kauai, ye hosts!

Come to your land in Kauai, hosts!

Ye warrior-gods, keen eyes of pearl!

You warrior gods, sharp-eyed as pearls!

Put forth your strength, O Kona—

The mighty goddess Hiiaka!

The powerful goddess Hiiaka!

I bid you rise, climb, and descend!

I urge you to stand up, climb up, and come down!

Now stay your flight, O Day!

Now hold your flight, O Day!

Stand still, O Sun, o’er Hea’s water!

Stand still, O Sun, over Hea’s water!

[138]

[__A_TAG_PLACEHOLDER_0__]

1 These Honopu women, two in number, were mo’o, witches, related to Kilioe, a famous witch-mo’o of Hawaii, and their names were Kili-oe-i-ka-pua and Ka-lana-mai-nu’u. ↑

1 These Honopu women, both of them, were mo’o, or witches, connected to Kilioe, a well-known witch-mo’o from Hawaii. Their names were Kili-oe-i-ka-pua and Ka-lana-mai-nu’u. ↑

2 Kili-hau, the name given to a local wind accompanied by a fine rain. ↑

2 Kili-hau is the name for a local wind that comes with a light rain. ↑

3 Kili-opu, a name descriptive of a wind and rain-shafts that, plunging into the water, made as little splash as a skillful diver. ↑

3 Kili-opu, a name that describes wind and rain shafts that, when hitting the water, created barely a splash like an expert diver. ↑

4 Pu’e. This word is here used in an unusual sense to mean cold. ↑

4 Pu’e. This word is used here in a unique way to mean cold. ↑

5 Hanehane, the shrill, seemingly far-off, wailing of a ghost; ghostly. ↑

5 Hanehane, the piercing, distant cry of a ghost; eerie. ↑

6 Pololei, an archaic name applied to the land shell, now known as pupu-kanioi. This was supposed to utter a delicate trilling cry similar to that of the cricket. ↑

6 Pololei, an old name for the land shell, now referred to as pupu-kanioi. It was said to make a soft trilling sound like a cricket. ↑

7 Lima-loa, the god Mirage. ↑

7 Lima-loa, the god of Illusion. __A_TAG_PLACEHOLDER_1__

8 Wawae-nohu, the name given to a red cloud seen at sunset in the west from Mana, Kauai. ↑

8 Wawae-nohu, the name for a red cloud that appears at sunset in the west from Mana, Kauai. ↑

9 Ka-halau-a-ola, literally, the hall of health. The more commonly used appellation Mauli-ola, was both the name of a deity and of a mystical place. One may infer from their use that Halau-a-ola meant rather a sort of house-of-refuge, a place of security from the attack of an enemy, while Mauli-ola had in view a mystical, beatific, condition. The former is illustrated in the line describing Kama-pua’a’s escape from Pele’s onslaught:

9 Ka-halau-a-ola, which translates to "the hall of health." The more commonly used name, Mauli-ola, referred to both a deity and a mystical place. From their usage, we can deduce that Halau-a-ola was more like a house of refuge, a safe spot from enemy attacks, while Mauli-ola suggested a mystical, blissful state. The former is illustrated in the line about Kama-pua’a’s escape from Pele’s assault:

Noho ana Kama-pua’a i ka Halau-a-ola.

Kama-pua’a finds refuge in the hall of life.

Kama-pua’a finds safety in the hall of life.

10 Hala-aniani, a small lake of fresh water in a cave at Haena, in which the writer has bathed. ↑

10 Hala-aniani, a small freshwater lake in a cave at Haena, where the author has taken a bath. ↑

11 Koa maka-iwa, idols with eyes of mother o’ pearl. To this class belonged Ku-kaili-moku, the famous war god of Kamehameha. ↑

11 Koa maka-iwa, idols with eyes of mother-of-pearl. This category included Ku-kaili-moku, the legendary war god of Kamehameha. ↑

12 Halawa, the largest valley on Moloka’i, a stronghold of priestcraft and sorcery. “Ua o’o na pule o Moloka’i,” the incantations of Moloka’i are ripe, became a proverbial expression. ↑

12 Halawa, the biggest valley on Molokai, a center of priestly practices and magic. “The laws of Moloka’i are established.,” the chants of Moloka’i are plentiful, became a popular saying. ↑

13 Hea, a stream near Haena. ↑

13 Hea, a stream close to Haena. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXV

HIIAKA UTTERS MANY PRAYERS TO RESTORE LOHIAU TO LIFE

Before proceeding to her task Hiiaka instructed Malae ha’a-koa to call in the guards stationed at Lohiau’s sepulcher and to keep the hula going for the next ten days as an attraction to draw off the people from playing the spy on her performances.

Before starting her task, Hiiaka told Malae ha’a-koa to call in the guards stationed at Lohiau’s tomb and to keep the hula going for the next ten days to attract people and keep them from spying on her performances.

Hiiaka and her companion conquered the impossible and scaled the mountain wall as if their feet had the clinging property of the fly. Lohiau’s ghost would have escaped, but with birdlike quickness she caught it. At her command Wahine-oma’o gathered certain aromatic and fragrant herbs of the wilderness, and having made a fire, they bruised and warmed the samples and spread them upon a sheet of leaves.

Hiiaka and her companion conquered the impossible and climbed the mountain wall as if their feet had the sticky ability of a fly. Lohiau’s ghost would have slipped away, but with lightning speed, she caught it. At her command, Wahine-oma’o collected specific aromatic and fragrant herbs from the wilderness, and after starting a fire, they crushed and warmed the samples and spread them on a bed of leaves.

While Wahine-oma’o kept fast hold of the feet, Hiiaka forced the soul-particle to pass in through one of the eye-sockets. It went as far as the cavity of the chest, then turned back and strove to escape. Hiiaka guarded the ways of exit and with skillful manipulations compelled it to go on. Reaching the loins, it balked again; but Hiiaka’s art conquered its resistance and the human particle extended its journey to the feet. There was a twitching of these parts; the hands began to move, the eye-lids to quiver; breath once more entered the body. They lifted and laid it on the blanket of aromatics and restoratives, swathing it from head to foot.

While Wahine-oma’o held tightly onto the feet, Hiiaka forced the soul-particle to enter through one of the eye-sockets. It traveled as far as the chest cavity but then tried to escape. Hiiaka blocked the exits and skillfully made it move forward. When it reached the lower back, it hesitated again; but Hiiaka's mastery overcame its resistance, and the human particle continued its journey to the feet. The limbs twitched; the hands started to move, the eyelids began to flutter; breath flowed back into the body. They lifted it and placed it on a blanket of aromatic herbs and restorative substances, wrapping it from head to toe.

Hiiaka set a calabash of water before her and, addressing Wahine-oma’o, said, “Listen to my prayer. If it is correct and faultless, our man will live; but if it is wrong or imperfect, he will die.”

Hiiaka placed a bowl of water in front of her and, speaking to Wahine-oma’o, said, “Listen to my prayer. If it’s right and perfect, our man will live; but if it’s wrong or flawed, he will die.”

“He will not survive,” replied Wahine-oma’o gloomily.

“He won’t make it,” replied Wahine-oma’o darkly.

Kuli ke kahuna i-mua

Kuli for the future

Ia ku’i, nei, anapu, iluna, ilalo

O Hana-ia-ka-malama,1 o Mai-u’u,2 o Ma-a’a,2 [139]

O Hana-ia-ka-malama,__A_TAG_PLACEHOLDER_0__ o Mai-u’u,__A_TAG_PLACEHOLDER_1__ o Ma-a’a,__A_TAG_PLACEHOLDER_2__ [__A_TAG_PLACEHOLDER_3__]

O Nahinahi-ana,3 awihi, kau Kanaloa—

O Nahinahi-ana,__A_TAG_PLACEHOLDER_0__ awihi, kau Kanaloa—

He akua, ua lele i ka lani,

Me Kuhulu ma4—o ka hanau a Kane,5

Me Kuhulu ma4—of the birth of Kane,5

A na Wahine:6—o na Wahine i ka pa’i-pa’i:7

A na Wahine:6—to the women at the gathering:7

O Pa’i-kua,8 o Pa’i-alo,9 o Pa’i-kau-hale;10

O Pa’i-kua,__A_TAG_PLACEHOLDER_0__ O Pa’i-alo,__A_TAG_PLACEHOLDER_1__ O Pa’i-kau-hale;__A_TAG_PLACEHOLDER_2__

O loiele ka aha,11 o lele wale12 ka pule,

O loiele ka aha,11 it just took off12 like a boss,

A pa ia’u, pa ia oe;13

Halulu i ka manawa, he upe,

He waimaka—he waimaka aloha, e-e!

He waimaka—he waimaka love, e-e!

I e-e, holo ho’i, e-e!

I’m here, let’s go, I’m here!

TRANSLATION

Stand to the fore, O Priest; shrink not

Stand at the front, O Priest; do not hesitate.

Tho thunder’s growl and lightning’s flash

Fill heaven’s vault above, below.

Fill the sky above, below.

Come Mistress of tabus; come ye who string leis,

Come, Mistress of taboos; come, you who make leis,

And the Goddess who mixes the dyes.

And the Goddess who blends the colors.

Kanaloa, alert, soars aloft, [140]

Kanaloa, alert, flies high, [__A_TAG_PLACEHOLDER_0__]

With hairy Ku,—the offspring of Kane—

With hairy Ku, the offspring of Kane—

And the Women who cheer with a touch,

And the women who cheer with a touch,

On the back, the chest, or knock at the door;

Lest the charm depart, the prayer go wrong,

Lest the charm fade away, the prayer go astray,

With damage to me and damage to you—

With harm to me and harm to you—

A pain in the head, a drooling nose,

A headache, a stuffy nose,

A shedding of tears—of love and regret.

Now let the prayer speed on its way!

Now let the prayer move forward!

“How was my prayer?” asked Hiiaka, turning to Wahine-oma’o.

“How was my prayer?” Hiiaka asked, looking at Wahine-oma’o.

“It was a good prayer,” she replied. “Its only fault was that it sped on too quickly and came to an end too soon.”

“It was a nice prayer,” she said. “The only problem was that it went by too fast and ended too soon.”

“In its haste to obtain recovery, no doubt,” said Hiiaka.

“In its rush to achieve recovery, for sure,” said Hiiaka.

“Perhaps so,” the woman replied.

"Maybe," the woman replied.

“Listen now to this prayer,” Hiiaka said. “If it is a good prayer our man will recover:”

“Listen to this prayer,” Hiiaka said. “If it’s a good prayer, our man will recover.”

A luna i Wahine-kapu,14

A moon and sacred woman, __A_TAG_PLACEHOLDER_0__

A Kilauea i ka Lua;

A Kilauea in the Pit;

A lele, e, na Hoalii,15

A lele, e, na Hoalii, __A_TAG_PLACEHOLDER_0__

O Ku-wa’a,16 o Ku-haili-moe,17

O Ku-wa’a,__A_TAG_PLACEHOLDER_0__ or Ku-haili-moe,__A_TAG_PLACEHOLDER_1__

O ka naele18 o Hawaii.

O ka naele __A_TAG_PLACEHOLDER_0__ o Hawaii.

E hi’i kapu o Kanaloa,

O Kui-kui,19 o Koli-koli,20

O Kui-kui, __A_TAG_PLACEHOLDER_0__ o Koli-koli, __A_TAG_PLACEHOLDER_1__

O Kaha-ula,21 o ka oaka kapa ulaula, [141]

O Kaha-ula, 21 of the bright red cloth, [__A_TAG_PLACEHOLDER_0__]

Kapa eleele, o Kapa-ahu, o Lono-makua,22

O ke oahi maka a ka Ua la, e-e!

I e, holo e-e!

TRANSLATION

Ho, comrades from the sacred plateau!

Ho, friends from the sacred plateau!

Ho, comrades from the burning gulf!

Ho, friends from the fiery gulf!

Hither fly with art and cunning:

Hurry here with skill and cleverness:

Ku, who fells and guides the war-boat;

Ku, who cuts down and steers the war boat;

Ku, who pilots us through dream-land;

Ku, who guides us through dreamland;

All ye Gods of broad Hawaii;

All you gods of wide Hawaii;

Kanaloa, guard well your tabus;

Kanaloa, protect your taboos well;

Candle-maker, Candle-snuffer;

Candle maker, candle snuffer;

Goddess, too, of passion’s visions;

Goddess of passionate visions;

Lightning red all heaven filling—

Lightning lighting up the sky—

Pitchy darkness turned to brightness—

Pitch black turned to bright—

Lono, come, thou god of all fire;

Lono, come, you god of all fire;

Come, too, thou piercing Eye of Rain:

Come, too, you sharp Eye of Rain:

Speed, speed my prayer upon its quest!

Speed, speed my prayer on its journey!

“How is my prayer?” said Hiiaka, turning to her companion. The answer was the same as before.

“How's my prayer?” Hiiaka asked, looking at her companion. The answer was the same as before.

Hiiaka devotes herself to gentle ministrations of healing; but without intermitting the chanting of prayer-songs, the burden of whose petition is that the Spirit of Health shall prevail in Lohiau and restore him completely. After again sprinkling the body with water from the calabash, she breaks forth:

Hiiaka focuses on soothing healing practices, all while keeping up her prayer-song chants, which ask for the Spirit of Health to take over in Lohiau and fully heal him. After she sprinkles the body again with water from the calabash, she starts to speak:

Ia ho’uluulu ia mai au,

I take you in,

E Kane-kapolei23 imua e-e;

E Kane-kapolei__A_TAG_PLACEHOLDER_0__ move forward;

Ia ulu Kini o ke Akua, la;

Ulu mai o Kane, o Kanaloa—

O Hiiaka, kaula mana ia, e-e, [142]

O Hiiaka, strong prophetess, listen, [__A_TAG_PLACEHOLDER_0__]

Nana i ho’uluulu i na ma’i—

A a’e, a ulu, a noho i kou kuahu.

Eia ka wai la, he Wai Ola, e-e!

E ola, ho’i, e-e!

Hey, come back, okay!

TRANSLATION

Come, enter, possess and inspire me;

Come in, take over, and motivate me;

Thou first, God of the flowery wild;

Ye roving sprites of the wildwood;

And master gods, Kane and Loa;—

Hiiaka, who calls you, lacks not

Hiiaka, who calls you, is not lacking.

In power to heal and inspire—

In the power to heal and inspire—

Pray enter, and heal, and abide

Pray come in, heal, and stay.

In this one, your patron and guard.

In this one, your supporter and protector.

Here is water, the Water of Life.

Give us this Life!

Give us this life!

As in archery the character of the arrow, the skill of the archer, and the caprice of the air-currents that blow athwart the course of the arrow’s flight may severally or collectively make or mar success, so likewise with the kahuna and his praying, success or failure were spelled by the quality of his prayer-shaft, by the manner of his utterance of it, and lastly, by the physical and moral state of the atmosphere as to the existence or absence of noise and disturbance.

Just like in archery, where the type of arrow, the archer's skill, and the unpredictable air currents can either ensure success or lead to failure, the same applies to the kahuna and his prayers. Success or failure depends on the quality of his prayer, how he delivers it, and the overall environment, including any noise and distractions that might affect it.

It was not, then, through a mere silly curiosity or pride of utterance that Hiiaka appealed to her attendant to learn what she thought of her prayer. Nor was it a vain and meaningless compliment when the latter declared the prayer to be good, the conditions favorable. At the same time she could not repress the criticism that from her emotional stand-point of view, the prayer seemed short.

It wasn't just a silly curiosity or a desire to show off that Hiiaka asked her attendant what she thought of her prayer. It also wasn't a pointless compliment when the attendant said the prayer was good and the conditions were favorable. However, she couldn't help but criticize that, from her emotional perspective, the prayer felt a bit short.

Again Hiiaka sprinkled the body with water from the calabash while she uttered this prayer-song:

Again, Hiiaka sprayed the body with water from the calabash as she sang this prayer:

Eia ana au, e Laká,24 [143]

Here I am, Laká, __A_TAG_PLACEHOLDER_0__ [__A_TAG_PLACEHOLDER_1__]

Kane a Ha’i-wahine25—

Kane a Ha’i-wahine __A_TAG_PLACEHOLDER_0__—

Ha’i pua o ka nahelehele,

Flower of the wilderness,

Haki hana maile o ka wao,

Houluulu lei, ho’i, o Laká;

Houluulu lei, go back, of Laká;

O Hiiaka, kaula mana ia, e-e,

Nana i ho’ouluulu na ma’i.

A a’e, a ulu, a noho i kou kahu:

A rise, a grow, a stay in your care:

Eia ka Wai la; he Wai Ola, e-e!

E ola, ho’i, e-e!

Hey, come back, please!

TRANSLATION

Here stand I in stress, Laká,

Here I am in a tough spot, Laká,

Thou husband of Haina-kolo.

You husband of Haina-kolo.

What flowers have I plucked in the wild,

What flowers have I picked in the wild,

What maile stripped in the forest,

What the mail stripped in the forest,

To twine into wreaths for Laká:

To weave into wreaths for Laká:

Thus toiled the seer Hiiaka;

Thus worked the seer Hiiaka;

And her’s was the magic of cure.

And hers was the magic of healing.

But come thou, mount, enter, possess;

But come on, climb up, go in, take control;

Give life to thy servant and priest.

Give life to your servant and priest.

Here’s water, the Water of Life!

Grant life!

Give life!

The work of completely restoring Lohiau by the necromancies of the kahuna, like a process of nature, required the ripening hand of time. The utterance of prayer must be unremitting. [144]

The task of fully bringing Lohiau back to life through the magic of the kahuna, much like a natural process, needed the gradual passage of time. Continuous prayer was essential. [__A_TAG_PLACEHOLDER_0__]

1 Hana-ia-ka-malama, a benevolent goddess who presided over the tabus that were the birthright of certain chiefs. The rules and observances that etiquette prescribed in the life and conduct of such a chief were intricate and burdensome to the last degree. It was, for instance, required that an infant who inherited this sort of a tabu must not be placed in such a position that the sun’s rays could shine on its vertex. ↑

1 Hana-ia-ka-malama, a kind goddess who oversaw the tabus that were the birthright of certain chiefs. The rules and customs that etiquette dictated for the life and behavior of these chiefs were extremely complex and heavy to bear. For example, it was necessary that a baby who inherited this kind of tabu must not be positioned in such a way that the sun's rays could touch the top of its head. ↑

2 Mai-u’u, Ma-a’a, two goddesses (of the wilderness) whose function it was to string or twine leis and wreaths for the decoration of the superior gods. All the gods here mentioned were sometimes grouped under the appellation Akua o ka wa po—gods of the night-time—the fact being, however, that they worked as much by day as by night. ↑

2 Mai-u’u and Ma-a’a, two goddesses of the wilderness, had the role of creating leis and wreaths to adorn the higher gods. All the gods mentioned were sometimes referred to as Akua o ka wa po—gods of the night—though, in reality, they worked just as much during the day as at night. ↑

3 Nahinahi-ana, another name for the goddess Hina-ulu-ohi’a, under which appelation her function was to make the dyes used in coloring and printing the tapas. ↑

3 Nahinahi-ana, another name for the goddess Hina-ulu-ohi’a, under which name her role was to create the dyes used for coloring and printing the tapas. ↑

4 Kuhulu ma. The particle-affix ma indicates that this name, or cognomen rather, comprises a group—in this case a family group—of deities. Under the family cognomen Ku were ranged a large and important group of deities, to whom were given individual appelations appropriate to their functions. Thus, Ku-huluhulu and Ku-ka-ohi’a-laka were deities worshipped by the canoe-makers. Ku-hulu and his set (ma) exercised a function akin to that of the water-carrier. They had charge of the fabled, life-giving water of Kane, Wai a Kane, and served it out according to the needs of men. ↑

4 Kuhulu ma. The particle-affix ma shows that this name, or more accurately, this family name, includes a group—in this case, a family of deities. Under the family name Ku were a large and significant group of deities, each given specific names based on their roles. For example, Ku-huluhulu and Ku-ka-ohi’a-laka were deities honored by canoe-makers. Ku-hulu and his group (ma) performed a role similar to that of a water-carrier. They were responsible for the legendary, life-giving water of Kane, Wai a Kane, distributing it according to the needs of people. ↑

5 Hanau a Kane, offspring of Kane. This appellation is intended, apparently, to cover the whole list of names already mentioned and, perhaps, some to be mentioned later in the mele. ↑

5 Hanau a Kane, children of Kane. This name seems to encompass the entire list of names mentioned earlier and maybe some that will be mentioned later in the song. ↑

6 Wahine. Who these women, goddesses, were is brought out in what follows. ↑

6 Wahine. The identities of these women, who are also goddesses, will be revealed in the following text. ↑

7 Na Wahine i ka pa’ipa’i, literally, the women who clapped, or applauded; but more closely specified as: ↑

7 Na Wahine i ka pa’ipa’i, which means the women who clapped or applauded; but more accurately described as: ↑

8 Pa’i-kua, the goddess who slapped the back, as was done in the hula. ↑

8 Pa’i-kua, the goddess who gave a slap on the back, just like in the hula. ↑

9 Pa’i-alo, the goddess who slapped the chest, as was also done in the hula. ↑

9 Pa’i-alo, the goddess who struck the chest, just like in the hula. ↑

10 Pa’i-kauhale, she who knocked at the doors of the village, i.e., who roused the people generally. ↑

10 Pa’i-kauhale, the one who knocked on the village doors, meaning she inspired the community as a whole. ↑

11 Aha, the charm of a pule, its ceremonial correctness, its power as an incantation. ↑

11 Aha, the appeal of a prayer, its ritual accuracy, its strength as a spell. ↑

12 Lele wale, to get off the track; to go astray; to fail to hit the point. ↑

12 Lele wale, to get off track; to stray; to miss the point. ↑

13 A pa ia’u, pa ia oe, with results disastrous to me and to you. ↑

13 A hit to me is a hit to you, with results disastrous for both of us. ↑

14 Wahine-kapu, a bluff in the north-western wall that surrounds the caldera of Kilauea, the tabu residence of god Ka-moho-alii, a brother of Pele. ↑

14 Wahine-kapu, a cliff on the northwestern side that encircles the Kilauea caldera, is the sacred home of the god Ka-moho-alii, who is a brother of Pele. ↑

15 Hoali’i (Hoa, companion and alii, chief); a fellow chief. ↑

15 Hoali’i (Hoa, friend and alii, leader); a fellow leader. ↑

16 Ku-wa’a, a god who presided at the hauling of a canoe-log. The shout raised on such an occasion, though it sounds almost like a repetition of this god’s name, being “ku maumau wa,” had a different origin. ↑

16 Ku-wa’a, a god who was in charge of pulling a canoe-log. The shout made during this event, which sounds a lot like a repeat of this god’s name, “ku maumau wa,” actually came from a different source. ↑

17 Ku-haili-moe, one of the Ku gods, whose function it was to induce or preside over dreams at night. ↑

17 Ku-haili-moe, one of the Ku gods, whose role was to inspire or oversee dreams during the night. ↑

18 Naele o Hawaii, probably meaning the whole broad area of Hawaii. One view would make it refer specially to the swampy lands. ↑

18 Naele o Hawaii, likely referring to the entire expansive region of Hawaii. One interpretation could narrow it down to specifically the marshy areas. ↑

19 Kui-kui, an archaic form of the word kukui; here meaning both the candle made from the kukui nut and the god who had the same under his special charge. ↑

19 Kui-kui, an old version of the word kukui; referring here to both the candle made from the kukui nut and the deity who was responsible for it. ↑

20 Koli-koli, the god who presided over the snuffling of the kukui nut candles. These were made by stringing the roasted nuts on a coconut leaf-rib. ↑

20 Koli-koli, the god who oversaw the snuffling of the kukui nut candles. These candles were created by threading the roasted nuts onto a coconut leaf rib. ↑

21 Kaha-ula, the goddess who presided over erotic dreams. ↑

21 Kaha-ula, the goddess who ruled over sensual dreams. ↑

22 Lono-makua, a god one of whose functions was to act as guardian of fire. When Pele and Kama-pua’a fought together and Kama-pua’a had succeeded in extinguishing the fires of Kilauea, Pele, in dismay, appealed to Lono-makua, saying, “There is no fire left.” Lono-makua calmly pointed to his armpit and said, “Here is the fire, in these fire-sticks,” (aunaki and aulima). The armpit was his place for carrying these sticks. When the Hawaiians first saw a White man with a lighted pipe in his mouth, smoke issuing therefrom, they said, “Surely, this is the great god Lono-makua; he breathes out fire.” ↑

22 Lono-makua is a god whose role includes being the guardian of fire. When Pele and Kama-pua’a fought and Kama-pua’a managed to put out the flames of Kilauea, Pele, upset, called out to Lono-makua, saying, “There's no fire left.” Lono-makua calmly pointed to his armpit and replied, “Here is the fire, in these fire-sticks,” (aunaki and aulima). His armpit was where he carried those sticks. When the Hawaiians first saw a White man with a lit pipe in his mouth, smoke coming out, they exclaimed, “Surely, this is the great god Lono-makua; he breathes out fire.” ↑

23 Kane-kapolei, god of flowers and shrubs. ↑

23 Kane-kapolei, the god of flowers and plants. ↑

24 Laka, a god, or demi-god of various functions, such as fishing, agriculture, and house-building. Malo mentions Ku-ka-ohi’a-Laka as a god invoked by canoe-makers. Laka is evidently derived from the name Rata, which in Tahiti, Raro-tonga and New Zealand is the name of the ohi’a tree. Laka is to be distinguished from Laka, the goddess of the hula. ↑

24 Laka is a god or demigod associated with various roles like fishing, farming, and building houses. Malo mentions Ku-ka-ohi’a-Laka as a deity called upon by canoe-makers. Laka is clearly linked to the name Rata, which refers to the ohi’a tree in Tahiti, Raro-tonga, and New Zealand. It’s important to differentiate Laka from Laka, the goddess of the hula. ↑

25 Haina-kolo, the same as Ha’i-wahine, the name used in the Hawaiian text. Ha’ina-kolo is a name that spells tragedy. She was a princess of Hawaii who married a mythical being, Ke-anini-ula-o-ka-lani and went with him to his home in the South. Being deserted by her husband, after the birth of her child she started to swim home to Hawaii. Arriving in a famished condition in Kohala, she ate of some ulei berries without first making an offering to the gods. For this offense she was afflicted with insanity, and being distraught, she wandered in the wilderness until her repentant husband sent for her and restored her by his returning love. ↑

25 Haina-kolo, the same as Ha’i-wahine, the name used in the Hawaiian text. Ha’ina-kolo is a name that spells tragedy. She was a princess of Hawaii who married a mythical being, Ke-anini-ula-o-ka-lani, and went with him to his home in the South. After being abandoned by her husband following the birth of her child, she began to swim back to Hawaii. When she arrived weak and starving in Kohala, she ate some ulei berries without first making an offering to the gods. Because of this offense, she was struck with madness and, in her distress, wandered in the wilderness until her remorseful husband sent for her and restored her with his returning love. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXVI

HIIAKA CONTINUES HER PRAYERS

While Hiiaka in her ministrations did not omit anything that might aid and expedite Lohiau’s physical recovery, her chief reliance was in the spiritual aid of the gods; for which purpose prayer followed prayer like the pictures in a moving show:

While Hiiaka was caring for Lohiau, she didn't hold back on anything that could help him get better physically, but her main focus was on the spiritual support from the gods; for this, her prayers came one after another like scenes in a movie:

He Mele Kunikuni no Lohiau

A Song for Lohiau

Kulia, e Uli,1

Kulia, and Uli, __A_TAG_PLACEHOLDER_0__

Ka pule kanana ola i mua o ke kahuna:

Kaulia i ke Alohi-lani;2

Kaulia in the Heavenly Light; __A_TAG_PLACEHOLDER_0__

Kulia i Kupukupu o-luna nei.

Kulia and Kupukupu above.

Owai Kupukupu?3

Owai Kupukupu? __A_TAG_PLACEHOLDER_0__

O Ilio uli,4 o Ilio mea,5

The black dog,__A_TAG_PLACEHOLDER_0__ the white dog,__A_TAG_PLACEHOLDER_1__

O Ku-ke-ao-iki;6

O Ku-ke-ao-iki;__A_TAG_PLACEHOLDER_0__

O Ku-ke-ao-loa;7

O Ku-ke-ao-loa;__A_TAG_PLACEHOLDER_0__

O Ku-ke-ao-poko;8

O Ku-ke-ao-poko;__A_TAG_PLACEHOLDER_0__

O Ku-ke-ao-apihapiha9 o ka lani;

O Ku-ke-ao-apihapiha__A_TAG_PLACEHOLDER_0__ of the sky;

O ke Kanáka10 o ka mauna;

O ke Kanáka__A_TAG_PLACEHOLDER_0__ of the mountain;

O na hoa o ka ulu11 laau; [145]

O na hoa o ka ulu11 laau; [__A_TAG_PLACEHOLDER_0__]

E ku ai, e hina12 ka omaka13 e pule.

Ua kana:14 kahe ka wai,15 e Ka-hoalii;16

Ua kana:__A_TAG_PLACEHOLDER_0__ kahea ka wai,__A_TAG_PLACEHOLDER_1__ e Ka-hoalii;__A_TAG_PLACEHOLDER_2__

Moku i ka piko,17 e.

Moku at the center, __A_TAG_PLACEHOLDER_0__ e.

O imi, imi, o nalowale, i loa’a e—

Loa’a kau hala, uku i ka oiwi.

No ke aloha i kono, haele maua;

I ike aku au i ka uwé ana iho, e.

I like to tell you what’s going on, okay?

Eli-eli kapu, eli-eli noa. Ua noa-a!

THE CLIFFS OF KALALAU

THE KALALAU CLIFFS

TRANSLATION

Attend, o Uli: a prayer this for life,

Attend, Uli: this is a prayer for life,

Poured forth in the house of the priest.

Poured out in the priest's house.

Let it touch the hearts of the shining band,

Let it reach the hearts of the glowing group,

The princes who rule in the heavenly courts.

The princes who reign in the heavenly courts.

Who is this healer named Kupukupu?

Who is this healer called Kupukupu?

His are the soot-black swine, the yellow dog;

His are the blackened pigs, the yellow dog;

The tiny cloud-bud and the cloud full-blown;

The small cloud budding and the fully developed cloud;

The cloud quick with rain, and the sky

The cloud quickly gathering rain, and the sky

That is mottled and checkered with clouds;

That is patchy and spotted with clouds;

The tall Man, the Lord of the Mountain;

The tall man, the Lord of the Mountain;

His fellows who rest in the tree-shade—

His friends who relax in the shade of the tree—

Bent-kneed, they pray in their forest-temple.

Bent-kneed, they pray in their forest temple.

Suffice it: here’s flowing bowl, Hoalii.

Suffice it: here’s a full bowl, Hoalii.

Seek the God; stay not till you find him.

Seek God; don’t stop until you find Him.

If at fault, an offering this for your flesh.

If you're at fault, here's a sacrifice for your flesh.

The twain of us came at the call of love,

The two of us responded to the call of love,

That my tears might pour with the others.

That my tears could flow with the others.

Profound the tabu; profound be the peace!

Profound the taboo; profound be the peace!

It is peace!

It's peace!

Prayer followed on the heels of prayer: [146]

Prayer followed one after another: [__A_TAG_PLACEHOLDER_0__]

Kulia, e Uli,18 ka pule kanaenae ola;

Kulia, e Uli,18 to pray for a long life;

Kulia i ke Alohi-lani.

Kulia in the Alohi-lani.

Uï ’a kupua o luna nei:

Owai kupua o luna nei?

Where is the witch here?

O Ilio-uli19 oka lani;

O Ilio-uli__A_TAG_PLACEHOLDER_0__ is a sky;

O Ilio-mea,20 o Ilio-ehu;21

O Ilio-mea,__A_TAG_PLACEHOLDER_0__ or Ilio-ehu;__A_TAG_PLACEHOLDER_1__

O Ku-ke-ao-iki;22

O Ku-ke-ao-iki;__A_TAG_PLACEHOLDER_0__

O Ku-ke-ao-loa;23

O Ku-ke-ao-loa;__A_TAG_PLACEHOLDER_0__

O Ku-ke-ao-poko;24

O Ku-ke-ao-poko;__A_TAG_PLACEHOLDER_0__

O Ku-ke-ao-awihiwihi-ula25 o ka lani;

O Ku-ke-ao-awihiwihi-ula__A_TAG_PLACEHOLDER_0__ of the sky;

O Kánaka26 o ka mauna,

The people__A_TAG_PLACEHOLDER_0__ of the mountain,

Na Hoa27 hele o ka ulu-laau;

Na Hoa__A_TAG_PLACEHOLDER_0__ visited the forest;

Na Keo-lani,28 i ku ai, e Laka;

Na Keo-lani,28 I stand firm, O Laka;

O Maka’a-pule.29

O Maka’a-pule.__A_TAG_PLACEHOLDER_0__

Kahe ka wai o na Hoalii;

Nei wale ka pili moku;

Wawa, kupina’i, kuwawa o Ku-haili-moe;30

Wawa, review, or Ku-haili-moe; __A_TAG_PLACEHOLDER_0__

O Ha’iha’i-lau-ahea;31

O Ha’iha’i-lau-ahea;__A_TAG_PLACEHOLDER_0__

O na Wahine32 i kapa ku, i kapa eleele— [147]

O na Wahine32 i kapa ku, i kapa eleele— [__A_TAG_PLACEHOLDER_0__]

Na ke aloha i kono e hele;

Hele mai la au, o Hiiaka,

I ke aloha a ka hanau:

I’ve loved you since birth:

Hanau ke ola;

Life is good;

A ola, a ola, e-e!

Aloha, aloha, e-e!

This mele-pule, though closely resembling, in many parts identical with, that on page 144 seems worth reproducing here.

This prayer, although very similar and in many parts identical to the one on page 144, seems worth sharing here.

TRANSLATION

Speed, O Uli, this prayer for health;

Give it wings to the heavenly courts.

The question is asked the shining band:

The shining group is asked the question:

Who are the spirits of power up here?

Who are the powerful spirits up here?

The azure Cloud-god that floats on high;

The blue Cloud God that floats up high;

God Ku of the Cumulus cloud-bank;

God Ku of the Cumulus cloud bank;

Ku of the Mackerel-patchéd sky;

Ku of the Mackerel-sky;

Ku of the Cloud that roofs the horizon;

Ku of the Cloud that covers the horizon;

Ku, the Cloud-god sailing apart;

Ku, the Cloud God sailing away;

And Ku, the Cloud-god, ruddy and ragged;

And Ku, the Cloud God, reddish and tattered;

The Heroes, too, who dwell in the mountains,

The Heroes, too, who live in the mountains,

Our Comrades they, who range the forest;

Our comrades who roam the forest;

Women-gods of the ether who heal—

Women-gods of the sky who heal—

Powers that hold with thee, God Laká:

Powers that stand with you, God Laká:

He gives men the rich-ripe mountain-apple.

He gives people the ripe mountain apple.

The Gods pour out their healing water;

The Gods shower their healing water;

The bunchy thatch-grass waves in awe;

The clumps of thatch grass sway in amazement;

God Echo whose voices rumble afar;

God Echo, whose voices rumble from a distance;

And the Landscapist Ku and the Princess

Who plucked and ate the fateful ulei.

Who picked and ate the fateful ulei.

The women who sit in the outskirts,

The women who sit on the outskirts,

All clad in robes of funeral black—

All dressed in black funeral robes—

Great love has prompted their coming.

Great love has brought them here.

I Hiiaka, the shadow, have come,

I Hiiaka, the shadow, have arrived,

From love to my birth-mate, my sister.

From love to my soulmate, my sister.

Be this, then, the birth-place of life!

Be this, then, the birthplace of life!

Oh for life! for life! give us life!

Oh, for life! For life! Give us life!

“How is it with you, O Lohiau?” inquired Hiiaka.

“How are you doing, Lohiau?” Hiiaka asked.

“Continue to kneel at the shrine. Prostrate yourself at the lake of our mistress,” answered Lohiau. [148]

“Keep kneeling at the shrine. Bow down at the lake of our lady,” answered Lohiau. [__A_TAG_PLACEHOLDER_0__]

Thereupon, Hiiaka, greatly encouraged, resumed her praying and chanted in a clear tone:

Thereupon, Hiiaka, feeling inspired, started praying again and sang in a clear voice:

A ka luna i Kilauea,

A went up Kilauea,

A Wahine-kapu i ka Lua;

A sacred woman in the cave;

Kapu na papa elima o ka Lua;

Kapu the five sides of the Pit;

Kapu Kilauea i ke ahi a ka Wahine—

Kapu Kilauea in the fire of the Goddess—

Kapu ia Ka-moho-alii, he alii hanau kapu.

Kapu ia Ka-moho-alii, a sacred chief born of nobility.

E ho’i au e ike me ku’u haku.

Ke haku’iku’i mai nei ka lani;

Owaowá ka honua;

Hey, Earth;

Ua moe kánaka kai o ka honua;

Ua ala kukui a Kane.

The light of Kane shines.

Kane-po, hooulu mai;

Kane-po, come to life;

He hiamoe kapu kou hoala ana.

E ala e, Kahiki-ku;

E ala e, Kahiki-moe;

E ala ho’i au, ua hiki mai oe;

Ua ala ka lani, ua ala ka honua;

Ua ala ka uka, ua ala ke kai.

Akahi la o ke aloha i hiki mai ai;

Ke ho’onaue nei, naue ku’u houpo.

I ka houpo ka lele hewa a Kane;

Ilaila ke kia’i ho’iho’i aina.

Ilaila ke kia’i ho’iho’i ʻāina.

Ala a moe i ke ka’i o ko haku;

Ala and sleep under the leadership of your lord;

Ala mai no, e!

Eia au o Hiiaka.

I am Hiiaka.

Ala mai, ho’i!

Come on, let's go!

(I e! Holoe!)

TRANSLATION

On the heights about Kilauea;

On the heights around Kilauea;

With the sacred dame in the Pit —

With the holy lady in the Pit —

Five tabu strata has Kilauea;

Kilauea has five tabu strata;

Tabu’s the Pit through the Goddess’ fire;

Tabu hedges round Moho-alii—

Tabu circles around Moho-alii—

A tabu god was he from his birth.

He was a forbidden god from the moment he was born.

To these will I go with my lord.

To these people, I will go with my lord.

The heavens above are in turmoil;

The sky above is in chaos;

The earth beneath is riven;

The ground below is torn;

The Sea-powers of earth are sleeping;

The naval powers of the world are dormant;

The Torch of Kane has risen: [149]

The Torch of Kane has risen: [__A_TAG_PLACEHOLDER_0__]

O God of the Night, inspire me!

Thy sleep needs a sacred waking.

Your sleep needs a sacred awakening.

Awake, O Kahiki-ku!

Awake, O Kahiki-moe!

Wake up, O Kahiki-moe!

I, too, will awake at thy coming.

I will also wake up when you arrive.

The heavens are awake, and the earth

The skies are alive, and the earth

Is astir from mountain to sea.

Is bustling from mountain to sea.

To-day comes the first pang of love;

Tooday comes the first pang of love;

My heart, my heart, how wildly it moves!

My heart, my heart, how passionately it beats!

My breast is torn, torn by God Kane.

My heart is shattered, shattered by God Kane.

In the breast lurks the mischief of Kane—

In the heart lies the trouble of Kane—

The heart is the fortress of Honor’s guard.

The heart is the stronghold of Honor’s protection.

Awake! repose in thy sovereign’s care.

Awake! Rest in your leader’s care.

I pray thee awake!

Wake up!

Here am I, Hiiaka.

Here I am, Hiiaka.

Awake, I beg and entreat thee!

Wake up, I beg you!

Let my prayer speed its way!

Let my prayer be swift!

To the grist of prayers which Hiiaka, with chanting tone, had already brought to the prayer-mill of the gods, she now added, or—following the figure employed by the Hawaiian narrator—laid on the altar of the gods33 (uhau) the following; her mental attitude being that of one who was angling—again to borrow the Hawaiian figure—literally, fishing (paeaea)34 for a favor, a benefit:

To the mix of prayers that Hiiaka, with her chanting voice, had already sent to the gods, she now added, or—using the analogy created by the Hawaiian storyteller—placed on the altar of the gods33 (uhau) the following; her mindset being that of someone who was fishing (paeaea)34 for a favor, a blessing:

Ke hooulu au, e Kane-kapolei, i mua,

I o ulu Kini o ke Akua;

Ulu mai o Kane, o Kanaloa.

O Hiiaka au la, o ke kaula, a ke kahuna,

Nana i hana, nana i hooulu;

A hooulu au i ke ola, a he ola no;

He ola ho’i kou, e Lohiau-ipo i Haena;

A ola ho’i, he ola;

A life comes back, it lives;

He ola nui, he ola iki;

He ola a kulia i ka nu’u;

A ola oe, e Lohiau-ipo.

Aloha to you, Lohiau-ipo.

I e! holo e!

[150]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Translation

To the temple, its healing rite,

To the temple, its healing ritual,

I summon you, Kane-kapoléi;

Pray gather, ye Wilderness Host;

Come together, Wilderness Host;

Come Kane, and come Kanaloa;

Come Kane and come Kanaloa;

Hiiaka, prophet and priest, am I:

Hiiaka, I am a prophet and priest:

It is mine to inspire, to perform:

It’s my job to inspire, to perform:

I have striven for life and life came—

I worked hard for life, and life came—

Your life, Lohiau of Haena—

Your life, Lohiau from Haena—

Aye, life, life indeed;

Yeah, life, life for sure;

Life in its fullness, life in detail;

Life in all its richness, life in every detail;

Life to stand at the temple shrine:

Life is to stand at the temple shrine:

Such life be yours, beloved Lohiau!

Such a life be yours, dear Lohiau!

Urge on; let the cure work!

Urge on; let the healing begin!

Hiiaka chanted also another prayer:

Hiiaka also chanted another prayer:

E Lono, e Lono, e Lono-ku-lani,

E Lono noho i ka wai,

O houlu oe, o inana oe;

Hoinana i ke ola;

Hoinana to life;

Ho’opu’epu’e ana oe i ka wai,

I ka Wai, ka Wai Ola a Kane,

Ka Wai Ola a Kanaloa,

Ka Wai Ola o Kanaloa,

I ka Hikina, i ke Komohana—

I wai hua, i wai lani!

I am a flower, I am the heavens!

I e, holo e!

TRANSLATION

O Lono, Lono, God Lono on high,

O Lono, Lono, God Lono up above,

Lono, whose realm is the watery vast—

Lono, whose domain is the endless water—

Inspirer, promoter, art thou;

Inspiring promoter, you are;

Give aid to this work of perfect cure;

Give support to this effort of complete healing;

Thou givest life’s magic to water,

You bring life’s magic to water,

The living water, Water of Kane,

The living Water of Kanaloa,

The living water of Kanaloa,

Which flows in the east, flows in the west,

In the bubbling fount, in heaven’s rain.

In the bubbling spring, in heaven's rain.

Speed now, urge on the cure!

Speed up now, push for the cure!

[151]

[__A_TAG_PLACEHOLDER_0__]

Prayer quickly followed prayer, like the moving pictures in a shifting scene:

Prayer quickly followed prayer, like the images in a changing scene:

Eia ana au, e Laká,35

I'm here, Laká, __A_TAG_PLACEHOLDER_0__

Kane a Ha’i-wahine;

Ha’i pua o ka nahelehele,

Ha’i flower of the jungle,

Ha’i hana maile o ka wao,

Ha’i hana maile of the forest,

Houluulu lei ho’i o Laká;

Houluulu leī ho’i o Laká;

O Hiiaka kaula mana ia, e;

Nana i ho’uluulu na ma’i;

Nana, gather the herbs;

A a’e, a ulu, a noho i kou kahu.

A rise, a grow, a stay with your guardian.

Eia ka wai la, he Wai ola, e!

E ola, ho’i, e-e!

Hey, come back, okay!

TRANSLATION

Here stand I in stress, Laká,

Here I stand in distress, Laká,

Thou husband of Ha’inakolo;

You husband of Ha’inakolo;

What flowers have I plucked in the wild,

What flowers have I picked in the wild,

What maile stripped in the forest,

To twine into wreaths for Laká!

To weave into wreaths for Laká!

Thus toiled the seer Hiiaka;

Thus worked the seer Hiiaka;

For hers was the magic of cure.

For she had the power to heal.

But come thou, mount, enter, possess;

But come, mount, enter, and take possession;

Give life to thy servant and priest.

Give life to your servant and priest.

Here’s water, the Water of Life!

Here's water, the Water of Life!

Grant life in abundance, life!

Grant abundant life, life!

The conclusion of this prayer saw Lohiau quite restored to consciousness, but in a state of utter bewilderment as to his surroundings. He found himself most unaccountably in a small rocky chamber with two women who were utter strangers in attendance on him. Before him, as he looked out, hung the apron of a mountain precipice, while in the distance and far below tossed the ocean, a familiar sight that called him back to earth at once, stirring pleasant fancies in his mind and waking in him a yearning for the sea. [152]

The end of this prayer brought Lohiau back to awareness, but he was completely confused about where he was. He found himself inexplicably in a small rocky room with two women he didn't know taking care of him. Turning to look out, he saw the edge of a mountain cliff, and in the distance below, the ocean was crashing against the shore—a familiar view that immediately grounded him, stirring happy memories and awakening a longing for the sea. [__A_TAG_PLACEHOLDER_0__]

1 Uli, the chief aumakua of sorcery, but at the same time having power as a healer if she would but exercise it. ↑

1 Uli, the chief guardian spirit of magic, also has the ability to heal if she chooses to use it. ↑

2 Alohi-lani (literally, the shining heavenly ones); the notions that prevail as to its precise meaning in this place are vague. ↑

2 Alohi-lani (literally, the shining heavenly ones); the ideas about its exact meaning here are unclear. ↑

3 Kupukupu, a benevolent deity who healed diseases and who caused vegetation to flourish. ↑

3 Kupukupu is a kind deity who cures illnesses and helps plants grow. ↑

4 Uli. In this connection the word means black. Ilio is a cloud. ↑

4 Uli. In this context, the word means black. Ilio refers to a cloud. ↑

5 Mea, yellow. Ilio mea, a yellow cloud. ↑

6 Ku-ke-ao-iki, a form of the god Ku, a small cloud—hand-size—that grew and grew until it became ominous and seemed to fill the heavens. ↑

6 Ku-ke-ao-iki, a version of the god Ku, was a tiny cloud—about the size of a hand—that expanded and expanded until it became threatening and appeared to dominate the sky. ↑

7 Ku-ke-ao-loa, a cloud-omen grown to full size. ↑

7 Ku-ke-ao-loa, a fully grown cloud sign. ↑

8 Ku-ke-ao-poko, said to be a cloud that quickly dissolved itself in rain. ↑

8 Ku-ke-ao-poko, described as a cloud that rapidly vanished in the rain. ↑

9 Ku-ke-ao-apihapiha, a sky full of small clouds, probably the same as our “mackerel sky.” All these different kinds of clouds are forms in which Ku showed himself. ↑

9 Ku-ke-ao-apihapiha, a sky filled with small clouds, likely the same as our "mackerel sky." All these different types of clouds are ways that Ku revealed himself. ↑

10 Kanaka o ka mauna. This undoubtedly means Ku-pulupulu, a god of the canoe-makers. He seems to have had much influence over the lawless Kini Akua. He it was who contracted for the building of a canoe for the hero Laka. ↑

10 Kanaka o ka mauna. This definitely refers to Ku-pulupulu, a god of the canoe builders. He appears to have had significant influence over the unruly Kini Akua. He was the one who arranged for the construction of a canoe for the hero Laka. ↑

11 Ulu laau, another form of ulu; a shady place. ↑

11 Ulu laau, another type of ulu; a cool, shaded area. ↑

12 Hina, to sit or kneel for prayer. ↑

12 Hina, to sit or kneel when praying. ↑

13 Omaka, a quiet, silent, place in the wilderness suitable for prayer. ↑

13 Omaka, a peaceful, tranquil spot in the woods perfect for prayer. ↑

14 Kana, another form of kena, enough. ↑

14 Kana, a variant of kena, adequate. __A_TAG_PLACEHOLDER_1__

15 Wai, the awa cup. ↑

15 Wai, the water cup. __A_TAG_PLACEHOLDER_1__

16 Ka-hoalii, one of the gods who came with Pele from Kahiki. ↑

16 Ka-hoalii, one of the gods that arrived with Pele from Kahiki. ↑

17 Piko. The operation of trimming the thatch over the door of a house was a ceremonious operation and was termed oki ka piko. No one would think of sitting in the doorway or of standing on the door sill; it was sacred to Ka-hoalii (mentioned in the 14th line.) ↑

17 Piko. The act of trimming the thatch above a house's door was a significant ceremony known as oki ka piko. No one would even consider sitting in the doorway or standing on the door sill; it was considered sacred to Ka-hoalii (mentioned in the 14th line.) ↑

18 Uli, the arch-goddess of sorcery and anaana (praying to death). It seems to be implied that she has healing power as well as power to kill. Or, it may be, she is invoked, retained, to keep her from enlisting on the side of the opposition. ↑

18 Uli, the supreme goddess of magic and anaana (praying for death). It suggests that she possesses both healing abilities and the power to take life. Alternatively, she might be called upon and kept close to prevent her from joining the enemy. ↑

19 Ilio-uli o ka lani, the slaty-blue clouds, here appealed to as kupua, beings possessed of power for good or ill. ↑

19 Ilio-uli o ka lani, the dark blue clouds, are referred to here as kupua, beings that hold power for both good and evil. ↑

20 Ilio-mea, a white cloud (cumulus). ↑

20 Ilio-mea, a white cloud. __A_TAG_PLACEHOLDER_1__

21 Ilio-ehu, a cloud having a ruddy tint from the light of the sun. ↑

21 Ilio-ehu, a cloud with a reddish hue from the sunlight. ↑

22 Ku-ke-ao-iki, clouds broken up into small fragments, like our mackerel sky. ↑

22 Ku-ke-ao-iki, clouds scattered into small pieces, like our mackerel sky. ↑

23 Ku-ke-ao-loa, the long stratus clouds, here represented as an embodiment of Ku. ↑

23 Ku-ke-ao-loa, the long stratus clouds, are shown here as a representation of Ku. ↑

24 Ku-ke-ao-poko, a small compact cloud standing detached from its fellows. ↑

24 Ku-ke-ao-poko, a small, dense cloud that stands apart from the others. ↑

25 Ku-ke-ao-awihiwihi-ula, a ruddy cloud, ragged at its border. ↑

25 Ku-ke-ao-awihiwihi-ula, a reddish cloud, tattered at its edges. ↑

26 Kanaka o ka mauna, probably the Kini Akua, the host of elfins, kobolds and brownies—godlings—that peopled the wilderness. ↑

26 People of the mountain, likely the Kini Akua, the group of elf-like beings, kobolds, and brownies—little gods—that filled the wilds. ↑

27 Hoa hele o ka ulu-laau, an apposition clause that explains the previous appellations. ↑

27 Friends of the forest, a clause that clarifies the earlier names. ↑

28 Na Keo-lani, goddesses of healing. ↑

28 Na Keo-lani, goddesses of healing. __A_TAG_PLACEHOLDER_1__

29 Maka’a-pule, a term applied to an ohi’a fruit (mountain apple) when so ripe that its seed rattled within the drupe. It was then in the finest condition for eating. ↑

29 Maka’a-pule, a term used for an ohi’a fruit (mountain apple) that is so ripe its seed shakes inside the drupe. At this point, it is in the best condition for eating. ↑

30 Ku-haili-moe, the same god as Ku-haili-moku, who bedecked the land with greenery, a god also worshipped by the canoe-makers. ↑

30 Ku-haili-moe, the same god as Ku-haili-moku, who adorned the land with lush vegetation, a deity also revered by the canoe builders. ↑

31 Ha’iha’i-lau-ahea, said to be the same as Ha’ina-kolo. ↑

31 Ha’iha’i-lau-ahea, believed to be the same as Ha’ina-kolo. ↑

32 Wahine i kapa ku, the woman who stood in the outskirts of the assembly. ↑

32 Wahine i kapa ku, the woman who stood on the edge of the gathering. ↑

33 Uhau, to lay down or offer a prayer, as, e.g., uhau i ka pule. The offering of the prayer is considered as a physical act, the same as laying down a pig or a fish on the altar of the god. ↑

33 Uhau, to offer a prayer, as in uhau i ka pule. Offering the prayer is viewed as a physical act, similar to laying down a pig or a fish on the altar for the god. ↑

34 Paeaea, a fishing rod; the act of fishing. Hiiaka is represented as fishing for a favor. ↑

34 Paeaea, a fishing rod; the activity of fishing. Hiiaka is depicted as seeking a favor. ↑

35 Laka, a god, or demi-god, of various functions, including fishing, agriculture and a participation in house-building. He was also one of the gods invoked by canoe-builders. The name is evidently the same as Rata, the appellation, in Tahiti, Raro-tonga and New Zealand, of the lehua (Metrosideros lutea). N.B. This Laka is to be carefully distinguished from the female Laka, the goddess and patron of the hula as well as necromancy. ↑

35 Laka is a god or demi-god known for various roles, including fishing, agriculture, and helping with house construction. He was also one of the deities called upon by canoe builders. The name is clearly the same as Rata, which refers to the lehua (Metrosideros lutea) in Tahiti, Rarotonga, and New Zealand. N.B. This Laka should be carefully distinguished from the female Laka, the goddess and patron of the hula and necromancy. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXVII

THEY DESCEND FROM THE CLIFF BY RAINBOW BRIDGES—LOHIAU, RESTORED, GOES A-SURFING

Hiiaka’s work of healing was now accomplished. She had seen the cold and withered form gain fullness, warmth and color; been cheered by the oö-a-moa, the crowing sigh that came with the inrush of air to the lungs—and now he stood before her in physical perfection.

Hiiaka's healing work was now complete. She had watched the cold, lifeless body regain fullness, warmth, and color; she was uplifted by the oö-a-moa, the relieved sigh that came with the fresh intake of air into the lungs—and now he stood before her in perfect health.

The question—asked by Wahine-oma’o—how they were to climb down from their inaccessible position was answered by the sudden appearance of three rainbows that arched themselves conveniently at their feet, and on these, as on ladders, they climbed from the dizzy height to the sleeping village below. Under the priestly guidance of Hiiaka, they all now resorted to the ocean and with the aid of its waters performed the rite of cleansing from the ceremonial defilement that came from the touch of a corpse. With this cleansing each one of them seemed to have a new birth of physical perfection. As they came up out of the water their bodies seemed actually to glow with a fresh and radiant beauty.

The question—asked by Wahine-oma’o—about how they would get down from their high perch was answered by the sudden appearance of three rainbows that stretched conveniently at their feet, and on these, like ladders, they descended from the dizzy height to the peaceful village below. Under the priestly guidance of Hiiaka, they all went to the ocean and with the help of its waters carried out the cleansing ritual needed to remove the ceremonial impurity that came from touching a corpse. With this cleansing, each of them seemed to experience a rebirth of physical perfection. As they emerged from the water, their bodies appeared to glow with a fresh and radiant beauty.

The touch of salt water woke in Lohiau a longing he could not resist. He took his surf-board and, with face to the incoming rollers, made for the open sea. The place was one where he had often sported before, prescriptive custom having in fact set it apart for the exclusive use of the chiefs.

The feel of salt water stirred a desire in Lohiau that he couldn’t ignore. He grabbed his surfboard and, facing the approaching waves, headed out to the open sea. This was a spot he had frequently enjoyed before, and it had traditionally been reserved solely for the chiefs.

The “fish”—as the Hawaiians called the Milky way—was already declining in the west and beginning to pale at the approach of a new day, and Lohiau still rode the waves.

The “fish”—as the Hawaiians called the Milky Way—was already fading in the west and starting to lose its brightness with the coming of a new day, and Lohiau was still riding the waves.

That same night Kahua-nui, Lohiau’s sister, woke from her sleep with a start. She went out of doors and, lifting her eyes to the mountain wall, saw a light gleaming in the cave where lay her brother’s body. She rubbed her eyes to remove the cobwebs of sleep—yes, there it was, a quivering light, set like an eye in the socket of the mountain wall, and figures moving about. She rushed back into the house where slept her husband and stirred him with her foot.

That same night, Kahua-nui, Lohiau’s sister, woke up suddenly. She went outside and, looking up at the mountain wall, saw a light shining in the cave where her brother’s body was. She rubbed her eyes to clear the sleep away—yes, there it was, a flickering light, like an eye in the mountain wall, with figures moving around. She rushed back into the house where her husband was sleeping and nudged him with her foot.

“What are you about!” demanded the man. “Do you want to kill me?” [153]

“What’s your deal?” the man demanded. “Are you trying to kill me?” [__A_TAG_PLACEHOLDER_0__]

“Get up; there’s a fire burning in the cave, up the mountain. Come!”

“Get up; there’s a fire in the cave, up the mountain. Come on!”

“What crazy fit possesses you,” muttered the man as he went out. “To knock my wind out with such a kick!—and there’s no fire up there, merely a star sinking in the west. That’s all there was to it. Go to bed!”

“What crazy fit has gotten into you,” muttered the man as he left. “To knock the wind out of me with such a kick!—and there’s no fire up there, just a star sinking in the west. That’s all it was. Go to bed!”

The woman was silenced but not convinced. Her sleep continued to be broken. She fancied that she heard a human voice calling to her; yet, on listening, she could distinguish only the moaning of the surf. In her restlessness she wandered forth again and stood in the cool vault of night. The endless monotone of the ocean filled her ears, but it told her nothing new. She sought her bed again and turned her face to the mat in a resolute effort to sleep. She dozed, but the subtle goddess evaded her. Thoughts of her brother floated through her mind, and the booming of the surf now seemed to assume a more intimate tone and by some witchery of the imagination led her out under the winking stars, closer to old Ocean’s moan, and made her think: how Lohiau did delight in the surf; what pleasure he took in riding the billows! Thus she murmured to herself. At that moment her straining vision detected an object moving with the waves. “Some man surfing in our tabu waters—yet how can that be? Have not all the men of the village gone over to Niihau? Paoa urged them to go.” She moved along the beach. By this time it was dawn.

The woman was quiet but not convinced. Her sleep was still restless. She thought she heard a human voice calling to her; yet, when she listened closely, all she could make out was the sound of the waves. In her restlessness, she wandered out again and stood in the cool night. The constant sound of the ocean filled her ears, but it had nothing new to say. She went back to her bed and turned her face to the mat, determined to sleep. She dozed off, but the elusive goddess of sleep slipped away from her. Thoughts of her brother drifted through her mind, and the crashing of the waves now seemed to take on a more personal tone, leading her out under the twinkling stars, closer to the ocean’s roar, making her think: how Lohiau loved the surf; how much he enjoyed riding the waves! So she murmured to herself. At that moment, her straining eyes spotted something moving with the waves. “Is that a man surfing in our restricted waters—how can that be? Didn’t all the men from the village go over to Niihau? Paoa encouraged them to leave.” She walked along the beach. By this time, it was dawn.

“There comes a woman,” said Wahine-oma’o.

“His sister, Kahua-nui,” Hiiaka remarked quietly.

“His sister, Kahua-nui,” Hiiaka said softly.

Wahine-oma’o called to her by name and went forward to meet her.

Wahine-oma’o called out to her by name and stepped forward to greet her.

“Ah, it is you two women,” Kahua-nui exclaimed.

“Ah, it’s you two women,” Kahua-nui exclaimed.

“Where’s your husband?” Wahine-oma’o asked.

"Where's your husband?" Wahine-oma’o asked.

“Asleep in the house.”

“Asleep at home.”

“Go and call him; tell him to take his canoe and go over to Niihau and bring Paoa,” said Wahine-oma’o. “Lohiau is alive and well. Look, there he comes on the surf-board.”

“Go and call him; tell him to grab his canoe and head over to Niihau to bring back Paoa,” said Wahine-oma’o. “Lohiau is alive and well. Look, he’s coming on the surfboard.”

In a tumult of joy the woman ran to the house and shouted the tidings to her husband. Nakoa-ola, girding his malo about him as he came out of the door, made all speed for the halau; shoved the canoe down the slope of the beach; looked to the lashings of the outrigger; saw that the paddles, bailer and what not were in place; stepped the mast; arranged the sail and the [154]sheet; then, with a final push, he leaped in astern and set his course for Niihau.

In a surge of joy, the woman rushed to the house and shouted the news to her husband. Nakoa-ola, tying his malo around him as he stepped out the door, hurried to the halau; pushed the canoe down the beach; checked the lashings of the outrigger; made sure the paddles, bailer, and everything else were in place; stepped the mast; arranged the sail and the [__A_TAG_PLACEHOLDER_0__]sheet; then, with one final push, he jumped in the back and headed towards Niihau.

The story of Lohiau’s miraculous return to life spread like wild fire until the whole population of the little island of Niihau was buzzing with the wonder. Paoa, in his haste and excitement, neglected the ordinary civilities and failed to invite his visitor to “come in and eat.” They took canoe on the instant and were the first to arrive at Haena.

The tale of Lohiau's amazing return to life spread quickly until everyone on the small island of Niihau was buzzing with excitement. In his rush and enthusiasm, Paoa overlooked basic etiquette and didn't invite his guest to "come in and eat." They immediately hopped in a canoe and were the first to reach Haena.

At sight of Lohiau, whom they found quiet and thoughtful, surrounded by a houseful of people, in conversation with his sister and two women who were strangers, they set up a wailing cry of joy that was chorused by the whole company.

At the sight of Lohiau, who appeared calm and contemplative, surrounded by a house full of people, talking with his sister and two unfamiliar women, they let out a joyful cry that echoed throughout the entire group.

The great raft of attendants, men and women, round-eyed with wonder, reached Haena in successive arrivals later in the day. First came those who eagerly credited the report of Lohiau’s resurrection; scattering along after them, strangers and those who were in any degree skeptical of this great mystery. Each hour saw a bunch of new arrivals, not from Niihau alone but from all parts of Kauai.

The large group of attendants, both men and women, wide-eyed with amazement, arrived in Haena throughout the day. First came those who fully believed the news of Lohiau’s return; following them were onlookers and those who were somewhat doubtful about this incredible event. Every hour brought a new wave of arrivals, coming not just from Niihau but from all over Kauai.

When Kahua-nui and her husband had first wept over Lohiau, embracing and kissing him, uttering their welcome in joyous cries of wailing, they turned to the two women, the strangers, for Lohiau bade them extend their welcome to “these two women who have brought me to life again.”

When Kahua-nui and her husband first cried over Lohiau, holding him tight and kissing him, expressing their joy through happy cries mixed with sorrow, they looked at the two women, the strangers, because Lohiau asked them to welcome "these two women who have brought me back to life."

“Where are they from?” Kahua-nui asked.

“I know not; I only know they have given me life.”

“I don’t know; I just know they gave me life.”

“It was worth while for my brother to have died to secure two such beautiful women as you,” said Kahua-nui as she faced Hiiaka.

“It was worth it for my brother to have died to gain two such beautiful women like you,” said Kahua-nui as she looked at Hiiaka.

“The other one is more beautiful than we are,” Hiiaka answered.

“The other one is more beautiful than us,” Hiiaka answered.

“Where is she?”

"Where's she at?"

“Toward the Sunrise,” Hiiaka answered.

“Towards the Sunrise,” Hiiaka replied.

“What is the name of the country?” queried Kahua-nui.

“What’s the name of the country?” asked Kahua-nui.

“Hawaii.”

"Hawaii."

“Who is the woman?” persisted Kahua-nui.

“Who is the woman?” kept asking Kahua-nui.

“Her name is Pele.”

"Her name's Pele."

“I know her.” Kahua-nui spoke with lower tone.

"I know her," Kahua-nui said in a lower tone.

“She it was who sent us to fetch Lohiau. We found him dead. I worked according to my ability—you see, our man is alive again.” [155]

“She was the one who sent us to get Lohiau. We found him dead. I did what I could—you see, our guy is alive again.” [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXVIII

THE GODS COME TO LOHIAU’S FEAST

Under the direction of Kahua-nui—the woman to whom belonged the executive mind—proclamation was made throughout the land, in the name of Lohiau, commanding all the people to collect the necessary food and material in preparation for a great feast, that they might celebrate properly Lohiau’s return to life.

Under the leadership of Kahua-nui—the woman who had the visionary mind—a declaration was made across the land, in the name of Lohiau, ordering everyone to gather the food and materials needed to prepare for a grand feast, so they could properly celebrate Lohiau’s return to life.

It was to be an occasion of unparalleled interest and importance: a chief, famed for his manly beauty and popular talents, rescued from the grave; the magician who had accomplished this marvel, a woman of surpassing beauty; an old-time feast, with its lavish profusion; the hula, with its lyric and epic thrills: a combination of attractions that appealed to every taste, whether of sage, epicure, frivolous dilettante or dull-witted peasant, it was sure to be the event of a lifetime. All were invited and all came.

It was going to be an event of unparalleled interest and significance: a chief known for his striking good looks and popular skills, brought back from the dead; the magician who pulled off this incredible feat, a woman of extraordinary beauty; an old-fashioned feast, overflowing with abundance; the hula, filled with both lyrical and epic excitement: a mix of attractions that catered to every taste, whether for the wise, the gourmet, the light-hearted enthusiast, or the simple farmer, it was definitely going to be a once-in-a-lifetime occasion. Everyone was invited, and everyone showed up.

The halau in which the people assembled was a temple of Flora, or rather of her Polynesian sister Láka. At the request of Hiiaka, whose every wish was law, one half of the hall was screened off by a rustic partition as a special feasting hall for the gods. “My relatives,” said Hiiaka, “are numerous.”

The gathering place where everyone came together was a temple dedicated to Flora, or more accurately, her Polynesian sister Láka. At Hiiaka's request, which was always followed, one half of the hall was separated by a simple partition, creating a special dining area for the gods. “My relatives,” Hiiaka said, “are many.”

In this part of the halau were laid the sacrificial viands for the supply of an immense host. Having commanded silence, Hiaaka, after the manner of prayer, invited the attendance of the gods. A hush fell upon the assembly; the air was stirred by the fanning of many wings. No speech, no human voice, only the gentle clash of wooden dishes, the rustle of leaves, the gurgle of deep potations and the subdued sounds of gustation came from the place into which no human foot or eye dared intrude. At the conclusion of the affair, when Hiiaka, in priestly fashion, had pronounced the absolving word noa and the stewards were again at liberty to enter the precinct where the immortals had just now celebrated their symposium, it seemed, at first glance, as if nothing had been touched. The leafy bundles of fish and fowl and meat remained unopened, but they proved to be empty; the coconuts, unbroken, were yet devoid of meat; the bananas were found to be but hollow skins. The substance, the essence, had been filched away by some inscrutable power. This was the ai inoino—consumption to the last morsel—practiced by the gods. [156]

In this section of the halau, the offerings for a huge crowd were laid out. After calling for silence, Hiaaka, in a prayer-like manner, invited the gods to join. A quiet fell over the gathering; the air was filled with the sound of soft wings fluttering. There were no words, no human voices—just the gentle clinking of wooden dishes, the rustling of leaves, the soothing sound of liquids being poured, and the muted sounds of eating coming from the area that no one dared to enter. Once the ritual was over, and Hiiaka had spoken the purifying word noa, allowing the attendants to re-enter the space where the immortals had just held their feast, it looked, at first glance, like nothing had been disturbed. The bundles of fish, poultry, and meat remained sealed, but they turned out to be empty; the coconuts, still whole, had no flesh inside; the bananas were just hollow peels. The substance, the essence, had been mysteriously taken away by some unknown force. This was the ai inoino—the complete consumption—practiced by the gods. [__A_TAG_PLACEHOLDER_0__]

It was a solemn affair, after all, this parting feast, at which, in spite of the babel of voices, weighty affairs had to be settled. Malae-ha’a-koa published the fact that the beautiful woman who sat in their mist was Hiiaka, the sister of Pele; that her art had captured the unhappy flitting ghost of Lohiau, restored it to its renovated and matchless form and that, in fulfillment of her errand, she was about to lead him away with her to be the bed-mate of the goddess who ruled the volcano.

It was a serious occasion, this farewell gathering, where, despite the noise of everyone talking, important matters needed to be discussed. Malae-ha’a-koa announced that the beautiful woman among them was Hiiaka, the sister of Pele; that her skills had captured the troubled wandering spirit of Lohiau, restored him to his perfect form, and that, as part of her mission, she was about to take him away to be the lover of the goddess who ruled the volcano.

Paoa—he whose tempestuous nature had not long ago sworn vengeance against the author of Lohiau’s taking-off—now spoke up and declared his purpose to go with his master on this his new and strange adventure. Lohiau restrained him.

Paoa—whose fiery temperament had recently vowed revenge against the one responsible for Lohiau's disappearance—now spoke up and said he planned to join his master on this new and unfamiliar adventure. Lohiau held him back.

“I go with these two women. If I die—so be it—’twere a glorious end,—with these two who rescued me from the grave and brought me back to the delights of your society. If I live and make my abode on Hawaii, it will be for you to come and share the blessings of my new home.” Then, addressing himself specially to Paoa, “You will remain here, as my deputy, ruling over the land. If my adventure fares well, I will come and fetch you—if … ill, your coming would not advantage.… You shall stay here.”

“I’m going with these two women. If I die—so be it—it would be a glorious end—with these two who saved me from the grave and brought me back to the joys of your company. If I live and settle in Hawaii, you’re welcome to come and enjoy the blessings of my new home.” Then, speaking directly to Paoa, “You will stay here as my representative, governing the land. If my journey goes well, I’ll come back for you—if it goes badly, your coming wouldn’t help.… You’ll stay here.”

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXIX

HIIAKA’S ADDRESS TO CAPE KAENA

The mountains were still in shadow, but the star of morning was on high and rosy fingers in the east heralded the approach of day, taming the flare of the torches and making them almost a superfluity as the canoe—with Hiiaka occupying the pola, Lohiau in the stern holding the steersman’s paddle and Wahine-oma’o ensconced in the bow—curvetted to the waves and shot out into the blue sea. One paddle-stroke and the craft had cleared the land, another and it had traversed the heaving channel of Ië-ië-waena, another and it was beached on the sands of Mokuleia. At this point Hiiaka parted from her two companions, directing them to call for her with the canoe at a designated place.

The mountains were still in shadow, but the morning star was high in the sky, and rosy fingers in the east announced the arrival of day, calming the glow of the torches and making them almost unnecessary as the canoe—with Hiiaka in the middle, Lohiau in the back steering, and Wahine-oma’o settled in the front—danced over the waves and shot out into the blue sea. With one paddle stroke, the canoe cleared the land, with another it crossed the rolling channel of Ië-ië-waena, and with another it beached on the sands of Mokuleia. At this point, Hiiaka said goodbye to her two companions, telling them to call for her with the canoe at a specific spot.

Hiiaka’s first care was to pay her respects to the aged one, her ancestor, Pohaku-o-Kaua’i; after that to her ancestral divinity [157]Kaena, a name in modern times bestowed on the western cape of Oahu. She turned this point and passed into the sweltering lea where the sun poured its merciless heat and, as she climbed the slope of the Waianae mountain, looking back on the route just accomplished, according to her custom, she uttered her comments in song:

Hiiaka's first priority was to honor her elder ancestor, Pohaku-o-Kaua’i; after that, she turned to her ancestral deity [__A_TAG_PLACEHOLDER_0__]Kaena, a name that is now applied to the western tip of Oahu. She moved past this point and entered the hot fields where the sun beat down relentlessly, and as she ascended the slope of the Waianae mountain, looking back at the path she had just traveled, she sang her reflections, as was her custom:

Kunihi Kaena, holo i ka malie;

Kunihi Kaena, move peacefully;

Wela i ka La ke alo o ka pali;

Auamo mai i ka La o Kilauea;

Ikiiki i ka La na Ke-awa-ula,

Ola i ka makani Kai-a-ulu Koholá-lele—

He makani ia no lalo.

He is the wind below.

Haöa ka La i na Makua;

Lili ka La i Ohiki-lolo;

Lili's at Ohiki-lolo;

Ha’a-hula le’a ke La i ke kula,

Ka Ha’a ana o ka La i Makáha;

Oï ka niho o ka La i Ku-manomano;

Ola Ka-maile i ka huna na niho;

Ola Ka-maile in the hidden place of niho;

Mo’a wela ke kula o Walió;

Ola Kua-iwa i ka malama po;

Ola Waianae i ka makani Kai-a-ulu,1

Ola Waianae in the Kai-a-ulu wind,1

Ke hoá aku la i ka lau o ka niu.

Ke hoā aku la i ka lau o ka niu.

Uwé o Kane-pu-niu2 i ka wela o ka La;

Uwé o Kane-pu-niu2 in the heat of the sun;

Alaila ku’u ka luhi, ka malo’elo’e,

Auau aku i ka wai i Lua-lua-lei.

Aheahe Kona,3 Aheahe Koolau-wahine,4

Aheahe Kona,__A_TAG_PLACEHOLDER_0__ Aheahe Koolau-wahine,__A_TAG_PLACEHOLDER_1__

Ahe no i ka lau o ka ilima.

Wela, wela i ka La ka pili i ka umauma,

I Pu’u-li’ili’i, i Kalawalawa, i Pahe-lona,

A ka pi’i’na i Wai-ko-ne-né-ne;

A went up to Wai-ko-ne-né-ne;

Hoomaha aku i Ka-moa-ula;

A ka luna i Poha-kea

A is at Poha-kea

Ku au, nana i kai o Hilo: [158]

Ku au, look at the food in Hilo: [__A_TAG_PLACEHOLDER_0__]

Ke ho’omoe a’e la i ke kehau

O a’u hale lehua i kai o Puna,

O a’u hale lehua i kai o Ku-ki’i.

TRANSLATION

Translation

Kaena’s profile fleets through the calm,

Kaena’s silhouette glides through the calm,

With flanks ablaze in the sunlight—

With sides glowing in the sunlight—

A furnace-heat like Kilauea;

A furnace-like heat of Kilauea;

Ke-awa-ula swelters in heat;

Ke-awa-ula is sweltering in heat;

Koholá-lele revives in the breeze,

Koholá-lele comes alive in the breeze,

That breath from the sea, Kai-a-ulu.

Fierce glows the sun of Makua;

Fierce shines the sun of Makua;

How it quivers at Ohiki-lele—

How it shakes at Ohiki-lele—

’Tis the Sun-god’s dance o’er the plain,

'Tis the Sun-god's dance over the plain,

A riot of dance at Makaha.

A wild dance party at Makaha.

The sun-tooth is sharp at Kumano;

Life comes again to Maile ridge,

Life is back at Maile Ridge,

When the Sun-god ensheaths his fang.

When the Sun-god covers his tooth.

The plain Walió is sunburned and scorched;

The plain Walió is sunburned and burnt out;

Kua-iwa revives with the nightfall;

Kua-iwa comes alive at night;

Waianae is consoled by the breeze

Waianae is comforted by the breeze

Kai-a-ulu and waves its coco fronds;

Kai-a-ulu waves its palm fronds;

Kane-pu-niu’s fearful of sunstroke;5

Kane-pu-niu’s afraid of sunstroke; __A_TAG_PLACEHOLDER_0__

A truce, now, to toil and fatigue:

A break now from work and exhaustion:

We plunge in the Lua-lei water

We dive into the Lua-lei water.

And feel the kind breeze of Kona,

And enjoy the gentle breeze of Kona,

The cooling breath of the goddess,

The cool breath of the goddess,

As it stirs the leaves of ilima.

As it moves the leaves of ilima.

The radiant heat scorches the breast

The intense heat burns the chest

While I sidle and slip and climb

While I sneak and slide and climb

Up one steep hill then another;

Up one steep hill and then another;

Thus gain I at last Moa-ula,

Finally got Moa-ula,

The summit of Poha-kea.

The peak of Poha-kea.

There stand I and gaze oversea

There I stand and look out at the sea

To Hilo, where lie my dewy-cool

To Hilo, where my dewy

Forest preserves of lehua

Lehua forest preserves

That reach to the sea in Puna—

That stretch of land leading to the ocean in Puna—

My lehuas that enroof Kuki’i.

My lehuas that cover Kuki’i.

According to another account,—less mythical—Hiiaka, on [159]her departure from Haena, packed off Wahine-oma’o and Lohiau in the canoe, while she herself started on afoot. Before proceeding on her way she turned herself about and, as was her wont, made a farewell address to the precipitous cliffs of Ka-lalau and to the deity therein enshrined:

According to another version—less mythical—Hiiaka, on [__A_TAG_PLACEHOLDER_0__]her departure from Haena, sent Wahine-oma’o and Lohiau off in the canoe, while she started her journey on foot. Before continuing on her way, she turned around and, as was her custom, gave a farewell speech to the steep cliffs of Ka-lalau and to the deity housed there:

O Ka-lalau, pali a’ala ho’i, e,

Ke ako ia a’e la e ka wahine;

A’ala ka pali i ka laua’e6 e

I Hono-pú, Wai-aloha.

Aloha oe la, e-e!

Aloha, everyone!

TRANSLATION

Translation

Your verdant mountain walls, Lalau—

Your green mountain walls, Lalau—

Where the nymphs pluck harvest of wreaths—

Where the nymphs collect wreaths—

Fragrant with breath of lau-a’e,

Fragrant with the scent of lau-a’e,

Fed by love’s waters at Hono-pú;

Fed by the waters of love at Hono-pú;

My farewell love goes forth to you.

My goodbye love goes out to you.

Hiiaka now left behind her the wild and precipitous region of Kalalau and, passing through Miloli’i, came into Mana, a region famous for its heat, its sand-hills, and its tantalizing mirage. Mana was also the haunt of a swarm of little beings, elfs, brownies and what not, to whom Hiiaka courteously offered her salutations:

Hiiaka now left behind the wild and steep area of Kalalau and, after passing through Miloli’i, arrived in Mana, a place known for its heat, sand dunes, and misleading mirages. Mana was also home to a bunch of tiny creatures, elves, brownies, and the like, to whom Hiiaka politely offered her greetings:

O Maná, aina a ke Akua,7 e-e,

Aina a ke Akua i ka li’u;

O ka pa’a kolo hele i o, e-e!

E ho’i mai ana ka oe8 i o’u nei, e-e.

TRANSLATION

Maná, thou land of the godling host,

Maná, you land of the divine beings,

Thou land of that wonder—mirage;

You land of that wonder—mirage;

Swarming with creatures that creep and crawl!

Swarming with creatures that scuttle and crawl!

. . . . .

But you’re coming to take me hence!

But you’re here to take me away!

[160]

[__A_TAG_PLACEHOLDER_0__]

According to this version of the narrative, which is the preferable one, Hiiaka now took passage in the canoe and from Maná the reunited party sailed away for Oahu. By this happy reunion the otherwise dissevered narrative is brought into harmony and conflicting versions no longer pull away from each other like two ill-trained steers.

According to this version of the story, which is the better one, Hiiaka now boarded the canoe and from Maná the reunited group set sail for Oahu. This joyful reunion brings the otherwise fragmented narrative together, and conflicting versions no longer pull apart like two poorly trained steers.

The voyage was not without enlivening incident. When the canoe had reached a point where the surges began to roll in the direction of Oahu Hiiaka saw two monster sharks disporting themselves in the waves whom she recognized as relatives on the side of her paternal grand-father, their names being Kua and Kahole-a-Kane. This was her second encounter with these sea-monsters; the first was on her recent voyage to Kauai, an encounter which had threatened serious results, if not disaster, to Hiiaka’s expedition. As the story goes, when Kua and Kahole had become aware that Hiiaka’s going was for the purpose of bringing Lohiau to the bed of Pele, they were moved to great disapproval of her enterprise: “A mere man,” said they. “The idea of mating him with Pele is atrocious: and he is a dead man at that.”

The journey was certainly eventful. When the canoe reached a spot where the waves began to roll toward Oahu, Hiiaka spotted two huge sharks playing in the surf, which she recognized as relatives from her grandfather’s side, named Kua and Kahole-a-Kane. This was her second encounter with these sea monsters; the first happened on her recent trip to Kauai, an encounter that had threatened serious consequences, if not disaster, for Hiiaka’s mission. Legend has it that when Kua and Kahole learned that Hiiaka was on a mission to bring Lohiau to Pele, they were greatly disapproving of her quest: “A mere man,” they said. “The idea of pairing him with Pele is outrageous, and he is a dead man, at that.”

After taking counsel with the sea-goddess Moana-nui-ka-lehua, who had her boudoir in the deep waters of Iëië-waena, with her aid they raised a commotion in the sea and Hiiaka barely escaped being swamped by a mighty water-spout. For her part Hiiaka was quite ready to overlook this rough play of her old kinsfolk and to do the agreeable with them and she accordingly addressed them kindly: “How lucky for me is this meeting again with you out here in the ocean! It will enable me to relieve my hardships by a smack of real comfort.”

After talking with the sea goddess Moana-nui-ka-lehua, who lived in the deep waters of Iëië-waena, they stirred up trouble in the sea, and Hiiaka barely managed to escape being overwhelmed by a huge water spout. Hiiaka, for her part, was willing to overlook this rough behavior from her old relatives and decided to be friendly with them, so she spoke to them warmly: “How fortunate it is for me to see you again out here in the ocean! This will help ease my struggles with a bit of real comfort.”

The two sea-monsters felt unable to respond to Hiiaka’s advances in a like spirit with her’s. Their consciences pleaded guilty. “Look here,” said Kua to his fellow, “this is our grandchild.”

The two sea monsters felt unable to respond to Hiiaka’s advances in the same way she was showing them. Their consciences pleaded guilty. “Listen,” said Kua to his companion, “this is our grandchild.”

“Yes,” his companion replied, “and she will put us to death. We’d better hide ourselves, you in your patch of surf, I in mine.”

“Yes,” his companion replied, “and she will kill us. We should hide, you in your spot by the waves, and I in mine.”

“That sort of a ruse won’t avail us in the least,” objected Kua.

"That kind of trick won't help us at all," Kua protested.

“What then? Where shall we flee for safety?”

“What now? Where do we go for safety?”

“To the mountains back of Waianae, to be sure,” asserted Kua.

“To the mountains behind Waianae, for sure,” Kua said.

THE DESCENT FROM THE CLIFFS

This suggestion meeting with the approval of his companion, they hastened to land and, having divested themselves of their shark-bodies and resumed human form, they made for the mountains and hid themselves in the palaá fern. Hiiaka was greatly disappointed that these two old people should have so utterly misconceived [161]her attitude of mind toward them as to rob her of their interesting company. She expressed her observations in song:

This suggestion met with his companion's approval, so they quickly went ashore and, after shedding their shark forms and turning back into humans, they headed for the mountains and concealed themselves in the palaá fern. Hiiaka felt very disappointed that these two older people had completely misunderstood [__A_TAG_PLACEHOLDER_0__] her feelings toward them, causing her to lose their fascinating company. She voiced her thoughts in a song:

A makani Kai-a-ulu lalo o Waianae,

A makani Kai-a-ulu below Waianae,

E wehe aku ana i ka lau o ka niu.

Ha’i ka nalu o Kua a ala i ka po;

Ha'i ka nalu o Kua a ala i ka po;

I hiki aku, i moe aku iuka ka luhi o ke kai:

I went up, I slept up there by the shore of the sea:

Moe no a huli ke alo9 i ka paia.

Hiki ka alele a kou ipo

Hiki the wings of your beloved

A koena lau ka ula,10 e:

A koena lau ka ula, __A_TAG_PLACEHOLDER_0__ e:

He ula aloha, e!—

Hey, what's up!

Makani pahele-hala11 o Kamaile-húna,

Makani pahele-hala__A_TAG_PLACEHOLDER_0__ of Kamaile-húna,

Ke wahi mai la e nahá lalo o Malamalama-iki.

Ike’a Wai-lua12—ke kino o ka laau,13

Ike’a Wai-lua12—the body of the tree,13

Pau pu no me ke kino o ka Lehua14 wehe’a:

Wehe’a iho nei loko o ka moe,

Malamalama oko’a no olalo me he ahi lele la!

He’e, e-e!

Hey, what's up!

TRANSLATION

A cat’spaw ruffles the Waianae sea,

A cat's paw stirs the Waianae sea,

Lifting the fronds of the coco-palm;

Lifting the leaves of the coconut palm;

The waves of Kua rise betime

The waves of Kua rise early

And haste to repose neath the cliff,

And hurry to rest under the cliff,

To sleep secure with face to the wall. [162]

To sleep safely with my face against the wall. [__A_TAG_PLACEHOLDER_0__]

Then comes my herald of peace, with

Then comes my messenger of peace, with

Its ear-tingling10 message of love,

Its ear-tingling __A_TAG_PLACEHOLDER_0__ message of love,

Offering bounty and pardon as free

Giving rewards and forgiveness freely

As the wind that shakes the hala tree.

As the wind that sways the hala tree.

Drawn is the bolt and open the door

Draw the bolt and open the door.

Of the secret chamber under the sea,

Of the hidden room beneath the ocean,

Revealing the tricks of the merfolk twain,

Revealing the tricks of the two mermaids,

Their bodies dead as the corpse of King Log,

Their bodies lifeless like the corpse of King Log,

And with them that of the Mermaid Queen;

And with them, the Mermaid Queen's as well;

For a ray has pierced to their resting place,

For a ray has reached their resting place,

As a lightning flash illumines the deep.

As a flash of lightning lights up the depths.

You’re caught, my fellows, you’re caught!

You’re caught, everyone, you’re caught!

Neither Kua nor Kahole-a-Kane were relieved of their guilty fears by Hiiaka’s soft words. They continued their flight along the same path which was soon afterwards followed by Hiiaka in her climb to Poha-kea. The only penalty inflicted by Hiiaka, when at last she came up with them and found them penitent, cowering in the brush, was their retirement from the ocean: not a light stroke, however, being almost the equivalent of taking away a mariner’s commission, thus separating him from his chosen element, his native air.

Neither Kua nor Kahole-a-Kane felt any relief from their guilty fears after Hiiaka’s gentle words. They kept fleeing down the same path that Hiiaka would later take on her climb to Poha-kea. The only punishment Hiiaka handed down when she finally caught up with them and found them remorseful, hiding in the brush, was to banish them from the ocean: a serious consequence, almost like revoking a sailor’s license, separating him from his chosen environment and native air.

1 Kai-a-ulu, a sea-breeze that comforted Waianae. ↑

1 Kai-a-ulu, a refreshing sea breeze that brought comfort to Waianae. ↑

2 Kane-pu-niu, a form of god Kane, now an uncarved bowlder; here used in a tropical sense to mean the head. The Hawaiians, impelled by the same vein of humor as ourselves, often spoke of the human head as a coconut (pu-niu). ↑

2 Kane-pu-niu, a type of god Kane, now an uncarved boulder; used here in a tropical context to refer to the head. The Hawaiians, driven by a similar sense of humor as us, often referred to the human head as a coconut (pu-niu). ↑

3 Kona, here used as a local name for the sea-breeze. ↑

3 Kona, used here as the local name for the sea breeze. ↑

4 Koolau-wahine, a wind, stronger, but from the same direction as the Kona. ↑

4 Koolau-wahine, a stronger wind, but coming from the same direction as the Kona. ↑

5 The author begs to remark that sunstroke is unknown in all Hawaii. ↑

5 The author points out that sunstroke is not experienced anywhere in Hawaii. ↑

6 Lau-a’e, a fragrant plant that grows in the woods of Kauai. ↑

6 Lau-a’e, a fragrant plant found in the forests of Kauai. ↑

7 Akua. The word akua was used not alone to designate the gods, it was also applied to any superhuman or supernatural being. The reference here is to the little creatures that swarmed in the land. ↑

7 Akua. The word akua was not just used to refer to the gods; it was also applied to any superhuman or supernatural being. In this context, it refers to the tiny creatures that filled the land. ↑

8 Oe. This last line is evidently addressed to her traveling companion, Wahine-oma’o, whom she descried in the canoe in the offing. ↑

8 You. This last line is clearly directed at her travel partner, Wahine-oma’o, whom she spotted in the canoe in the distance. ↑

9 Huli ke alo i ka paia. To sleep with one’s face turned to the wall was reckoned to indicate a high degree of confidence in one’s safety. ↑

9 Huli ke alo i ka paia. Sleeping with your face turned to the wall was seen as a sign of great confidence in your safety. ↑

10 Ula, a tingling in the ears. Tinnitus aurium, a tingling in the ears, or any similar symptom in that organ was regarded as a sure sign that some person was making a communication from a distance. This superstition, or sentiment, in regard to tinnitus aurium was not peculiar to the Polynesian. In Der Trompeter von Säckingen I find the following:

10 Ula, a tingling in the ears. Tinnitus aurium, a ringing in the ears, or any similar sensation in that area was considered a clear indication that someone was trying to communicate from afar. This belief about tinnitus aurium wasn't unique to Polynesians. In The Trumpeter of Säckingen, I found the following:

Laut das Ohr klingt, als ein Zeichen,

Dass die Heimath sein gedenket,—

That the homeland remembers,—

↑

11 Pahele-hala, literally, shaking the hala (pandanus tree). Hala also meant fault or sin. The figure is to be taken to mean a shaking of sins, in other words, a casting of them away, a disregarding of them. ↑

11 Pahele-hala, literally, shaking the hala (pandanus tree). Hala also referred to faults or sins. The expression suggests shaking off sins, meaning to cast them aside and ignore them. ↑

12 Wai-lua, an abyss in the water. The reference is, of course, to the shark-gods. ↑

12 Wai-lua, a deep, dark place in the water. This is clearly a reference to the shark gods. ↑

13 Laau, wooden. The reference is to the shark-bodies of the two monsters which became dead, wooden, when discarded by them on their coming out of the ocean and resuming ordinary human form. ↑

13 Laau, wooden. This refers to the shark bodies of the two monsters that turned lifeless and wooden when they were discarded after emerging from the ocean and taking on their normal human form. ↑

14 Lehua. The full name is Moana-nui-ka-lehua, a goddess (mermaid) whose domain was in the abyss of the Ieie-waena channel. For further details see remarks in the text. ↑

14 Lehua. Her full name is Moana-nui-ka-lehua, a goddess (mermaid) who ruled over the depths of the Ieie-waena channel. For more information, see the remarks in the text. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXX

WHAT HIIAKA SAW FROM THE HEIGHT OF POHA-KEA

To return now to Hiiaka, who, after a hot climb, is standing on the summit of Poha-kea; she is gazing with rapt and clear vision far away in the direction of her own home-land, her moku lehua, in Puna. Her eyes, under the inspiration of the moment, disregard the ocean foreground, on whose gently heaving bosom might be seen the canoe that holds Lohiau and Wahine-oma’o snailing along to its appointed rendezvous. Her mind is busy interpreting the unusual signs written in the heavens: a swelling mountainous mass of flame-shot clouds, boiling up from some hidden source. It spells ruin and desolation—her own forest-parks blasted and fire-smitten; but, saddest and most heart-rending of all is the thought that her own Hopoe, the beautiful, the accomplished, the generous, the darling of her heart—Hopoe [163]has been swallowed up in the rack. Hopoe, whose accepted emblem and favorite poetical metamorphosis was a tall lehua tree in full blossom, is now a scarred rock teetotumed back and forth by the tides and waves of the ocean. This thought, however much she would put it aside, remained to fester in her heart.

To go back to Hiiaka, after a grueling climb, she's now standing at the top of Poha kei; she's looking out with focused and clear eyes far in the direction of her homeland, her moku lehua, in Puna. In this moment, her eyes completely ignore the ocean in front of her, where you could see the canoe carrying Lohiau and Wahine-oma’o slowly making its way to their meeting spot. Her mind is busy trying to decipher the strange signs in the sky: a massive, fiery formation of clouds rising from some hidden source. It foretells destruction and devastation—her beloved forest parks scorched and burned; but the saddest thought of all is that her beloved Hopoe, the beautiful, the talented, the generous, the one she cherishes most—Hopoe [__A_TAG_PLACEHOLDER_0__]has been consumed in the chaos. Hopoe, whose symbol and favorite poetic transformation was a tall lehua tree in full bloom, is now a scarred rock tossed around by the tides and waves of the ocean. No matter how much she tries to push it away, this thought keeps festering in her heart.

(We omit at this point a considerable number of mele which are ascribed to Hiiaka and declared to have been sung by her while occupying this mountain perch at Poha-kea. Application to them of the rule that requires conformity to a reasonable standard of relevancy to the main purpose of the narrative results in their exclusion.)

(We skip over a significant number of mele attributed to Hiiaka, which are said to have been sung by her while she was on this mountain perch at Poha-kea. Applying the rule that requires alignment with a reasonable standard of relevance to the main purpose of the story leads to their exclusion.)

The song next given—by some dubbed a pule, because of its serious purpose, no doubt—seems to be entitled to admission to the narrative:

The next song—called a pule by some, likely because of its serious intent—appears to deserve a place in the narrative:

Aluna au a Poha-kea,

Aluna at a Poha-kea,

Ku au, nana ia Puna:

I got it, see Puna:

Po Puna i ka ua awaawa;

Pohina Puna i ka ua noenoe;

Pohina Puna in the gentle rain;

Hele ke a i kai o ka La-hiku o a’u lehua,

O a’u lehua i aina1 ka manu;

I lahui2 ai a kapu.

I hate __A_TAG_PLACEHOLDER_0__ and a lot.

Aia la, ke huki’a3 la i kai o Nana-huki—

Hula le’a wale i kai o Nana-huki, e!

Hula is light and carefree at the shores of Nana-huki, hey!

TRANSLATION

On the heights of Poha-kea

I stand and look forth on Puna:

I stand and look out at Puna:

Puna, pelted with bitter rain,

Puna, hit by harsh rain,

Veiled with a downpour black as night!

Veiled by a downpour as dark as night!

Gone, gone are my forests, lehuas

Whose bloom once gave the birds nectar!

Whose flowers once provided nectar for the birds!

Yet they were insured with a promise!

Yet they were covered by a promise!

Look, how the fire-fiends flit to and fro!

Look at how the fire spirits move back and forth!

A merry dance for them to the sea,

A joyful dance for them to the sea,

Down to the sea at Nana-huki!

Hiiaka now pays attention to the doings of the people on the canoe in the offing. It is necessary to explain that, on landing [164]at Mokuleia, she had ordered her two companions to continue their voyage and meet her on the other side of Cape Kaena whose pointed beak lay close at hand. Lohiau, nothing loath—a pretty woman was company enough for him—turned the prow of the canoe seaward and resumed his paddle. After passing the cape, the ocean calmed, making the work of steering much less arduous. Now it was that Lohiau, feeling the warm blood of young manhood swell the cockles of his heart and finding opportunity at hand, made ardent love to his attractive voyage-companion. He pressed nose and lip against her’s and used every argument to bring her to accept his point of view.

Hiiaka now watches the people on the canoe in the distance. It's important to mention that upon landing [__A_TAG_PLACEHOLDER_0__] at Mokuleia, she had instructed her two companions to carry on with their journey and meet her on the other side of Cape Kaena, which was nearby. Lohiau, very willing—after all, a beautiful woman was enough company for him—turned the canoe's bow towards the sea and resumed paddling. Once they passed the cape, the ocean calmed down, making steering much easier. At that moment, Lohiau, feeling the warm blood of youth fill him with excitement and seizing the opportunity, passionately wooed his attractive travel companion. He pressed his nose and lips against hers and used every persuasive argument to convince her to see things his way.

Wahine-oma’o had a mind of her own and though not at all averse to love and its doings and though very much drawn to this lover in particular, she decidedly objected to compromising her relations with Hiiaka, but above all, with the dread mistress of the Volcano, with whom she must ere long make reckoning. Like Pele, Wahine-oma’o permitted the kisses of Lohiau for a time, but, knowing that passion grows by what it feeds on, she presently cut short his rations and told him to behave himself, enforcing her denial with the unanswerable argument that she was well persuaded that they would be seen by Hiiaka. It was even so. It was worse. Hiiaka did not content herself with throwing temptation before Lohiau, as one might place raw meat before a hungry dog; by some witchery of psychologic power she stirred him up to do and dare, yet at the same time she impelled Wahine-oma’o to accept, but only a certain degree, for she carefully set bounds to their conduct. And this, be it understood, is but the opening act of a campaign in which Hiiaka resolves to avenge herself on Pele.

Wahine-oma’o was independent and, although not at all against love and its affairs, and despite being very attracted to this particular lover, she strongly resisted compromising her relationship with Hiiaka and, most importantly, with the fearsome mistress of the Volcano, with whom she would soon have to deal. Like Pele, Wahine-oma’o allowed Lohiau's kisses for a while, but realizing that passion grows stronger with more attention, she quickly put an end to it and told him to behave, backing up her refusal with the solid reason that she was convinced they would be spotted by Hiiaka. And indeed, that was the case. It was even worse. Hiiaka didn’t just tempt Lohiau as one might dangle raw meat in front of a hungry dog; through some sort of psychological magic, she stirred him to act boldly while simultaneously urging Wahine-oma’o to engage, but only to a certain extent, as she carefully controlled their behavior. And this, it should be noted, is just the beginning of a campaign in which Hiiaka aims to take revenge on Pele.

When at length Hiiaka centered her attention on the actions of the people in the canoe, it needed but a glance to tell her that the contagium planted in the soil of Lohiau’s mind had worked to a charm. Her own description—though in figures that seem high-wrought and foreign to our imaginations—had better tell the tale:

When Hiiaka finally focused on what the people in the canoe were doing, it only took a quick look to see that the seed of doubt planted in Lohiau’s mind was doing its job perfectly. Her own description—although expressed in a way that may seem exaggerated and strange to us—will tell the story best:

Aluna au o Poha-kea,

Aluna has a Poha-kea,

Wehe ka ilio4 i kona kapa; [165]

Wehe ka ilio__A_TAG_PLACEHOLDER_0__ i kona kapa; [__A_TAG_PLACEHOLDER_1__]

Hanai alualu5 i ke kula o Miki-kala,6

Hanai alualu5 at the school of Miki-kala,6

I ke kula o Puha-maló6

I ke kula o Puha-maló__A_TAG_PLACEHOLDER_0__

Hakaká, kipikipi o Kai-a-ulu7 me ke kanáka;

Hakaká, call out to Kai-a-ulu7 with the people;

Ua ku’i-ku’i wale a ha’ina8 na ihu;

Ua ka i ka u me ka waimaka,

I ke kula o Lualua-lei,9 e!

I attend Lualua-lei school, __A_TAG_PLACEHOLDER_0__!

Ku’u lei aloha no olua no, e!

TRANSLATION

I stand ahigh on Poha-kea;

I stand high on Poha-kea;

The dog of storm strips off his robe;

The storm's dog sheds its coat;

A zephyr fans yon heated plain of

A gentle breeze cools that hot stretch of

Miki-kala and Puha-maló:—

Wild strife ’tween the man and the Sea breeze:

Wild conflict between the man and the sea breeze:

I see noses flattened, broken,

I see flat, broken noses,

Fountains become of water and tears!

Fountains turn into water and tears!

This my garland of love to you two!

This is my gift of love to both of you!

Hiiaka’s voice had the precious quality of carrying her words and making them audible to a great distance, when she so willed. Her song, therefore, did not, on this occasion, waste itself in the wilderness of space. The caution it imposed had its effect. Lohiau and Wahine-oma’o calmed their passionate contentions and proceeded discreetly on their way. Having passed Kalae-loa,10 their canoe swung into that inverted arc of Oahu’s coastline, in the middle of which glisten, like two parted rows of white teeth, the coral bluffs that were the only guard at the mouth of Pearl Lochs.

Hiiaka’s voice had the unique ability to carry her words clearly over a long distance, whenever she wanted. So, her song didn’t get lost in the open air this time. The caution it brought had an impact. Lohiau and Wahine-oma’o settled their heated disagreements and continued their journey with care. After passing Kalae-loa, their canoe turned into the curved coastline of Oahu, where the coral bluffs sparkled like two rows of white teeth at the entrance of Pearl Lochs.

Before descending from her vantage ground on Pohakea, Hiiaka indulged her fancy in a song that was of a different strain. Looking towards Hilo, she describes the rivers, swollen by heavy rains, rushing impetuously along in bounding torrents, [166]while men and women leap into the wild current and are lifted on its billows as by the ocean waves:

Before coming down from her high spot on Pohakea, Hiiaka let herself enjoy a different kind of song. Looking towards Hilo, she described the rivers, swollen from heavy rains, rushing quickly in powerful torrents, [__A_TAG_PLACEHOLDER_0__]while people jumped into the wild current and were carried along by its waves like they were in the ocean:

A makani Kua-mú11 lehua ko uka;

A makani Kua-mú11 lehua in the uplands;

Ke ho’o-wa’a-wa’a a’e la

E uä i Hana-kahi,12 e-e:

E uä i Hana-kahi,__A_TAG_PLACEHOLDER_0__ e-e:

Ke uä la, uä mai la Hilo

A moku kahawai, piha akú la

Na hale Lehua13 a ke kai, e-e!

Na hale Lehua13 by the sea, wow!

TRANSLATION

Translation

Kua-mú pays toll to the forests—

Kua-mú pays a toll to the forests—

Cloud-columns that veer and sway,

Clouds that shift and sway,

Freighted with rain for Hilo,

Loaded with rain for Hilo,

The Hilo of Hana-kahi.

The channels are full to the brim—

The channels are totally full—

A tide that will flood ocean’s caverns,

A tide that will fill the ocean's caves,

The home of the mermaid Lehua.

After a moment’s pause she resumed, though in quite a different strain:

After a brief pause, she continued, but with a completely different tone:

Aia no ke ’kua la i uka;

Aia no ke 'kua la i uka;

Ke hoá la i ka papa a enaena,

A pulelo14 mai ka ohi’a o ka lua;

A pulelo14 from the heart of the pit;

Maewa15 ke po’o, pu’u, newa i ka makani,

Maewa15 on the streets, lifted in the wind,

I ka hoonaue ia e ka awaawa, e-e!

TRANSLATION

The god is at work in the hills;

The god is active in the hills;

She has fired the plain oven-hot; [167]

She has heated the plain oven to a high temperature; [__A_TAG_PLACEHOLDER_0__]

The forest-fringe of the pit is aflame;—

The edge of the forest by the pit is on fire;—

Fire-tongues, fire-globes, that sway in the wind—

Fire-tongues, fire-globes, that move in the wind—

The fierce bitter breath of the Goddess!

The harsh, cold breath of the Goddess!

As the canoe drew near to the appointed rendezvous at Pu’u-loa, Hiiaka lifted her voice in a chanting song addressed to Lohiau and Wahine-oma’o:

As the canoe approached the planned meeting spot at Pu’u-loa, Hiiaka raised her voice in a chant directed at Lohiau and Wahine-oma’o:

Ku’u aikane i ke awa lau16 o Pu’uloa,

Mai ke kula o Pe’e-kaua,17 ke noho oe,

E noho kaua e kui, e lei i ka pua o ke kauno’a,18

I ka pua o ke akuli-kuli,19 o ka wili-wili;20

I ka pua o ke akuli-kuli,19 of the wili-wili;20

O ka iho’na o Kau-pe’e i Kane-hili,21

Ua hili22 au; akahi no ka hili o ka la pomaika’i;

Aohe mo-ewa’a23 o ka po, e moe la nei.

E Lohiau ipo, e Wahine-oma’o,

E Lohiau love, e Wahine-oma’o,

Hoe ’a mai ka wa’a i a’e aku au.

TRANSLATION

We meet at Ewa’s leaf-shaped lagoon, friends;

Let us sit, if you will, on this lea

Let’s sit, if you want, on this grassy meadow.

And bedeck us with wreaths of Kauno’a,

And decorate us with wreaths of Kauno’a,

Of akuli-kuli and wili-wili.

My soul went astray in this solitude;

My soul got lost in this solitude;

It lost the track for once, in spite of luck, [168]

It lost its way for once, despite having good luck, [__A_TAG_PLACEHOLDER_0__]

As I came down the road to Kau-pe’a.

As I walked down the road to Kau-pe’a.

No nightmare dream was that which tricked my soul.

No nightmare was what deceived my soul.

This way, dear friends; turn the canoe this way;

This way, friends; turn the canoe this way;

Paddle hither and let me embark.

Paddle over here and let me get on board.

Hiiaka again in command, the tiger in Lohiau’s nature slunk away into its kennel, allowing his energies to spend themselves in useful work. Under his vigorous paddle the little craft once more moved like a thing of life and long before night found itself off the harbor of Kou, the name then applied to what we now call Honolulu.

Hiiaka back in charge, the fierce side of Lohiau's character faded away, letting his energy channel into productive tasks. With his strong strokes, the small boat came alive again, and well before nightfall, it was off the harbor of Kou, the name used at the time for what we now know as Honolulu.

1 Aina, to furnish food. ↑

1 Aina, to provide food. __A_TAG_PLACEHOLDER_1__

2 Lahui, wholly, entirely. ↑

2 Lahui, fully, completely. __A_TAG_PLACEHOLDER_1__

3 Huki, to fetch a wide course; to deviate from a direct course. ↑

3 Huki, to pull in a broad direction; to stray from a straight path. ↑

4 Ilio, dog. It is explained that the meaning covered by this figure is a storm-cloud and that the stripping off of its garment, wehe … i kona kapa, meant its break up into the fleecy white clouds of fair weather. It seems that if the head of this cloud-dog pointed to the west it meant rain, if to the east, fair weather. ↑

4 Ilio, dog. It’s explained that this figure represents a storm cloud and that removing its covering, wehe … i kona kapa, signifies its transformation into the fluffy white clouds of nice weather. It appears that if the head of this cloud dog pointed west, it signified rain, and if it pointed east, it indicated fair weather. ↑

5 Hanai alualu, to fan with a gentle breeze. Alu-alu is another form for oluolu. ↑

5 Hanai alualu, to fan with a light breeze. Alu-alu is another version of oluolu. ↑

6 Miki-kala and Puha-malo, names of places along the coast of Oahu in the region under observation. ↑

6 Miki-kala and Puha-malo, names of locations along the coast of Oahu in the area being studied. ↑

7 Kai-a-ulu, a wind felt on the leeward side of Oahu. ↑

7 Kai-a-ulu, a breeze experienced on the sheltered side of Oahu. ↑

8 Ha’ina na ihu. Ha’i, to break or be broken. The Hawaiian kiss was a flattening of nose against nose. The breaking of noses, as here, therefore, means excessive kissing. ↑

8 Ha’ina na ihu. Ha’i, to break or be broken. The Hawaiian kiss involved pressing noses together. So, the breaking of noses, in this case, means a lot of kissing. ↑

9 Lualua-lei, the name of a plain in this region. ↑

9 Lualua-lei, the name of an area in this region. ↑

10 Barber’s Point. ↑

10 Barber's Point. __A_TAG_PLACEHOLDER_1__

11 Kua-mú, said to be the name of a wind, the blowing of which caused heavy rain in the woods back of Hilo. ↑

11 Kua-mú, believed to be the name of a wind that caused heavy rain in the forests behind Hilo. ↑

12 Hana-kahi, an ancient king of Hilo, frequently mentioned in poetry, whose name is used to designate the district. ↑

12 Hana-kahi, an ancient king of Hilo, often referenced in poetry, is the name given to the district. ↑

13 Hale Lehua, an evident allusion to the goddess, or mermaid, Moana-nui-ka-Lehua. She was a relative of Pele and had her habitation in the ocean caverns of Ie-ie-waena, the channel between Oahu and Kauai. Her story belongs to the time when the sun-hero Mawi was performing his wonderful exploits. (See account given on p. 104.) ↑

13 Hale Lehua clearly refers to the goddess or mermaid, Moana-nui-ka-Lehua. She was related to Pele and lived in the ocean caves of Ie-ie-waena, the channel between Oahu and Kauai. Her story is set in the era when the sun-hero Mawi was showcasing his incredible feats. (See account given on p. __A_TAG_PLACEHOLDER_0__.) ↑

14 Pulelo, a word descriptive of the tremor of the flames that wrapped the trees. ↑

14 Pulelo, a term describing the flicker of the flames that surrounded the trees. ↑

15 Maewa, to fork, or branch, said of the flames. ↑

15 Maewa, to split or branch out, referring to the flames. ↑

16 Awa lau, leaf-shaped lagoon; a highly appropriate epithet, when applied to that system of lochs, channels and estuaries that form the famous “Pearl Lochs,” as any one acquainted with the place will admit. ↑

16 Awa lau, meaning "leaf-shaped lagoon," is a fitting name for the system of lakes, channels, and estuaries that make up the well-known “Pearl Lochs,” as anyone familiar with the area would agree. ↑

17 Pe’e-kaua, the name applied to a portion of the plain west of Pu’u-loa. ↑

17 Pe’e-kaua, the name given to a part of the plain to the west of Pu’u-loa. ↑

18 Kau-no’a, a parasitic plant (Cassytha filiformis) consisting of wiry stems that cling to other plants by means of small protuberances or suckers. ↑

18 Kau-no’a is a parasitic plant (Cassytha filiformis) with thin, wiry stems that attach to other plants using small bumps or suckers. ↑

19 Akuli-kuli, a low, vine-like plant, said to have fleshy leaves and minute flowers. ↑

19 Akuli-kuli, a small, creeping plant, known for its thick leaves and tiny flowers. ↑

20 Wili-wili (Erythrina monosperma), a tree having light, corky wood, much used in making the outrigger floats for canoes. Its flowers, of a ruddy flame-color, make a splendid decoration. ↑

20 Wili-wili (Erythrina monosperma) is a tree with lightweight, cork-like wood that's commonly used for making outrigger floats for canoes. Its bright red-orange flowers make a stunning decoration. ↑

21 Kane-hili, a name applied to a part of the plain west of Pu’u-loa[Pu’uloa?]. Notice the repetition of the word hili in the next verse. Hili means astray, or distressed. ↑

21 Kane-hili refers to an area of the plain west of Pu’u-loa[Pu’uloa?]. Pay attention to the use of the word hili in the following verse. Hili means lost, or in distress. ↑

22 Hili, to go astray, to lose one’s way. Assonance by word-repetition was a favorite device of Hawaiian poetry. The Hawaiian poet did not use rhyme. ↑

22 Hili, to stray, to lose your path. Using repeated sounds in words was a popular technique in Hawaiian poetry. Hawaiian poets didn’t use rhyme. ↑

23 Mo-ewa’a, literally a canoe-dream. To dream of a canoe was an omen of ill luck. It was also unlucky to dream of having gained some valued possession and then wake to the disappointing reality. ↑

23 Mo-ewa’a, which means a canoe dream. Dreaming about a canoe was a sign of bad luck. It was also considered unlucky to dream about acquiring something valuable and then wake up to the disappointing truth. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXXI

HIIAKA VISITS PELE-ULA AT KOU—THE HULA KILU

At the entrance to this land-locked harbor of Kou a pretty sight met their eyes: a moving picture of men and women in the various attitudes of lying, kneeling or standing on boards, riding the waves that chased each other toward the sandy beach. The scene made such an appeal to Hiiaka’s imagination that she opened her heart in song:

At the entrance to this landlocked harbor of Kou, a beautiful sight greeted them: a lively scene of men and women in different positions—lying, kneeling, or standing on boards—riding the waves that crashed towards the sandy beach. The view inspired Hiiaka's imagination so much that she began to sing from her heart:

Ke iho la ka makani

The wind is blowing.

Halihali pua o Nu’uanu, e-e;

Halihali flower of Nu’uanu, e-e;

Aia i kai na lehua.

Ke naná la o Hilo;

Ke ka ia ho’i ka aukai, e-e;

Na lehua i ka wai o Hilo,

O Hilo ho’i, e-e!

Oh, come on, really!

TRANSLATION

Down rushes the wind and sweeps along

The blossoms of Nu’uanu:

The flowers of Nu’uanu:

Afloat in the sea are the flowers—

A scene that takes one to Hilo,

A scene that takes you to Hilo,

Whose tide lines them up as a lei;

Whose tide arranges them like a lei;

For bloom of lehua to drift

For the lehua flowers to drift

Far at sea is a Hilo mark.

[169]

[__A_TAG_PLACEHOLDER_0__]

When, after this battery of compliment, they came close up to the princess Pele-ula—who, as will be seen, was a power in the land—having exchanged still further compliments, Hiiaka invited her to come aboard. Pele-ula, very naturally, declined this kind offer, but with a fine show of hospitality in her turn begged that they would honor her by being her guests during their stay in the place, assuring them of hospitable entertainment and such pleasures as her court could offer. Under her piloting, accordingly, they made their way by paddle across the beautiful land-locked harbor of Kou and, entering the Nu’uanu stream—in those days much broader, sweeter and deeper than now—turned into its eastern branch and erelong found themselves at the landing from which a path led up to Pele-ula’s residence. Imagine the fairy scene, if you will;—a canoe-load of smiling nereids piloted by a mermaid princess swimming on ahead, with a merry convoy of mermaiden and mermen following in the wake.

When, after all this flattery, they got close to the princess Pele-ula—who, as you’ll see, held significant power in the land—after exchanging even more compliments, Hiiaka invited her to come aboard. Pele-ula, of course, politely declined this generous offer but, showing gracious hospitality in return, asked them to be her guests during their time there, assuring them of warm welcomes and the best entertainment her court could provide. Guided by her, they paddled across the beautiful, sheltered harbor of Kou and entered the Nu’uanu stream—which was much wider, sweeter, and deeper back then than it is now—turned into its eastern branch, and soon reached the landing where a path led up to Pele-ula’s home. Picture the enchanting scene, if you can; a canoe filled with smiling nymphs guided by a mermaid princess swimming ahead, followed by a joyful group of mermaids and mermen in their wake.

A word in regard to this little land, now lying close to the heart of Honolulu itself, which still bears the same name as its old-time mistress, Pele-ula. To the kamaaina the sturdy samang tree, whose vigorous bole parts the traffic of Vineyard Street just before its junction with the highway of Nu’uanu has long been a familiar object. This fine tree has a history of its own and can claim the respectable age of not less than forty years. The land about it has borne the classic name of Pele-ula for a period of centuries that hark back to the antiquity of Hawaiian tradition. The sightseer of to-day who views the region from the macadamized roadway, some ten feet above the level of the surrounding land, must not judge of its former attractiveness and fitness as a place of residence by its present insalubrity—now shut in by embankments, overhung by dank and shadowy trees, its once-pure stream either diverted for economic purposes or cluttered and defiled with the debris of civilization. A study of the region, on the inner—mauka—border of which lies Pele-ula, will easily convince the observer that within a short geologic period the wash of silt and mud from higher levels has filled in and converted what must have been at one time a clear salt-water basin into the swampy flats that not long ago met the eye. Now, of course, this whole alluvial basin has been still further filled in and artificially overlaid with a more-or-less solid crust of earth and rock to meet the demands of Honolulu’s ever expanding growth.

A quick note about this small piece of land, now situated right in the heart of Honolulu, which still carries the name of its historical owner, Pele-ula. For the locals, the sturdy samang tree, whose strong trunk divides the traffic on Vineyard Street just before it connects with the Nu’uanu highway, has long been a familiar sight. This impressive tree has its own story and is at least forty years old. The area surrounding it has been called Pele-ula for centuries, tracing back to the deep roots of Hawaiian tradition. Today's visitors who view the area from the paved road, about ten feet above the surrounding land, shouldn't judge its past beauty and suitability as a living space by its current unhealthy condition—now surrounded by embankments and overshadowed by damp, gloomy trees, its once-clear stream either redirected for economic reasons or cluttered with the mess of modern life. A closer look at the area, with Pele-ula located on the inner—mauka—border, will quickly show that over a relatively short geological time, the influx of silt and mud from higher ground has filled in what must have once been a clear saltwater basin, turning it into the marshy flats that were visible not long ago. Now, of course, this entire alluvial basin has been further filled in and covered with a more or less solid layer of earth and rock to accommodate Honolulu's continuous growth.

To return to our narrative: to this hamlet of Pele-ula, such as [170]it was in the days of Arcadian sweetness—if not of light—Hiiaka and her select company now enter as the honored guests of a woman distinguished alike for her beauty, her spiritual subtility and insight—she was a makaula—and for her devotion to pleasure. One of her chief diversions, naturally enough, was the hula, especially that form of the dance which was used in connection with that risqué entertainment, the kilu.1

To return to our story: in this small village of Pele-ula, just like it was back in the days of idyllic charm—if not of brightness—Hiiaka and her chosen companions now arrive as the honored guests of a woman known for her beauty, her sharp spiritual insight—she was a makaula—and her love for pleasure. One of her main pastimes, not surprisingly, was the hula, especially that style of dance associated with the more daring entertainment, the kilu..1

By evening, when the travelers had washed away the encrusting salt, warmed and dried their apparel at an outdoor fire, filled nature’s vacuum at the generous table of their hostess, while they were sitting in the short gloaming of the tropics, enjoying the delicious content that waits on rest after toil, Pele-ula interrupted the silence:

By evening, when the travelers had cleaned off the salt, warmed and dried their clothes by a fire outside, and enjoyed a hearty meal at their hostess's generous table, they sat in the brief twilight of the tropics, savoring the satisfying peace that comes after a hard day's work, when Pele-ula broke the silence:

“The people will have assembled in the hall by this time. Shall we move in that direction?” Her glance was first at Hiiaka as the leader of the party; her gaze rested on Lohiau.

“The people will have gathered in the hall by now. Should we head that way?” She looked at Hiiaka as the leader of the group; her eyes then settled on Lohiau.

“Let the resident guests be the first. When they are settled in their places it will be time enough for us to come in,” was the reply of Hiiaka.

“Let the resident guests go first. Once they're settled in their spots, it'll be our turn to come in,” Hiiaka replied.

“As you please,” nodded Pele-ula.

"Go ahead," nodded Pele-ula.

Wahine-oma’o rose to her feet as Pele-ula was departing. At this move Hiiaka said, “When you reach the hall go and take a seat by your man friend.” She meant Lohiau. Thereupon she gave vent to this enigmatical utterance:

Wahine-oma’o got up as Pele-ula was leaving. At this, Hiiaka said, “When you get to the hall, go sit next to your friend.” She was referring to Lohiau. Then she expressed this mysterious saying:

Po Puna2 i ka uwahi ku’i maka lehua3;

Po Puna2 at the dawn of the lehua blossom3;

Na wahine kihei-hei4 paü heihei5 o uka [171]

Na wahine kihei-hei__A_TAG_PLACEHOLDER_0__ paü heihei__A_TAG_PLACEHOLDER_1__ o uka [__A_TAG_PLACEHOLDER_2__]

E noho ana ka papa lohi o Mau-kele,6

Ha’a7 ho’i ka papa e; ha’a ho’i ka papa,

Ha’a7 go back to the board; ha’a go back to the board,

Ke kahuli8 nei, e-e!

Ke kahuli__A_TAG_PLACEHOLDER_0__ now, okay!

TRANSLATION

Puna’s day is turned into night;

Puna’s day turns to night;

Smoke blasts the buds of lehua;

The nymphs, in fringed woodland paü,

The nymphs, in fringed woodland attire,

Sit the glare lava-plates of Mau-kele:

Unstable, the lava-plates rock,

Unstable, the lava plates shake,

They tilt and upset.

They lean and spill.

She turns to Lohiau and says, “You had better be going to the hall. When you go in take a seat by your friend.” This advice is puzzling: the friend must have been Wahine-oma’o and it was customary for men and women to sit apart. Then she resumed her song:

She turns to Lohiau and says, “You should head to the hall. When you go in, sit by your friend.” This advice is confusing since the friend must be Wahine-oma’o, and it was normal for men and women to sit separately. Then she continues her song:

Mai Puna9 au, e-e, mai Puna:

Mai Puna9 I come, yeah, from Puna:

Ke ha’a la ka lau o ka lima,10 e-e;

O ke oho o ka niu e loha11 ana i kai, e-e!

TRANSLATION

I come from the land of Puna—

A partner I in a triple love.

A partner I in a three-way love.

Ah, look! his fingers are passion-clutched!

Ah, look! His fingers are clenched with passion!

Like fronds of the palm, they shall wilt.

Like palm fronds, they will wither.

[172]

[__A_TAG_PLACEHOLDER_0__]

As she sauntered on her way to the dance-hall she concluded her song:

As she walked to the dance hall, she finished her song:

Mai Puna au, e, mai Puna au,

Mai uka au o Wahine-kapu;12

Mai uka au o Wahine-kapu;__A_TAG_PLACEHOLDER_0__

Mai O’olu-eä,13 i ke ahi14 a Laka, la.

Mai O’olu-eä,13 in the fire14 of Laka, yes.

Mai Puna au, e-e!

My shout out, yay!

TRANSLATION

Translation

Bethink you, I come from Puna—

In the power of a triple love.

In the strength of a triple love.

Girt with the might of Wahine-kapu:

Girt with the power of Wahine-kapu:

Beware the baleful fires of Laka:

Beware the ominous fires of Laka:

Remember, I come from Puna.

Remember, I'm from Puna.

The inner meaning and intent of this highly wrought figurative and allegorical language, which Hiiaka, according to her custom, utters at detached intervals in the form of song, does not lie on the surface, and is furthermore obscured by an untranslatable punning use of the word Puna.

The deeper meaning and purpose of this elaborate figurative and symbolic language, which Hiiaka traditionally expresses in song at various moments, isn't obvious and is made even more confusing by an untranslatable pun on the word Puna.

To explain the motive of this song, Hiiaka perceives that Pele-ula and Lohiau, who had once upon a time been lovers, are mutually drawn to each other by a rekindling of the old flame. In the case of Pele-ula the motive of ambition to match her own spiritual power as a makaula—seer—with that of the young woman who comes to her as the plenipotential ambassador of Pele is even stronger than the physical passion. In the kilu now to be performed she sees her opportunity.

To explain the motive of this song, Hiiaka realizes that Pele-ula and Lohiau, who were once lovers, are both drawn to each other by a revival of their old feelings. For Pele-ula, the ambition to match her own spiritual power as a makaula—seer—with that of the young woman who arrives as the powerful representative of Pele is even stronger than physical attraction. In the kilu now about to be performed, she recognizes her chance.

She will use it for all it is worth, not only that she may taste once more the delights offered by this coxcomb, but that she may pluck from the hand of this audacious creature of Pele’s endowment a wreath for her own wearing.

She will make the most of it, not just to experience the pleasures offered by this show-off again, but to take from this bold character, blessed by Pele, a crown for herself.

As to Lohiau, that plastic thing, his character, is as clay in [173]the hands of the potter, under Pele-ula’s manipulation. He is all for pleasure. Honor, constancy, ordinary prudence, are not in his purview. Hiiaka’s immediate presence suffices to restrain and guide him; in her absence, his passion, a rudderless bark, is the sport of every wind that blows.

As for Lohiau, that flexible character of his is like clay in [__A_TAG_PLACEHOLDER_0__]the hands of the potter, shaped by Pele-ula. He's all about enjoyment. Honor, loyalty, and common sense aren’t on his radar. Hiiaka’s immediate presence is enough to keep him in check and direct him; when she’s not around, his passion is like a boat without a rudder, tossed around by every wind that comes his way.

Hiiaka, on arriving at the halau, sat by herself. Lohiau, as she observed, was sitting with Wahine-oma’o and Waikiki. Pele-ula, who was sitting alone on her side of the hall, now showed her hand by sending one of her men, named A’ala, to invite Lohiau to come over and sit with her. At this Hiiaka spoke up: “I will sit by you.”

Hiiaka, upon arriving at the halau, sat by herself. Lohiau, as she noticed, was sitting with Wahine-oma’o and Waikiki. Pele-ula, who was sitting alone on her side of the hall, now revealed her intentions by sending one of her men, named A’ala, to invite Lohiau to come over and sit with her. At this, Hiiaka spoke up: “I will sit by you.”

“So be it, then,” answered Pele-ula. At the same time she muttered to herself, “But she wasn’t invited.”

“So be it, then,” replied Pele-ula. At the same time, she whispered to herself, “But she wasn’t invited.”

A’ala, who caught the aside of his mistress, also put in, “It’s Lohiau whom she invites.”

A’ala, who overheard his mistress, added, “She’s inviting Lohiau.”

At this Hiiaka bravely laid down the rule, which was the accepted one, that the men and the women should sit on opposite sides of the halau; averring that any other disposition would be sure to breed trouble. Pele-ula could not but agree to this and accordingly, Wahine-oma’o and Waikiki, leaving their seats by Lohiau, came over and sat with Hiiaka and Pele-ula.

At this point, Hiiaka confidently established the rule that everyone accepted: men and women should sit on opposite sides of the halau, arguing that any other arrangement would definitely cause problems. Pele-ula had to agree with this, so Wahine-oma’o and Waikiki got up from their seats next to Lohiau and came over to sit with Hiiaka and Pele-ula.

When the presiding officer of the game—the la anoano15—had called the assembly to order with the well known cry “pu-heo-heo” and it came to the placing of the pahu kilu—short pyramidal blocks of wood—before each one of the players, who sat in two rows facing each other and separated by a considerable interval, Hiiaka objected to the way in which they were placed. A sharp discussion then arose between Pele-ula and Hiiaka, but the younger woman carried the day and won her point.

When the person in charge of the game—the la anoano15—called the gathering to order with the familiar shout “pu-heo-heo” and it was time to set down the pahu kilu—small pyramidal blocks of wood—before each player, who sat in two rows facing each other with a significant gap between them, Hiiaka protested about how they were arranged. A heated debate broke out between Pele-ula and Hiiaka, but the younger woman prevailed and got her way.

Lohiau had a great and well-deserved reputation as a skilful champion in the game of kilu. When, therefore, it came his turn to hurl the kilu16 and send it spinning across the mat with an aim that would make it strike the pahu, which was its target, everybody looked for great things and it was openly predicted that he would win every point.

Lohiau had a strong and well-deserved reputation as a skilled champion in the game of kilu. So, when it was his turn to throw the kilu16 and send it spinning across the mat with precision to hit the pahu, which was its target, everyone expected great things and it was widely predicted that he would score every point.

Lohiau preluded his play with a song: [174]

Lohiau started his performance with a song: [__A_TAG_PLACEHOLDER_0__]

Ke hele la ka au-hula ana17 o Ka-lalau;

Ke hele lā ka au-hula ana17 o Ka-lalau;

Ke po’i la ke kai o Milo-li’i;

Ka laau18 ku’i o Makua-iki:

Ka laau__A_TAG_PLACEHOLDER_0__ cutting of Makua-iki:

Lawe i ka haka la, lilo!

Makua, keiki i ka poli e, i ka poli.

Makua, child in the breast, in the breast.

I ka poli no ka hoa a hele;

Kalakala i ke kua ka opeope aloha.

Auwe ho’i, e-e!

Auwe, oh no!

TRANSLATION

I venture the cliffs of Ka-lalau;

I explore the cliffs of Ka-lalau;

The wild waves dash at the base—

The wild waves crash against the shore—

The breakers of Milo-li’i—

The waves of Milo-li’i—

Scaling the ladder that climbs Makua.

Scaling the ladder that leads up Makua.

The ladder, alas, the ladder is gone!

The ladder, unfortunately, the ladder is gone!

The child in my heart has grown a man.

The child in my heart has become a man.

My heart found room for this travel-mate;

My heart made space for this travel companion;

But now!—I strip from my back

But now!—I take off from my back

That emblem—that burden—of love!

That symbol—that weight—of love!

Alas for emblem and love!

Alas for symbols and love!

The “child in the heart that has grown to be a man” is Lohiau’s old love for Pele-ula, which now wakes up into new life at the sight of his old flame. The old love has, however, in a sense become a burden. It stands in the way of the new-born affection that has sprung up in his heart for Hiiaka.

The “child in the heart that has grown to be a man” refers to Lohiau’s long-held love for Pele-ula, which is now reignited at the sight of his former love. However, this old love has, in a way, become a burden. It prevents him from fully embracing the new feelings that have developed in his heart for Hiiaka.

It was after the chanting of this mele that Lohiau threw his kilu. But, to the consternation of the audience and his own bewilderment, his play was a miss. His aim had been true, his hand steady, the whirling kilu had gone straight on its way as if sure of the mark, then, to the utter amazement of all experts, like the needle of the compass influenced by some hidden magnet, it had swerved and gone wild.

It was after the singing of this chant that Lohiau threw his kilu. But, much to the shock of the audience and his own confusion, he missed. His aim was accurate, his hand steady, and the spinning kilu seemed to go directly toward its target, then, to everyone's astonishment, like a compass needle affected by an unseen force, it veered off and went off course.

Hiiaka, from the other side of the hall, now took her turn at the kilu, with a prelude of song: [175]

Hiiaka, from the other side of the hall, now took her turn at the kilu, with a prelude of song: [__A_TAG_PLACEHOLDER_0__]

A makani pua ia lalo,19

A flower falls down, __A_TAG_PLACEHOLDER_0__

Moe ko’a ka huhu, aia iloko ho’i, e-e.

Ho’i a ka lili a ka pua o ka wao,

Noho ilaila ka hihi, ka pa’a

A ka manawa20 ho’i e-e.

A time __A_TAG_PLACEHOLDER_0__ to return.

TRANSLATION

Translation

A gust of wind from the west

Lays bare the jagged reef:

Reveals the jagged reef:

Pride makes its lair in the wilds,

Pride makes its home in the wilderness,

Mid tangle of vine and tree:

So anger abides in the brain.

So anger resides in the brain.

In this song Hiiaka exposes the unworthy plot that was simmering in Lohiau’s mind, whom she typifies by a gust of wind blowing from the west, the general direction of Kauai.

In this song, Hiiaka reveals the unworthy plan that was brewing in Lohiau's mind, which she represents as a gust of wind blowing from the west, the general direction of Kauai.

At the first throw the kilu hit the wooden block and then, as if not content with its accomplishment, after caroming off, returned like a bee to its blossom, and this action it repeated until it had scored not one but three points. There was the thrill of triumph in Hiiaka’s tone as she sang again:

At the first throw, the kilu hit the wooden block and then, as if it wasn’t satisfied with that, it bounced back like a bee to its flower, and it kept doing this until it scored not just one but three points. There was a sense of victory in Hi'iaka’s voice as she sang again:

O ku’u manawa na’e ka i hei i ka moe;

Ooë na’e ka’u e lawe la; lilo,

Lilo oe la e, auwe!

You are so cute, wow!

TRANSLATION

Aha, my will has snared the bird,

Aha, my determination has caught the bird,

And you are my captive, yes you:

And you are my captive, yes, you:

Your purpose is foiled, ah, foiled!

Your goal is blocked, oh, blocked!

With another prelude of song, Lohiau offered himself for another trial, kilu in hand:

With another intro of song, Lohiau prepared himself for another challenge, kilu in hand:

A makani pahele—hala kou Maile-húna;

A travel buddy—hala kou Maile-húna;

Ke wáhi mai la Malama-iki;

Nohá Wai-lua,21 pau ka pua.

Nohá Wai-lua, __A_TAG_PLACEHOLDER_0__ the flower is done.

Pau no me ke kino o Kalehua-wehe,22 e-e.

Pau no me ke kino o Kalehua-wehe,22 let’s go.

[176]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Translation

The volant breath of the maile

The flying breath of the maile

Has the strength of the fruiter’s crook;

Has the strength of the fruit seller’s hook;

It opens a trail in the jungle.

It creates a path in the jungle.

Wai-lua breaks bar; the small fry are out,

Wai-lua breaks the bar; the little ones are out,

The complots, too, of Lehua-wehe.

The plots, too, of Lehua-wehe.

This attempt was a failure like those that had gone before. Lohiau, thereupon, sought relief for his artistic disappointment in song:

This attempt was a failure like those before it. Lohiau then turned to music to cope with his artistic disappointment:

Wehe’a iho nei loko o ka moe;

Malamalama no me he ahi lele la,

No lalo, e; auwé ho’i au, e!

TRANSLATION

Failed, failed in my choicest ambition!—

Failed, failed in my greatest ambition!—

Heralded, like a shooting star!—

Celebrated, like a shooting star!—

Fallen, fallen, alas and alas!

Fallen, fallen, oh no!

The game has by this time resolved itself into a contest of wits as well as of skill, and the two chief antagonists are—strange to relate—Lohiau, the man who was called back from the grave and the woman to whom he owes his life, Hiiaka.

The game has now turned into a battle of brains as well as skill, and the two main opponents are—strangely enough—Lohiau, the man who was brought back from the dead, and the woman he owes his life to, Hiiaka.

As a prelude to her next play Hiiaka gave this song:

As an introduction to her next play, Hiiaka performed this song:

I uka kaua i Moe-awakea,23

I woke up at dawn, __A_TAG_PLACEHOLDER_0__

I ka nahele o Ka-li’u, la.

Auwé ho’i, e-e!

TRANSLATION

Translation

You shall bed with me in open day

You will sleep with me in broad daylight.

In the twilight groves of Ka-li’u—

In the evening woods of Ka-li’u—

Woe is me! I’ve uttered it now!

Woe is me! I've said it now!

THE GOD AT WORK IN THE HILLS.

FROM THE PAINTING BY A. W. EMERSON

Hiiaka’s play this time as before was a marvellous show of [177]skill. The kilu seemed possessed with an instinct of attraction for the block that stood as her target. Like a bee that has found a rich honey-flower it returned again and yet again, as if to drain the last particle of sweetness.

Hiiaka’s performance this time, like before, was an amazing display of [__A_TAG_PLACEHOLDER_0__]skill. The kilu seemed driven by an instinctive pull towards the block that was its target. Like a bee that has discovered a blooming flower full of nectar, it returned repeatedly, as if to gather every last drop of sweetness.

Before venturing on his last play, Lohiau discarded the kilu he had been using and chose another, thinking thus to change his luck. He also changed the style of his song, adopting the more sensuous form called ami honua,24 or ku’u pau:

Before heading into his final performance, Lohiau got rid of the kilu he had been using and picked a different one, believing it would change his luck. He also altered the style of his song, choosing the more sensual form called ami honua,24 or ku’u pau:

Ke lei mai la Ka-ula i ke kai, e;

Ka malamalama o Niihau i ka malie.

A malama ke kaao o kou aloha—

Kou aloha ho’i, e-e!

Kou aloha, right on!

In the first line of this little song, Lohiau, skilfully playing on the name Pele-ula, which he turns into Ka-ula, under the figure of the ocean tossing about that little island, banters the woman for her display of passion. In the second line, using a similar word-play, by which he turns his own name into Niihau, he contrasts the calm of the latter island with the agitation of the former.

In the opening line of this short song, Lohiau cleverly plays with the name Pele-ula, transforming it into Ka-ula, while describing the ocean tossing around that little island, teasing the woman for her display of emotions. In the second line, through a similar wordplay where he changes his own name to Niihau Island, he contrasts the calm of this island with the turmoil of the first.

TRANSLATION

Ka-ula’s enwreathed by the ocean;

Ka-ula is surrounded by the ocean;

Niihau looms clear in the calm:

Niihau stands out clearly in the stillness:

And clear is the tide of your love,

And clear is the flow of your love,

The marvelous tide of your love!

The amazing flow of your love!

Pele-ula, in her surprise at the untimeliness of Lohiau’s performance, as well as in her deep concern at his continued failure, expostulated with him: “You have but one more play; why then do you anticipate by indulging in the ami? Perhaps if you were to address your song to my father, Ka-manu-wai, who is a skilled performer—who knows but what you might hit the target for once?”

Pele-ula, surprised by the timing of Lohiau's performance and worried about his ongoing failures, said to him, “You have only one more chance; why are you wasting time with the ami? Maybe if you sang to my father, Ka-manu-wai, who is a talented performer—who knows, you might actually succeed this time?”

“Is it likely,” Lohiau replied, “is it likely that I shall hit this [178]time, having missed so many shots before?” Thereupon the man completed his song:

“Do you think,” Lohiau responded, “do you think I’ll succeed this [__A_TAG_PLACEHOLDER_0__] time, after missing so many shots before?” After that, the man finished his song:

O Puna, nahele ulu hala o Kalukalu,25

O Puna, the lush forest of Kalukalu,25

Wawalu ili a mohole26 na’ena’e.

Wawalu is a mohole__A_TAG_PLACEHOLDER_0__ now.

Pehi ala laua’e25 o Na-pali,27

Pehi ala laua’e__A_TAG_PLACEHOLDER_0__ of Na-pali,__A_TAG_PLACEHOLDER_1__

Ho’olu’e iho la i ke kai;

Kina’i aku la ka eha, e.

TRANSLATION

Translation

In Puna’s famed thickets of hala

In Puna’s well-known hala groves

One’s body is torn—a network of marks.

One's body is scarred—a web of marks.

Climbing the walls of Na-pali, the scent

Of lau-a’e pelts the sense; then fall

The petals sweet, to drown their pain

The sweet petals hide their pain.

In the ocean that rages below.

In the ocean that roils beneath.

The kilu spins on its way—it must hit—no, fate is too strong for it and turns it from the mark. Lohiau’s song is an admission of painful discomfiture:

The kilu spins on its way—it has to hit—but no, fate is too powerful and redirects it from the target. Lohiau’s song reveals a painful discomfort:

O ka eha a ke aloha ke lalawe nei,

Eia la iloko, i ku’u manawa.

Here in my time.

Ka eha e! auwe ho’i e!

TRANSLATION

The smart of love o’erwhelms me;

The pain of love overwhelms me;

It rages in heart and mind—

It boils in the heart and mind—

This hurt, ah, this hurt!

This hurts, ah, this hurts!

That Lohiau of all men standing on Hawaiian soil should fail utterly in a game of kilu was incredible—the man whose art availed to hit a grass-top teetering in the breeze, to crush the [179]nimble ant speeding on his way, to swat the buzzing fly flitting through the air! The audience was dumbfounded. In the failure to find excuse sufficient for the occasion, it took refuge in silence.

That Lohiau, the only man standing on Hawaiian soil, could completely fail at a game of kilu was unbelievable—he was the one whose skill could hit a grass blade swaying in the breeze, crush the [__A_TAG_PLACEHOLDER_0__]quick ant hurrying by, and swat the buzzing fly darting around! The audience was stunned. Unable to find a good reason for what happened, they fell silent.

It only remains for Hiiaka to pluck the fruit which her skill has put within reach of her hand. Her complete victory has become a foregone conclusion. Of that there can be no question. It is, however, a question of great interest to the spectator how she will use her victory, in what terms she will celebrate her triumph over the woman and the recreant man who have combined their wits against hers. The answer to this question is to be found in the song with which she preludes her last play:

It only remains for Hiiaka to pick the fruit that her skill has brought within her reach. Her total victory is no longer in doubt. There’s no question about that. However, it raises an interesting question for the audience about how she will use her victory and how she will celebrate her triumph over the woman and the disloyal man who have teamed up against her. The answer to this question lies in the song with which she introduces her final performance:

Mehameha, kanaka-ole, ka ho’i

Mehameha, kanaka-ole, the return

O Pu’u o Moe-awa,28 e-e!

O Pu’u o Moe-awa,__A_TAG_PLACEHOLDER_0__ let's go!

Ko ke auhe’e i ka aina kanaka-ole!

TRANSLATION

Aye, lonely, man-empty, indeed;

Yeah, lonely, empty of people, indeed;

Cold the couch and bitter the dreams

Cold is the couch and bitter are the dreams.

From which has been exiled the man!

From which the man has been exiled!

This ironical thrust is pointed at Pele-ula, who is to see her fond hopes of a renewed liaison with her old paramour blasted by this plucking of the fruit under her very eyes.

This ironic twist is directed at Pele-ula, who will watch her hopes for rekindling a relationship with her old lover get crushed by this act of taking the fruit right in front of her.

And yet again, when Hiiaka has made the final shot that fulfills the promise of victory to her, still relentlessly wielding the sharp blade of irony, she gives it an extra twist in the wound that must have made Pele-ula wince:

And yet again, when Hiiaka makes the final shot that delivers on the promise of victory to her, still relentlessly using the sharp blade of irony, she gives it an extra twist in the wound that must have made Pele-ula wince:

A kulou anei, e uwé ana—

E uwé no anei, he keiki makua-ole?

Aohe makua; uwé ho’i e!

No parents; just cry out!

TRANSLATION

Translation

Will the orphan now hang his head

Will the orphan hang his head now?

And weep like a motherless child?

And cry like a child without a mother?

His mother is dead; let him weep!

His mother is dead; let him cry!

[180]

[__A_TAG_PLACEHOLDER_0__]

This two-edged blade cuts both lovers at one stroke—the youth in its ironical allusion to tears, the woman in the sly suggestion of motherhood, she being in fact old enough to hold that relation to the young man.

This double-edged sword affects both lovers at once—the young man through its ironic reference to tears, and the woman through the subtle hint of motherhood, as she is actually old enough to have that kind of connection with the young man.

The forfeit paid by Lohiau after his defeat was a dance, which he did with inimitable grace and aplomb to the accompaniment of a spirited song, his costume being the customary paü of the hula:

The penalty Lohiau had to pay after his loss was a dance, which he performed with unmatched grace and confidence to the lively tune of a song, his outfit being the traditional paü of the hula:

Ku’u hoa i ka ili hau o Maná,

I kula’i ’na e ka wai o Hina;

Hina ke oho o ka hala,

Ka oka’i pua o ka hinalo i ka wai, e.

Eia oe; he waiwai nui kau,

Eia oe; you have great wealth,

Ka ke aloha, ina i ona

Ka mana’o mai e: eia oe e.

TRANSLATION

Yoke-fellow in toil at Maná,

Work buddy at Maná,

I’m swept off my feet in this flood:

I’m completely overwhelmed in this flood:

The leaves of the twisted hala,

The sheath of its perfumy bloom—

The casing of its fragrant flower—

All torn by the rage of the stream:

All ripped apart by the fury of the river:

You alone remain to me now—

You’re the only one left for me now—

Your love, if that is yet mine,

Your love, if it’s still mine,

If your heart remains with me still.

If your heart is still with me.

Warming to his work, Lohiau continued:

Warming up to his task, Lohiau went on:

Ku’u hoa i ke kawelu oho o Malai-lua,

Ku’u friend in the waves of Malai-lua,

I ho’o-holu ia, ho’opi’o ia e ka makani,

I relax here, embraced by the breeze,

Naue ke oho o ka hala,

Maewa i ke kai o Po’o-ku e, eia oe;

Maewa at the sea of Po’o-ku, here you are;

He ku oe na’u, e ke aloha:

Ina oe mawaho e, eia oe.

TRANSLATION

Mate mine through grassy meads, awave,

Mate mine through grassy meadows, waving,

Wind-swept and tossed by breeze or storm, [181]

Wind-swept and tossed by breeze or storm, [__A_TAG_PLACEHOLDER_0__]

Or when the leaves of screwy palm

Or when the leaves of twisted palm

Are smitten with brine from the sea,

Are in love with the sea's saltwater,

Thou idol enshrined in my heart,

You, idol held dear in my heart,

Though apart, thou art empress within.

Though we’re apart, you reign as queen within.

Still protesting his love for Hiiaka and deploring his separation from her, Lohiau continues:

Still expressing his love for Hiiaka and lamenting his separation from her, Lohiau continues:

A ka lihi au i ka hala o Hanalei;29

Lei au i ka hala30 o Po’oku e, eia oe.

He ku oe na’u, e ke aloha;

Ina oe maloko e, eia oe.

TRANSLATION

I neighbor the land of the wreath,

I live next to the land of the wreath,

My luck, to pine for a palm-crown.

My luck, to long for a palm crown.

Oh, wouldst thou but twine the wreath, love,

Oh, if you would just weave the wreath, love,

Admit to the shrine of thy heart.

Admit to the shrine of your heart.

Lohiau, warming to his work, strutted and capered about like a capercailzie cock before his mistresses, lashing his passion—after the manner of a flagellant—with words of wild hyperbole; but ever approaching nearer and nearer to where sat the two women about whom revolved his thoughts. As to which one of them it was that he singled out as the center of his orbit for the time, that is to be deduced from a study of his song:

Lohiau, getting into it, danced and pranced around like a capercailzie cock in front of his mistresses, pouring out his feelings—like a flagellant—with words full of wild exaggeration; but he kept getting closer and closer to the two women who were on his mind. As for which one he focused on as the center of his attention at the moment, that can be figured out from analyzing his song:

Aloha wale ka nikiniki,

Aloha to the celebration,

Ke kanaenae pua o Maile-huna;

E a’e ia ana ia Kapa’a,

I ke kahuli a ke kalukalu:

Honi u i ke ala o ka hinalo, e:

Pe wale ia uä—uä, e!

Stay true to yourself—yes!

E lei au—

Lei ho’i au i ke kanáka, i ka mea aloha,

I ka mea i ho’opulapula hou

O ka moe, e: eia au.

[182]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

How precious the fillet that binds

How precious the thread that connects

Love’s token of bloom with maile;

Love’s symbol of blooming with flowers;

Climbing the wilds above Ka-pa’a,

Climbing the wilderness above Ka-pa’a,

To watch the surge of waving grass,

To watch the flow of waving grass,

Make deep inspire of hala bloom

Make deep inspiration of hala bloom

Beat down by pelting rain,—pour on!

Beat down by the pouring rain—keep it coming!

I’d wreath my life with human love,

I’d surround my life with human love,

Plant once again the tender flower

Plant once more the gentle flower

That blooms in the kingdom of dreams.

That flourishes in the realm of dreams.

That is my dream, and here am I.

That’s my dream, and here I am.

The audience, moved by Lohiau’s ardor, went into riotous applause. Hiiaka could not but admire the pathetic artistry of Lohiau, yet she remained the mistress of her emotions. Pele-ula, in contrast, became visibly more excited at Lohiau’s close approach. Turning to the younger woman, she said, “do you respond to this man’s appeals?”

The audience, touched by Lohiau’s passion, erupted into loud applause. Hiiaka couldn’t help but admire Lohiau’s emotional performance, but she kept control of her feelings. Pele-ula, on the other hand, became noticeably more excited as Lohiau came closer. She turned to the younger woman and asked, “Do you feel anything for this man's pleas?”

“What is it you mean?” quietly asked Hiiaka.

“What do you mean?” Hiiaka asked quietly.

“Can it be that you are not stirred by his protestations? Put your hand on my bosom,” said Pele-ula, “and feel the throbbing of my heart.”

“Can it be that you are not moved by his declarations? Put your hand on my chest,” said Pele-ula, “and feel the beating of my heart.”

Hiiaka convinced herself of the truth of the assertion and, in turn, said, “Do you also lay your hand here and judge of my temper.”

Hiiaka convinced herself that the statement was true and then said, “Do you also put your hand here and judge my temper?”

“You are as cool as a ti leaf,” exclaimed Pele-ula, “while I am as hot as a bundle of luau.”

“You're as cool as a ti leaf,” exclaimed Pele-ula, “while I'm as hot as a bundle of luau.”

This interchange of attentions between the two women did not escape Lohiau. It inflamed him to another passage of song:

This exchange of attention between the two women didn't go unnoticed by Lohiau. It sparked another round of song in him:

Moe e no Wai-alua ke Koolau,

Ka hikina mai a Ka-lawa-kua;

Lele aoa i ka Mikioi;

Lele aoa to the Mikioi;

Uwé aloha i ka Pu’u-kolu.

Aloha from Pu’u-kolu.

Aloha Wai-olohia ke Kohóla-lele, e

Aloha Wai-olohia the Whale Jump, e

He lele pa-iki kau, kau ka manao—

Ka ke aloha kamali’i—

To the beloved children—

He lalau, e; eia oe!

He lalau, e; here you are!

[183]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Two rivers that chafe their banks—

Two rivers that rub against their banks—

A mad rush to enter the sea—

A frenzied dash to get into the ocean—

By the tempest whipped into foam;

By the storm whipped into foam;

They roar and bark like hounds:

They howl and bark like dogs:

Two souls that pine with love,—

Two hearts that long for love,—

A yearning for passion’s plunge—

A desire for passionate adventure—

Their touch child’s play, as they kiss:—

Their touch is playful, as they kiss:—

Ah, mine the master’s lunge!

Ah, watch out for the master's lunge!

From his very nature Lohiau was not qualified to reckon with the supernatural side of Hiiaka. His appeals had been on the plain of human passion—such appeals as would have subdued and won the heart of an ordinary woman. Still acting under these limitations, Lohiau aimed and shot the arrow that emptied his quiver of song:

From his very nature, Lohiau wasn’t equipped to deal with the supernatural aspect of Hiiaka. His attempts were based on human emotions—appeals that could have easily captured the heart of an ordinary woman. Still confined by these limitations, Lohiau aimed and fired the arrow that emptied his quiver of songs:

O Haupu, mauna kilohana,

O Haupu, scenic mountain,

I ko’e ia e Hula-ia a oki:

Oki laula ka uka o Puna,

Lulumi i ka pua hau o Malu-aka.

Lulumi is the flower of Malu-aka.

Ho’i kao’o i ka wai olohia;

Kinakina’i e eha ka pua o ka hala, la.

Hala ke aloha, hoomanao iaia i akea,

Hala ke aloha, remember him well,

I ka’awale ho’i kau oni’na—

Oni’na mau ho’i, e: eia oe.

TRANSLATION

Thou mount of enchantment. Haupu,

You mountain of enchantment. Haupu,

By the dancers greatly beset.—

By the dancers heavily surrounded.—

The whole face of Puna o’errun,

The entire surface of Puna was overrun,

Where clusters the bloom of the hau—

Where the bloom of the hau gathers—

I, back-lame and sore in defeat,

I, aching and tired from my defeat,

Shall master the smart of my wrong.

Shall master the intelligence of my mistake.

The love-bird has flown into space.

The lovebird has flown into space.

Away from this wriggle and squirm.

Away from this wriggling and squirming.

You may twist, you may turn, you are here!

You can twist, you can turn, you’re here!

Lohiau had broken with Pele-ula; his last hope and appeal was [184]to Hiiaka. He stood before her waiting her fateful decision. Will she consent to turn the canoe-prow and fly back to Kaua’i with him? He had won the woman’s heart in her, but not the deity that controlled her nature. The chain that bound her to the Woman of the Pit was too strong to be broken by any mere human appeal. Lohiau had failed in his play with the kilu; he now saw that he had also failed in his attempt to play with this human heart. The game was up; he sat down.

Lohiau had broken up with Pele-ula; his last hope and plea was [__A_TAG_PLACEHOLDER_0__]to Hiiaka. He stood before her, waiting for her fateful decision. Would she agree to turn the canoe and sail back to Kaua’i with him? He had captured the woman’s heart, but not the goddess who influenced her nature. The connection that tied her to the Woman of the Pit was too strong to be undone by any simple human plea. Lohiau had failed in his game with the kilu; he now realized he had also failed in his effort to win this human heart. The game was over; he sat down.

When Lohiau had retired in defeat, it became the turn of Wahine-oma’o to entertain the company—Wahine-oma’o, faithful, rustic soul, that she was, whose only acquaintance with this fine art was what she had picked up from seeing the performances of her mistress and master. Her wits did not desert her and were equal to the occasion: best of all, she had the wit to recognize her own limitations. Instead of pitching her song to some far-fetched hyperbole, she travestied the whole performance in a wholesome bit of nonsense that drifts down to us across the centuries as a most delicious take-off:

When Lohiau had stepped back in defeat, it was Wahine-oma’o's turn to entertain the group—Wahine-oma’o, a loyal, down-to-earth person, who only knew about this fine art from watching her mistress and master perform. She kept her wits about her and rose to the occasion: most importantly, she was smart enough to understand her own limits. Instead of elevating her song with unrealistic exaggerations, she turned the whole performance into a delightful piece of nonsense that has come down to us over the centuries as a wonderfully amusing parody:

O ku, o ka o Wahine-oma’o.

Wahine ia Lohiau-ipo!

Wahine for Lohiau-ipo!

TRANSLATION

The flim and the flam

The hustle and the bustle

Of the Woman-in-green,

Of the woman in green,

Handmaid to the man

Servant to the man

Who loveth the Queen.

Who loves the Queen.

If Wahine-oma’o had, of set purpose, planned an ironical take off of the hula kilu, or rather of Lohiau’s manner of acting, she could hardly have bettered her performance. Her dancing was a grotesque ambling and mincing from one side of the theater to the other. The unaffected good humor of the girl robbed the arrow of her wit of all venom while detracting not one whit from its effectiveness.

If Wahine-oma’o had intentionally planned a humorous twist on the hula kilu, or more specifically on Lohiau’s way of performing, she couldn't have done a better job. Her dance was a silly, exaggerated walk from one side of the theater to the other. The girl's genuine good humor took the edge off her cleverness without diminishing its impact at all.

Towards morning the audience made clamorous demands that Hiiaka, the woman whom their suffrage had declared to be the most beautiful that had ever stood before them, should present herself before them once again. Hiiaka willingly responded to this encore: [185]

Towards morning, the audience loudly insisted that Hiiaka, the woman they had proclaimed to be the most beautiful they had ever seen, should come back and present herself again. Hiiaka happily agreed to this encore: [__A_TAG_PLACEHOLDER_0__]

Ku’u kane i ka makani hau alia

O Maka-huna i Hua-wá, e:

O Maka-huna at Hua-wá, e:

Wa iho la; ke wa wale mai la no

Kaua hilahila moe awa-kea

Kaua don't be shy, sleep over.

Iluna o ka laau.

Moon of the tree.

Ho’olaau mai ana ke ki’i,

Kaunu mai ana ia’u ka moe—

E moe ho’i, e!

Take a nap, okay!

TRANSLATION

Hot breath from the sea-sand waste—

Love hid from day in a thicket of hau—

Love hid from the daylight in a thicket of hau—

For shame, my man, such clamor and haste!

For shame, my friend, such noise and urgency!

The eye of day is open just now.

The sun is out right now.

Make love, aperch, a bird in a tree!

Make love, a perch, a bird in a tree!

You clamor for bed in the open:

You shout for a place to sleep outside:

To bed with yourself!—to bed!

Go to bed with yourself!

1 Wa’a-hila is said to have been the name of a favorite hula of Pele-ula; so called after a princess who, with her brother Ka-manu-wai, excelled in the performance of this dance. Her name has been perpetuated in an old saying that has come down to us: Ka ua Wa’a-hila o Nu’uanu. This is a gentle rain that extends only as far down Nu’uanu valley as to Wyllie or Judd street. ↑

1 Wa’a-hila is said to be the name of a favorite hula dance of Pele-ula, named after a princess who, along with her brother Ka-manu-wai, was exceptional at this dance. Her name has been preserved in an old saying that has been passed down to us: Ka ua Wa’a-hila o Nu’uanu. This refers to a gentle rain that only reaches as far down Nu’uanu valley as Wyllie or Judd street. ↑

2 Po Puna. Puna, as the home-center of volcanic action, knew what it was to be darkened by a volcanic eruption. Puna here stands for Hiiaka and her companion whose home it was. The night that overshadows Puna represents allegorically the intriguing designs of Pele-ula. ↑

2 Po Puna. Puna, known for its volcanic activity, understood what it was like to be engulfed by a volcanic eruption. Here, Puna symbolizes Hiiaka and her companion who called it home. The darkness that envelops Puna serves as a metaphor for the mysterious plans of Pele-ula. ↑

3 Maka lehua. The lehua buds stand for the harmony, kindly affection and love that up to this time had existed between Lohiau and the two women escorting him. Pele-ula is the smoke that blights the lehua buds. ↑

3 Maka lehua. The lehua buds symbolize the harmony, warmth, and love that has existed until now between Lohiau and the two women accompanying him. Pele-ula represents the smoke that harms the lehua buds. ↑

4 Kihei-hei, frequentative form of kihei, to wear. ↑

4 Kihei-hei, the repeated form of kihei, meaning to wear. ↑

5 Paü heihei. The pau heihei was a fringe of vegetable ribbons strung together and worn about the loins, thus serving as the conventional shield of modesty among the people of the olden time. The modifying expression, o uka, implies that the use of this particular form of pau was rather a sign of rusticity. ↑

5 Paü heihei. The pau heihei was a strip of vegetable ribbons tied together and worn around the waist, serving as a traditional modesty cover among people of the past. The phrase o uka suggests that wearing this specific type of pau was somewhat of a sign of being rustic. ↑

6 Papa lohi o Mau-kele, glistening lava plates of Mau-kele. Mau-kele was a land in Puna. The implication is that these women, Pele-ula, Waikiki and the rest of them are plotting to steal away the affections of Lohiau. ↑

6 Papa lohi o Mau-kele, shimmering lava fields of Mau-kele. Mau-kele was located in Puna. The implication is that these women, Pele-ula, Waikiki, and the others are scheming to win the love of Lohiau. ↑

7 Ha’a ho’i ka papa, the lava plates rock: that is the plot is a shaky fabrication and will.… ↑

7 Ha’a ho’i ka papa, the lava plates rock: that means the foundation is unstable and will.… ↑

8 Kahuli, topple over. ↑

8 Kahuli, fall over. __A_TAG_PLACEHOLDER_1__

9 Puna. There is a punning double entendre involved in the use of this word here. A puna-lua was one who shared with another the sexual favors of a third party. The implication is that Hiiaka and Wahine-oma’o stood thus towards Lohiau. See also note (a). ↑

9 Puna. There’s a clever play on words with this term. A puna-lua referred to someone who shared with another the romantic favors of a third person. This suggests that Hiiaka and Wahine-oma’o had this kind of relationship with Lohiau. See also note (a). ↑

10 Lau o ka lima, leaves of the hand. The spasmodic working (ha’a) of the fingers was deemed to be a sign of lustful passion. It is here attributed to Lohiau. ↑

10 Lau o ka lima, leaves of the hand. The sudden movements (ha’a) of the fingers were seen as a sign of strong desire. This is linked to Lohiau. ↑

11 Loha, to droop, to be fooled; here to be understood in the latter sense of Pele-ula. ↑

11 Loha, to sag, to be deceived; here meant in the sense of Pele-ula. ↑

12 Wahine-kapu, one of the female deities of the Pele family who had her seat on an eminence at the brink of the caldera of Kilauea which was reverenced as a tabu place. ↑

12 Wahine-kapu, one of the female deities of the Pele family, had her place on a high spot at the edge of the Kilauea caldera, which was regarded as a sacred site. ↑

13 Mai O’olu-eä. O’olu-ea, as a place-name calls for a preposition in mai. O’olu-ea, however, contains within it a verb, olu, to be easy, comfortable, and as a verb olu decides the mai to be an adverb of prohibition. In this meaning the caution is addressed to Lohiau. ↑

13 From O’olu-eä. O’olu-ea, as a place name, requires a preposition with mai. However, O’olu-ea includes a verb, olu, which means to be easy or comfortable, and as a verb olu decides, it turns mai into a prohibition adverb. In this sense, the caution is directed towards Lohiau. ↑

14 Ahi-a-Laka, a land in Puna. The double sense, in which it is here used, gives it a reference to the fires of passion. ↑

14 Ahi-a-Laka, a place in Puna. The double meaning used here refers to the fires of passion. ↑

15 La anoano, literally, quiet day. ↑

15 La anoano, which means quiet day. ↑

16 The kilu, which gave name to the sport, was an egg-shaped dish made by cutting a coconut or small gourd from end to end and somewhat obliquely so that one end was a little higher than the other. ↑

16 The kilu, which gave the sport its name, was an egg-shaped bowl created by slicing a coconut or small gourd from one end to the other at a slight angle, making one end a bit higher than the other. ↑

17 Au-hula-ana. When the road along a steep coast is cut off by a precipice with the ocean tossing at its base, the traveler will often prefer to swim rather than make a wide inland detour. Such a place or such an adventure is called an au-hula or au-hula-ana. ↑

17 Au-hula-ana. When a road along a steep coast is blocked by a cliff with the ocean crashing below, travelers often choose to swim instead of taking a long detour inland. This kind of place or adventure is known as an au-hula or au-hula-ana. ↑

18 Laau ku’i, literally, spliced sticks; a ladder, or some contrivance of the sort to aid the traveler in climbing a pali. ↑

18 Laau ku’i, which means spliced sticks; a ladder, or a similar tool to help travelers climb a cliff. ↑

19 Lalo, below, to leeward; therefore to the west, meaning Lohiau, who came from the leeward island of Kauai. ↑

19 Lalo, below, to the west; hence referring to Lohiau, who came from the western island of Kauai. ↑

20 Manawa, the fontanelles; the heart and affections. ↑

20 Manawa, the soft spots on a baby's head; the heart and feelings. ↑

21 Wai-lua, a river on Kauai. ↑

21 Wai-lua, a river in Kauai. __A_TAG_PLACEHOLDER_1__

22 Lehua-wehe, a land in Honolulu; here meaning Pele-ula herself. ↑

22 Lehua-wehe, a place in Honolulu; in this context referring to Pele-ula herself. ↑

23 Moe-awakea, a hill in Puna; here used for its etymological signification—literally, to sleep at noontime—which is brought out in the translation. ↑

23 Moe-awakea, a hill in Puna; this is included for its meaning—literally, to sleep at noon—which is reflected in the translation. ↑

24 The ami was a vigorous action of the body, often employed by dancers. Its chief feature was a rotation of the pelvis in circles of elipses. Though sometimes used with amorous intent, it was not necessarily an attempt to portray sexual attitudes. The ami honua, or ami ku’u pau, was an exaggerated action of the same description. ↑

24 The ami was a dynamic movement of the body, commonly used by dancers. Its main characteristic was the circular or elliptical rotation of the pelvis. While it could sometimes be performed with romantic intent, it wasn't specifically aimed at conveying sexual attitudes. The ami honua, or ami ku’u pau, was an amplified version of this movement. ↑

25 Kalukalu, a place in Puna which supported extensive forests of hala (pandanus), a tree whose sword-shaped leaves were edged with fierce thorns. In contrast with the smart they produced the poet adduces the delights of the wilds in his own island of Kauai, instancing the laua’e, a fragrant vine that abounds in its mountains. ↑

25 Kalukalu, a place in Puna known for its vast forests of hala (pandanus), a tree with sword-like leaves lined with sharp thorns. In contrast to their cleverness, the poet highlights the joys of the wilds on his own island of Kauai, mentioning the laua’e, a fragrant vine that thrives in its mountains. ↑

26 Mohole, an unusual form for pohole, to be lacerated, but not quite so strong. ↑

26 Mohole, a distinct variation of pohole, meant to be cut, but not as tough. ↑

27 Na-pali (the cliffs), a name given to the precipitous side of Kauai, where is the wild valley of Ka-lalau. ↑

27 Na-pali (the cliffs), a name for the steep side of Kauai, where the rugged valley of Ka-lalau is located. ↑

28 Pu’u o Moe-awa. The full form is Moe-awakea (noonday sleep), the name of a hill in Puna. By omitting kea, the word awakea (noon) comes to mean bitter, thus imparting to the meaning a cutting irony. Cf. note (a), page 176. ↑

28 Pu’u o Moe-awa. The full name is Moe-awakea (noonday sleep), which refers to a hill in Puna. By dropping kea, the word awakea (noon) takes on the meaning of bitter, adding a layer of harsh irony. Cf. note (a), page 176. ↑

29 Hana-lei, literally, to make a wreath; a valley on Kauai. ↑

29 Hana-lei, which means to create a wreath; a valley on Kauai. ↑

30 Hala. It was ill luck to wear a wreath of the hala drupe. ↑

30 Hala. It brought bad luck to wear a wreath made of hala fruit. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXXII

HIIAKA EXTRICATES HER CHARGE FROM THE DANGEROUS FASCINATIONS OF THE KILU1

Hiiaka, having—by her marvellous skill—extricated her charge from the toils of the enchantress, turned a deaf ear to Pele-ula’s urgent persuasions to abide yet longer and taste more deeply the sweets of her hospitality. Her determination arrived at, she wasted no time in leave-taking but made all haste to put a safe distance between the poor moth and the flame that was the focus of his enchantment. Their route lay eastward across [186]the dusty, wind-swept, plain of Kula-o-kahu’a—destined in the coming years to be the field of many a daring feat of arms;—then through the wild region of Ka-imu-ki, thickset with bowlders—a region at one time chosen by the dwarf Menehune as a sort of stronghold where they could safely plant their famous ti ovens and be unmolested by the nocturnal depredations of the swinish Kama-pua’a. Hiiaka saw nothing or took no notice of these little rock-dwellers. Her gaze was fixed upon the ocean beyond, whose waves and tides they must stem before they reached and passed Moloka’i and Maui, shadowy forms that loomed in the horizon between her and her goal.

Hiiaka, using her amazing skills, managed to free her companion from the enchantress’s grasp. She ignored Pele-ula’s persistent requests to stay longer and enjoy her hospitality. Once she made up her mind, she quickly said her goodbyes and hurried to put distance between the poor moth and the flame of his enchantment. They traveled east across the dusty, wind-blown plain of Kula-o-kahu’a, which would become the site of many daring battles in the years to come. Then they moved through the wild area of Ka-imu-ki, filled with boulders—a place once chosen by the dwarf Menehune as a sort of fort where they could safely set up their famous ti ovens without being disturbed by the nighttime antics of the swinish Kama-pua’a. Hiiaka didn't pay attention to these little rock-dwellers. Her eyes were fixed on the ocean ahead, with its waves and tides they needed to navigate before they could reach and pass Moloka’i and Maui, shadowy shapes on the horizon between her and her destination.

Hiiaka, standing on the flank of Leahi and exercising a power of vision more wonderful than that granted by the telescope, had sight of a wild commotion on her beloved Hawaii. In the cloud-films that embroidered the horizon she saw fresh proof of her sister’s unmindfulness of the most solemn pledges. It was not her fashion to smother her emotions with silence:

Hiiaka, standing on the side of Leahi and using a power of vision even more amazing than a telescope, saw a wild commotion on her beloved Hawaii. In the cloud patterns that decorated the horizon, she saw more evidence of her sister’s disregard for the most serious promises. It wasn’t her style to hide her feelings in silence:

Ke ahi maka-pa2 i ka la, e;

O-wela kai ho’i o Puna;

Malamalama kai o Kuki’i la.

Malamalama kai of Kuki’i la.

Ku ki’i a ka po i Ha’eha’e,

Ka ulu ohi’a i Nana-wale.

A nana aku nei, he mea aha ia?

A nana aku nei, what does that mean?

A nana aku nei, he mea lilo ia.

TRANSLATION

Translation

The fire-split rocks bombard the sun;

The fire-split rocks hit the sun;

The fires roll on to the Puna sea;

The fires continue to spread toward the Puna sea;

There’s brightness like day at Kuki’i;

There’s brightness like daytime at Kuki’i;

Ghosts of night at the eastern gate,

And gaunt the forms that jag the sky—

And the thin shapes that pierce the sky—

The skeleton woods that loom on high.

The towering skeleton trees in the woods.

The meaning of this wild vision?

The meaning of this crazy vision?

The meaning is desolation.

The meaning is emptiness.

At Kuliouou, which they reached after passing through Wai-alae, Wai-lupe and Niu, they came upon some women who were [187]catching small fish and crabs in the pools and shallow water along the shore and, to satisfy their hunger or, perhaps, to test their disposition, Hiiaka begged the women to grant her a portion of their catch to satisfy their need. The answer was a surly refusal, coupled with the remark that Hiiaka would better do her own fishing. As the sister and representative of the proud god Pele, Hiiaka could not permit the insult to go unpunished. Her reply was the utterance of this fateful incantation:

At Kuliouou, where they arrived after passing through Wai-alae, Wai-lupe, and Niu, they encountered some women who were [__A_TAG_PLACEHOLDER_0__]catching small fish and crabs in the pools and shallow water along the shore. To satisfy their hunger or maybe to test their luck, Hiiaka asked the women for a share of their catch. The response was a grumpy refusal, along with a comment that Hiiaka should do her own fishing. As the sister and representative of the proud goddess Pele, Hiiaka could not let the insult go unpunished. Her reply was the recitation of this fateful incantation:

He makani holo uhá3

He made a strong wind __A_TAG_PLACEHOLDER_0__

Ko Ka-ele-kei a Pau-kua.4

Ko Ka-ele-kei a Pau-kua.__A_TAG_PLACEHOLDER_0__

Pau wale ke aho i ka noi ana,

O ka loa ho’i, e!

Oh, really long, huh!

TRANSLATION

Here’s a blast shall posset the blood,

Here’s a shock that will chill the blood,

As the chant of kahuna the back.

As the chant of the kahuna echoed in the background.

Our patience exhausts with delay;

Our patience runs out with delay;

We’re famished from the length of the way.

We’re starving from how long the journey has been.

The magic words operated quickly. As Hiiaka turned to depart, the unfortunate fishing women fainted and died.

The magic words worked fast. As Hiiaka turned to leave, the unfortunate fishing women collapsed and died.

After this outburst of retribution, Hiiaka turned aside to address in words of consolation and compliment two forlorn mythical creatures whom she recognized as kindred. They were creations of Pele, Ihihi-lau-akea, manifest to us to-day as a lifeless cinder-cone, and Nono-ula, as a clear spring of water welling out of the mountain. It was a nice point in Hiiaka’s character that she was always ready, with punctilious etiquette, to show courtesy to whom courtesy was due.

After this outburst of revenge, Hiiaka turned to comfort and compliment two sad mythical creatures she recognized as family. They were creations of Pele, Ihihi-lau-akea, which today appears as a lifeless cinder cone, and Nono-ula, a clear spring of water flowing from the mountain. It was a nice aspect of Hiiaka’s character that she was always ready, with proper manners, to show kindness to those who deserved it.

Fortunately for Hiiaka, her lofty perch afforded a wide-embracing view that included the shadowy forms of Maui and the lesser islands that nested with it. Not the smallest pirogue could steal away from the strip of rocky beach at her feet without her observation. At this moment she caught sight of two sailor-men in the act of launching a trim canoe into the troubled waters [188]of the Hanauma cove, and she made haste, accordingly, to come to them, on the chance of securing a passage, if so be that they were voyaging in the desired direction. Their destination proving to be Moloka’i, Hiiaka begged the men to receive herself and party as passengers. Nothing loath, they gave their consent.

Fortunately for Hiiaka, her high lookout provided a wide view that included the shadowy outlines of Maui and the smaller islands around it. No tiny canoe could slip away from the rocky beach below her without her noticing. At that moment, she spotted two sailors launching a sleek canoe into the choppy waters of Hanauma cove, so she quickly went over to them, hoping to catch a ride if they were heading in the right direction. When she learned they were going to Moloka’i, Hiiaka asked the men if she and her group could join them as passengers. Happy to oblige, they agreed.

“But,” said one of them, “your party by itself is quite large enough to fill the canoe.”

“But,” said one of them, “your group alone is big enough to fill the canoe.”

His companion, with better show of cheer in his speech, spoke up and said, “It’s but common luck to be swamped in this rough channel. To avoid it needs only skill. Even if the craft swamps, these people need not drown; we can swim for it, and we shall all fare alike. We’ll take you with us. Come aboard.” Aboard they went.

His friend, sounding a bit more cheerful, said, “It’s just bad luck to get stuck in this rough waters. It just takes skill to avoid it. Even if the boat capsizes, these people don’t have to drown; we can swim to safety, and we’ll all make it out fine. We’ll take you with us. Come on board.” They all climbed aboard.

The voyage to Moloka’i proved uneventful. They landed at Iloli, a barren place that offered no provision to stay their hunger. When Hiiaka, therefore, learned that these same canoe-men were bound for the neighboring island of Maui, she wisely concluded to continue the voyage with them.

The trip to Moloka’i was pretty uneventful. They arrived at Iloli, a desolate place with no food to satisfy their hunger. So, when Hiiaka found out that these same canoe-men were heading to the nearby island of Maui, she smartly decided to continue the journey with them.

On landing in Kohala, Hiiaka took the road that led up through the thickly wooded wilderness of Mahiki, the region that had been the scene, now some months gone, of the most strenuous chapter in her warfare to rid Hawaii of the mo’o—that pestilent brood of winged and crawling monsters great and small that once infested her wilds and that have continued almost to the present day to infest the imagination of the Hawaiian people. On coming to the eminence called Pu’u O’ioina,—a name signifying a resting place—being now in the heart of the damp forest of Moe-awa, they found the trail so deep with mire that the two women drew up their paü and tucked them about their waists. At sight of this action, Lohiau indulged himself in some frivolous jesting remarks which called out a sharp rebuke from Hiiaka.

Upon landing in Kohala, Hiiaka took the road that went up through the dense woods of Mahiki, the area where, a few months earlier, she had been engaged in the toughest part of her battle to free Hawaii from the mo’o—those annoying creatures, both winged and crawling, large and small, that had once plagued her lands and continue to haunt the imaginations of the Hawaiian people to this day. When they reached the summit called Pu’u O’ioina—meaning a resting place—and were now in the heart of the moist Moe-awa forest, they found the trail so muddy that the two women lifted their paü and secured them around their waists. Seeing this, Lohiau couldn't help but make some lighthearted jokes, which earned him a sharp reprimand from Hiiaka.

As they cleared the deep woods, there burst upon them a view of the Hamakua coast-wall here and there dotted with clumps of puhala and fern, at intervals hung with the white ribbons of waterfalls hastening to join the great ocean. As Hiiaka gazed upon the scene, she uttered her thoughts in song:

As they emerged from the thick woods, they were greeted by a stunning view of the Hamakua coast, scattered with clusters of puhala and ferns, and at intervals adorned with white ribbons of waterfalls rushing to meet the vast ocean. As Hiiaka looked at the scene, she expressed her thoughts in song:

(In literature, as in other matters, the missing sheep always makes a strong appeal to the imagination. Urged by this motive, I have searched high and low for this mele, the utterance of Hiiaka under unique conditions; but all my efforts have been unavailing.)

(In literature, like in other areas, the lost sheep always captures the imagination. Driven by this thought, I've looked everywhere for this mele, the words of Hiiaka under special circumstances; but all my efforts have been in vain.)

When they had passed through the lands of Kukia-lau-ania [189]and Maka-hana-loa and were overlooking the town of Hilo, Hiiaka was better able to judge of the havoc which the fires of Pele had wrought in her Puna domains. The land was desolated, but, worst of all, the life of her dearest friend Hopoe had been sacrificed on the altar of jealousy. In her indignation, Hiiaka swore vengeance on her sister Pele. “I have scrupulously observed the compact solemnly entered into between us, and this is the way she repays me for all my labor! Our agreement is off: I am free to treat him—as my lover, if I so please. But it shall not be here and now. I will wait till the right occasion offers, till her own eyes shall witness her discomfiture.”

When they had traveled through the lands of Kukia-lau-ania [__A_TAG_PLACEHOLDER_0__] and Maka-hana-loa and were looking out over the town of Hilo, Hiiaka could better see the destruction that Pele's fires had caused in her Puna territory. The land was devastated, but, even worse, her closest friend Hopoe had lost her life due to jealousy. In her anger, Hiiaka vowed to take revenge on her sister Pele. “I have carefully followed the agreement we made, and this is how she repays me for all my efforts! Our deal is off: I am free to treat him as my lover if I want. But I won't do it now. I'll wait for the right moment, until she herself sees her defeat."

After this outburst, her thoughts fashioned themselves in song:

After this outburst, her thoughts turned into a song:

Aia la, lele-iwi5 o Maka-hana-loa!6

Aia la, lele-iwi__A_TAG_PLACEHOLDER_0__ of Maka-hana-loa!__A_TAG_PLACEHOLDER_1__

Oni ana ka lae Ohi’a,7

Oni ana ka lae Ohi’a,__A_TAG_PLACEHOLDER_0__

Ka lae apane,8 mauka o ka lae Manienie,9

I uka o Ke-ahi-a-Laka:10

I uka o Ke-ahi-a-Laka:__A_TAG_PLACEHOLDER_0__

Oni ana ka lae, a me he kanaka la

Ka leo o ka pohaku i Kilauea.

Ha’i Kilauea, pau kekahi aoao o ka mahu nui,

Ha’i Kilauea, the other side of the big heat is done,

Mahu-nui-akea.

Mahu Nui Akea.

E li’u mai ana ke ahi a ka pohaku.

No Puna au, no ka hikina a ka la i Ha’eha’e.11

[190]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

See the cape that’s a funeral pyre;

See the cape that's a funeral pyre;

The tongue of ohi’a’s grief-smitten.

The tongue of ohi’a’s grief-stricken.

Beyond, at peace, lies Manië;

Beyond, at peace, is Manië;

Above rage the fires of Laka.

Above, the fires of Laka blaze.

The cape is passion-moved; how human

The cape is full of passion; how human.

The groan of rocks in the fire-pit!

The sound of rocks in the fire pit!

That cauldron of vapor and smoke—

That mix of steam and smoke—

One side-wall has broken away—

One side wall is damaged—

That covers the earth and the sky:

Out pours a deluge of rock a-flame.

Out comes a torrent of flaming rock.

My home-land is Puna, sworn guard

My homeland is Puna, faithful protector

At the eastern gate of the Sun.

At the east gate of the Sun.

Hiiaka now entered the woodlands of Pana-ewa, a region greatly celebrated in song, which must have brought home to her mind vivid memories of that first sharp encounter with her dragon foe. From there on the way led through Ola’a; and when they reached Ka-ho’o-kú Hiiaka bade the women, Wahine-oma’o and Paü-o-pala’e, go on ahead.

Hiiaka now entered the woods of Pana-ewa, a place famous in songs, which must have reminded her of that intense first battle with her dragon enemy. After that, the route took them through Ola’a; and when they arrived at Ka-ho’o-kú, Hiiaka told the women, Wahine-oma’o and Paü-o-pala’e, to go ahead.

(A mystery hangs about this woman Paü-o-pala’e which I have not been able to clear up. She withdrew from the expedition, for reasons of her own, before Hiiaka took canoe for Maui; yet here we find her, without explanation, resuming her old place as attendant on the young woman who had been committed to her charge. The effort, which has been made, to associate her in some mystical fashion with the paü, short skirt, worn by Hiiaka, only deepens the mystery, so far as my understanding of the affair is concerned.)

(A mystery lingers around this woman Paü-o-pala’e that I haven’t been able to figure out. She pulled back from the expedition for her own reasons before Hiiaka took the canoe to Maui; yet here she is, inexplicably back in her usual role as the attendant to the young woman she was supposed to look after. The attempt to connect her in some mystical way to the paü, the short skirt worn by Hiiaka, only adds to the confusion, at least in my understanding of the situation.)

Obedient to the instructions of their mistress, the faithful women, Wahine-oma’o and Pau-o-pala’e, presented themselves before Pele at the crater of Kilauea. “Where is my sister? where is Hiiaka?” demanded the jealous goddess. No explanation would suffice. Pele persisted in regarding them as deserters and, at her command, they were put to death. [191]

Obeying their mistress's orders, the loyal women, Wahine-oma’o and Pau-o-pala’e, approached Pele at the Kilauea crater. “Where’s my sister? Where’s Hiiaka?” the jealous goddess demanded. No explanation would be enough. Pele continued to see them as traitors, and at her command, they were executed. [__A_TAG_PLACEHOLDER_0__]

1 According to one version of this story, Hiiaka made free use of her powers of enchantment in withdrawing from the presence of Pele-ula. At the proper psychological moment, with the wreath of victory crowning her brow, while Pele-ula was vainly intent on an effort to turn the tide of her own defeat and gain the shadow of a recognition as mistress of the game of Kilu, Hiiaka, with a significant gesture to her companions, spat upon the ground and, her example having been imitated by Wahine-oma’o and Lohiau, their physical bodies were at once transported to a distance while their places continued to be occupied by unsubstantial forms that had all the semblance of reality. ↑

1 In one version of the story, Hiiaka freely used her enchanting powers to distance herself from Pele-ula. At the right moment, with a victory wreath on her head, while Pele-ula was desperately trying to reverse her own defeat and gain some recognition as the master of the game of Kilu, Hiiaka made a notable gesture to her friends, spat on the ground, and following her lead, Wahine-oma’o and Lohiau did the same. Instantly, their physical bodies were transported far away, while their places were taken by shadowy figures that looked just like them. ↑

2 Maka-pa, an expression used of stones that burst when placed in the fire. ↑

2 Maka-pa, a term for stones that crack when thrown into the fire. ↑

3 Makani holo ulá. The allusion is to a cold wind that chills the naked legs of the fisher-folk. ↑

3 Makani holo ulá. This refers to a cold wind that makes the bare legs of the fisher-folk feel cold. ↑

4 Pau-kua, a place-name, meaning consumed in the back—a clear reference to the fact that the kahuna’s black art very frequently made its fatal ravages by attacking first the back. ↑

4 Pau-kua, a place name, means "consumed in the back"—which clearly points to the fact that the kahuna’s black magic often caused deadly effects by first targeting the back. ↑

5 Lele-iwi, the name of a cape that marked the coast of Puna. The word also has a meaning of its own, to express which seems to be the purpose of its use here. It connotes a grave-yard, a scaffold, one, perhaps, on which the body (literally the bones) of a human sacrifice are left exposed. ↑

5 Lele-iwi, the name of a cape along the Puna coast. The word also has its own meaning, which seems to be what it's conveying here. It suggests a graveyard, a scaffold—perhaps one where the remains (literally the bones) of a human sacrifice are left out in the open. ↑

6 Maka-hana-loa, the name of another cape, also on the Hilo-Puna coast. ↑

6 Maka-hana-loa, another cape located on the Hilo-Puna coast. ↑

7 Lae Ohi’a, literally, ohi’a cape, meaning a forest growth that stretched out like a tongue. ↑

7 Lae Ohi’a, which translates to ohi’a cape, refers to a forest that extends outward like a tongue. ↑

8 Apane, a species of lehua that has red flowers, much fed upon by the birds. (In the original newspaper-text the word was pane, evidently a mistake. There are, regretably, many such mistakes in the original text.) ↑

8 Apane is a type of lehua with red flowers that birds love to eat. (In the original newspaper text, the word was pane, which was obviously a mistake. Unfortunately, there are quite a few errors like this in the original text.Please provide the text you would like me to modernize. ↑

9 Manienie, smooth, meadow-like, a name given in modern times to the Bermuda grass—“fine grass”—said to have been imported by Vancouver, now extensively seen in Hawaiian lawns. ↑

9 Manienie, smooth and grassy, is a name used today for Bermuda grass—“fine grass”—which is said to have been brought over by Vancouver, and is now commonly found in Hawaii’s lawns. ↑

10 Ke-ahi-a-Laka, literally, the fire of Laka, the name of a land. ↑

10 Ke-ahi-a-Laka, which means the fire of Laka, is the name of a place. ↑

11 Ha’eha’e, the eastern Sun-gate, applicable to Puna as the easternmost district of Hawaii and of the whole group. In claiming Puna as hers—i.e., as her home-land—Hiiaka seems to have set up a claim to be the guardian of the Sun’s rising, and therefore, by implication of Pele. ↑

11 Ha’eha’e, the eastern Sun-gate, refers to Puna as the easternmost district of Hawaii and the entire island chain. By claiming Puna as her homeland, Hiiaka appears to assert her role as the protector of the sunrise, and consequently, by extension, of Pele. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXXIII

HIIAKA ALONE WITH LOHIAU

It has come at last, the situation to which the logic of events has for many days pointed the finger of a relentless fate. For the first time Hiiaka finds herself alone with Lohiau. The history of her life during the past two months seems but a prologue to the drama, the opening scene of which is about to be enacted in the dressing room, as we must call it. For Hiiaka, having gathered a lapful of that passion-bloom, the scarlet lehua, and having plaited three wreaths, with a smile on her face, hangs two of the wreaths about the neck of Lohiau, using the third for her own adornment.

It has finally arrived, the moment that the events of the last few days have pointed to with an unyielding fate. For the first time, Hiiaka is alone with Lohiau. Everything that has happened in her life over the past two months feels like just an introduction to the drama that is about to unfold in what we can call the dressing room. Hiiaka, having collected a bunch of vibrant scarlet lehua flowers and woven three wreaths with a smile on her face, places two of the wreaths around Lohiau's neck and uses the third to decorate herself.

They are sitting on the sacred terrace of Ka-hoa-lii, at the very brink of the caldera, in full view of the whole court, including the sisters of Hiiaka who gather with Pele in the Pit. “Draw nearer,” she says to Lohiau, “that I may tie the knot and make the fillet fast about your neck.” And while her fingers work with pliant art, her lips quiver with emotion in song:

They are sitting on the sacred terrace of Ka-hoa-lii, at the very edge of the caldera, in full view of the entire court, including Hiiaka's sisters who are gathering with Pele in the Pit. “Come closer,” she says to Lohiau, “so I can tie the knot and fasten the ribbon around your neck.” And while her fingers skillfully work, her lips tremble with emotion in song:

O Hiiaka ka wahine,

Oh, Hiiaka the woman,

Ke apo la i ka pua;

Ke kui la, ke uö la i ka manai.

Ehá ka lei, ka apana lehua lei

A ka wahine la, ku’u wahine,

Ku’u wahine o ka ehu makani o lalo.

Lulumi aku la ka i kai o Hilo-one:

No Hilo ke aloha—aloha wale ka lei, e!

No Hilo ke aloha—aloha only the lei, e!

TRANSLATION

’Twas maid Hiiaka plucked the bloom;

’Twas maid Hiiaka who picked the flower;

This wreath her very hands did weave;

This wreath was woven by her own hands;

Her needle ’twas that pierced each flower;

Her needle was what pierced each flower;

Her’s the fillet that bound them in one.

Here's the fillet that bound them together.

Four strands of lehua make the lei—

The wreath bound on by this maid—

The wreath tied together by this maid—

Maid who once basked in the calm down there:

Maid who once enjoyed the peace down there:

Her heart harks back to Hilo-one;

Her heart goes back to Hilo-one;

Wreath and heart are for Hilo-one.

The wreath is placed, the song is sung, yet Hiiaka’s arm still clasps Lohiau’s neck. Her lithesome form inclines to him. With [192]a sudden motion, Hiiaka throws her arms about Lohiau and draws him to herself. Face to face, lip touches lip, nose presses nose.

The wreath is set, the song is sung, yet Hiiaka’s arm still wraps around Lohiau’s neck. Her slender body leans toward him. With a sudden movement, Hiiaka pulls Lohiau close to her. Face to face, their lips touch, and their noses press together.

The women of Pele’s court, chokefull of curiosity and spilling over with suspicion, watchful as a cat of every move, on the instant raise their voices in one Mother-Grundy chorus: “Oh, look! Hiiaka kisses Lohiau! She kisses your lover, Lohiau!”

The women at Pele’s court, full of curiosity and overflowing with suspicion, are as watchful as a cat with every move. In an instant, they raise their voices in unison: “Oh, look! Hiiaka kisses Lohiau! She’s kissing your lover, Lohiau!”

The excitement rises to fever heat. Pele is the coolest of the lot. At the first outcry—“they kiss”—Pele remarks with seeming indifference, “The nose was made for kissing.”1 (The Hawaiian kiss was a flattening of nose against nose). But when Hiiaka and Lohiau sink to the earth wrapped in each other’s arms, and the women of Pele’s court raise the cry, “For shame! they kiss; they embrace!” At this announcement, the face of Pele hardens and her voice rings out with the command: “Ply him with fire.”

The excitement is intense. Pele is the calmest of them all. At the first shout—“they kiss”—Pele comments nonchalantly, “The nose was made for kissing.” 1 (The Hawaiian kiss involved pressing noses together). But when Hiiaka and Lohiau collapse to the ground in each other’s arms, and the women in Pele’s court cry out, “For shame! they kiss; they embrace!” Pele’s expression toughens, and she commands, “Attack him with fire.”

From Pele’s viewpoint, the man, her lover, Lohiau was the sinner. The role played by the woman, her sister, Hiiaka—the one who had, in fact, deliberately planned this offensive exhibition of insubordination and rebellion—was either not recognized by Pele or passed by as a matter of temporary indifference. Hiiaka’s justification in motives of revenge found no place in her reasoning.

From Pele’s perspective, the man, her lover, Lohiau, was the one at fault. The role of the woman, her sister, Hiiaka—who had intentionally orchestrated this defiant act of disobedience—was either overlooked by Pele or dismissed as a momentary lack of concern. Hiiaka’s justification based on revenge didn’t factor into her reasoning.

When the servants of Pele—among them the sisters of Hiiaka—found themselves under the cruel necessity of executing the edict, they put on their robes of fire and went forth, but reluctantly. In their hearts they rebelled, and, one and all, they agreed that, if, at close view, they found him to be the supremely handsome mortal that fame had reported him to be, they would use every effort to spare him. On coming to the place, their admiration passed all bounds. They could not believe their eyes. They had never seen a manly form of such beauty and grace. With one voice they exclaimed:

When Pele’s servants—especially Hiiaka’s sisters—were forced to follow the harsh order, they reluctantly donned their fiery robes and set out. Deep down, they resisted, and they all agreed that if they found him to be as incredibly handsome as the rumors claimed, they would do everything they could to save him. When they arrived, their admiration knew no limits. They couldn’t believe what they saw. They had never encountered a man with such beauty and grace. In unison, they exclaimed:

Mahina ke alo,

Moonlight,

Pali ke kua.

Ke ku a ke kanáka maikai,

E ku nei i ke ahu’ a Ka-hoa-lii.

TRANSLATION

Front, bright as the moon.

Front, bright like the moon.

Back, straight as a mountain wall:

Back, straight like a mountain wall:

So stands the handsome man,

So stands the good-looking man,

This man on thy terrace, Hoa-lii.

This guy on your terrace, Hoa-lii.

[193]

[__A_TAG_PLACEHOLDER_0__]

Pele’s fire-brigade went through the form of obeying their orders. They dared not do otherwise. Acting, however, on their preconcerted plan, they contented themselves with casting a few cinders on the reclining form of Lohiau and, then, shamefaced, they ran away—an action that had the appearance of reproof rather than of punishment.

Pele’s fire crew followed their orders without question. They didn’t dare do anything else. However, sticking to their secret plan, they only threw a few cinders on Lohiau’s lying form, and then, feeling embarrassed, they ran off—making it seem more like a reprimand than a punishment.

The effect on the mind of Hiiaka, whose insight into the character of Pele was deeper than that of Lohiau, was far different from that of mere admonition or reproof. She recognized in the falling cinders a threat of the direst import and at once braced herself to the task of averting the coming storm and of disarming the thundercloud that was threatening her lover. “Have you not some prayer to offer?” she said to Lohiau.

The impact on Hiiaka's mind, whose understanding of Pele was much deeper than Lohiau's, was completely different from just a simple warning or reprimand. She saw the falling cinders as a serious threat and immediately prepared herself to prevent the impending storm and calm the thundercloud that was endangering her lover. “Don’t you have a prayer to say?” she asked Lohiau.

“Yes,” he answered, and at her request he uttered the following:

"Yeah," he replied, and at her request, he said the following:

Ua wela Pu’u-lena i ke ahi;

Ua wela ka mauna ou, e Kahuna.

Uwé au, puni ’a i ke awa;

Kilohi aku au o ka mauna o ka Lua,

E haoa mai ana ke a;

Ka laau e ho’o-laau—

The tree to heal—

Ho’o-laau mai ana ke ki’i,

The photo is being taken,

Ke moe, i o’u nei.

Sleep, I’m right here.

Ia loaa ka hala, ka lili, kaua, paio;

Paio olua, e.

Paio duo, e.

TRANSLATION

Pu’u-lena breathes a furnace blast;

Pu’u-lena exhales a furnace blast;

Your mount, Kahuna, is a-blaze;

Your mount, Kahuna, is on fire;

I choke in its sulphurous reek.

I choke on its sulfurous smell.

I see the mountain belching flame—

I see the mountain spewing fire—

A fiery tree to heaven upspringing;

A fiery tree reaching up to the sky;

Its deadly shade invades my stony couch.

Its deadly shadow creeps onto my stony couch.

Is there fault, blame, strife, or reproach;

Is there fault, blame, conflict, or criticism?

Let the strife be between you two.

Let the conflict be between you two.

To this proposal of her chivalric companion, who would throw upon the woman the whole burden of fault, punishment, and strife, Hiiaka made answer in this address to Pele: [194]

To this proposal from her chivalrous companion, who would place the entire burden of blame, punishment, and conflict on the woman, Hiiaka responded with this message to Pele: [__A_TAG_PLACEHOLDER_0__]

Puka mai ka Wahine mai loko mai o ka Lua,

Mai loko mai o Muliwai o ka Lena,2

Mai ka moku3 po’o a Kane.

Mai ka moku__A_TAG_PLACEHOLDER_0__ leads to Kane.

E noho ana o Kane-lau-apua4 i ke one lau a Kane;

Ninau mai uka, “Nowai he wa’a?”5 [195]

Ninau mai uka, “Who has the canoe?”5 [__A_TAG_PLACEHOLDER_0__]

No ka hoa-paio o Ai-moku6 wahine:

No ka hoa-paio o Ai-moku__A_TAG_PLACEHOLDER_0__ women:

Ninau a’e i kona mau kaikaina;

Nana at his sister's;

A lele e na hoali’i—

Ka owaka o ka lani,

The sky's opening,

Ka uwila nui, maka ehá i ka lani.

Lele mai a huli, popo’i i ka honua;

O ke kai uli, o ke kai kea;

O ke ala-kai a Pele i hele ai.

E hele ana e kini7 maka o ka La o Hu’e-ehu’e,

E nana ana ia luna o Hualalai;

Aloha mai ka makani o Kaú.

Aloha from the wind of Kaú.

Heaha la ka paú8 o ka wahine?

He palai, he lau-i, ka paú hoohepa o ka wahine, e Kini, e.

Ha’aha’a iluna ke kihi9 o ka Mahina;

Pau wale ke aho i ke Akua lehe-oi;10

Maka’u wale au i ke Akua lehe-ama.11

Eli-eli kapu, eli-eli noa!

Ua noa ka aina i ka puké12 iki, i ka puké nui, [196]

Ua noa ka aina i ka puké12 iki, i ka puké nui, [__A_TAG_PLACEHOLDER_0__]

I ka hakina ai, i ka hakina i’a,—

I kou hakina ai ia Kuli-pe’e i ka Lua, la.

Eli-eli, kau mai!

Eli-eli, come here!

Ma ka holo uka, ma ka holo kai.

Eli-eli kapu, eli-eli noa!

Ua noa ka aina a ke Akua!

TRANSLATION

The Woman comes forth from the Pit,

The Woman emerges from the Pit,

Forth from the river with yellow tide,

From the fissured head of Kane,

From the cracked head of Kane,

Kane-apua, the cheater of death,

Kane-apua, the death cheater,

Presides o’er his much-thronged sandy plain:

Presides over his crowded sandy plain:

The mountains re-echo the question,

The mountains echo the question,

“Gainst whom do they launch the canoe?”

“Against whom do they launch the canoe?”

Against her foes, the land-grabber’s.

Against her enemies, the land-grabber’s.

To her sisters she puts a question,

To her sisters, she asks a question,

Up spring the high-born, the princes—

What splendor flashes in heaven!

What a stunning sight in heaven!

The fourth eye of heaven, its flaming bolt.

The fourth eye of the sky, its blazing flash.

With swell of wave and break of surf a-land

With the rise of the waves and the crash of the surf on the shore

Was her flight o’er the blue sea, the gray sea—

Was her flight over the blue sea, the gray sea—

The voyage Pele made from Kahiki.

The journey Pele took from Kahiki.

From his western gate fly the Sun-darts,

From his western gate fly the Sun darts,

Their points trained up at Hualalai—

The wind from Kaú breathes a blessing.

The wind from Kaú brings a blessing.

Pray tell me, what skirts wear the women?

Pray tell me, what skirts are the women wearing?

Their skirts are fern and leaf of the ti

Their skirts are made of ferns and leaves from the ti plant.

Bound bias about the hips, O Kini;

One horn of the sickle moon hangs low;

One horn of the crescent moon hangs low;

My patience faints at her knife-like lips

My patience fades at her sharp lips.

And I fear the Goddess’s yawning mouth.

And I fear the Goddess’s wide-open mouth.

Deep, deep is the tabu, deep be the peace!

Deep, deep is the taboo, deep be the peace!

The land is fed by each hill, small or big,

The land gets nourished by every hill, whether small or large,

By each scrap of bread13 and of meat—

By every piece of bread13 and meat—

Food that is ravaged by Kuli-pe’e.

Food that is destroyed by Kuli-pe’e.

Plant deep the foundations of peace, [197]

Plant deep the foundations of peace, [__A_TAG_PLACEHOLDER_0__]

A peace that runs through upland and lowland.

A peace that flows through both the hills and the valleys.

Deep, deep the tabu, deep be the peace!

Deep, deep the taboo, deep be the peace!

Peace fall on the land of the Goddess!

Peace reign over the land of the Goddess!

1 “I hana ia ka ihu i mea honi.” ↑

1 "It was done to make the nose kiss." ↑

2 Muliwai o Lena. There is a stream of this name in Waianae, it is said. Lena is also said to be the name of a place in Kahiki. The word lena, yellow, strongly suggests the thought of sulphur. ↑

2 Muliwai o Lena. There’s a stream by that name in Waianae, so they say. Lena is also believed to be the name of a place in Kahiki. The word lena, meaning yellow, strongly evokes the idea of sulfur. ↑

3 Moku po’o a Kane, literally, the fissured head of Kane. The first land formed by Kane. ↑

3 Moku po’o a Kane, which means the broken head of Kane. It’s the first land created by Kane. ↑

4 Kane-lau-apua, the same as Kane-apua. One of the numerous avatars or characters of Kane. He appeared in Kahiki—Kukulu o Kahiki—and gained a reputation as a benevolent deity, whose benign function—shared by Kane-milo-hai—was to pluck from the jaws of death those who lay at the last gasp (mauli-awa), or whose vital spark was at the last flicker (pua-aneane). He healed the palsied, the helpless and hopeless, those who were beyond the reach of human aid. On one occasion he restored himself to perfect health and soundness by the exercise of his own will; hence his name, Kane-apua. On another occasion he illustrated his power by restoring to life some okuhekuhe which the fisherman had already scaled and laid upon the fire. The motive for this act seems to have been that this fish was a form in which he sometimes appeared. The story of his adventure with Kane-lelei-aka is worthy of mention. At one time while standing on a headland that reached out into the ocean like the prow of a ship, his eye caught a gleam from something moving swiftly through the water. He saw it repeatedly passing and repassing and wondered what it was. It was the shadowy form of Kane-lelei-aka, but he knew it not. He scanned the surrounding mountains and cliffs, if perchance he might get sight of the body, bird, or spirit that produced this reflection. He discovered nothing. In pursuit of his quest, he started to go to Kukulu-o-Kahiki. On the way he met his relative Kane-milo-hai, out in mid ocean.

4 Kane-lau-apua, the same as Kane-apua. One of the many avatars or characters of Kane. He appeared in Kahiki—Kukulu o Kahiki—and became known as a kind deity, whose gentle role—shared with Kane-milo-hai—was to rescue those on the brink of death (mauli-awa), or whose life was barely hanging on (pua-aneane). He healed the paralyzed, the powerless and the hopeless, those who were beyond human help. Once, he restored himself to perfect health simply through his own willpower; hence his name, Kane-apua. On another occasion, he demonstrated his power by bringing back to life some fish that a fisherman had already scaled and placed on the fire. The reason for this act seems to be that the fish was one of the forms he sometimes took. The story of his encounter with Kane-lelei-aka is worth mentioning. Once, while standing on a headland extending into the ocean like a ship's bow, he noticed a flash from something moving quickly through the water. He saw it passing by repeatedly and wondered what it was. It was the shadowy figure of Kane-lelei-aka, but he didn't recognize it. He searched the surrounding mountains and cliffs, hoping to catch sight of the body, bird, or spirit that caused this reflection. He found nothing. In his quest, he set out for Kukulu-o-Kahiki. On the way, he met his relative Kane-milo-hai, out in the middle of the ocean.

“Are you from Kanaloa?” asked Kane-milo-hai. That meant are you from Lana’i, Kanaloa being the name formerly given to that little island.

“Are you from Kanaloa?” asked Kane-milo-hai. That meant are you from Lana’i, Kanaloa being the name previously given to that small island.

“Aye, I am from Kanaloa and in pursuit of a strange shadowy thing that flits through the ocean and evades me.”

“Yeah, I'm from Kanaloa and I'm chasing a strange, shadowy thing that moves through the ocean and keeps getting away from me.”

“You don’t seem to recognize that it is only a shadow, a reflection. The real body is in the heavens. What you are pursuing is but the other intangible body, which is represented by the body of Kane-mano. He is speeding to reach his home in Ohe-ana” (a cave in the deep sea, in the Kai-popolohua-a-Kane).

“You don’t seem to realize that it’s just a shadow, a reflection. The real body is in the sky. What you’re chasing is just the other intangible body, which is represented by Kane-mano’s body. He’s rushing to get home to Ohe-ana” (a cave in the deep sea, in the Kai-popolohua-a-Kane).

“How then shall I overtake him?” asked Kane-pua.

“How can I catch up to him?” asked Kane-pua.

“You will never succeed this way. You are no better off than a kolea (plover) that nods, moving its head up and down (kunou). Your only way is to return with me and start from the bread-fruit tree of Lei-walo (Ka ulu o Lei-walo). You must make your start with a flying leap from the topmost branch of that tree. In that way you can come up to him and catch him.”

"You'll never succeed like this. You're no better off than a plover nodding its head up and down. The only way forward is to come back with me and start from the breadfruit tree of Lei-walo. You need to make your jump from the highest branch of that tree. That’s how you can get to him and catch him."

The rest of the story: how he followed the advice given him by Kane-milo-hai and succeeded is too long for insertion here. ↑

The rest of the story about how he took the advice from Kane-milo-hai and succeeded is too long to include here. ↑

5 Nowai he wa’a? To speak of a lava flow as a wa’a, a canoe, is a familiar trope in Hawaiian mele. (See U. L. of H., p. 194). The canoe in this case is the eruption of fire sent against Lohiau, the hoapaio, against whom it is launched, Lohiau and Hiiaka. ↑

5 Nowai he wa’a? Referring to a lava flow as a wa’a, or canoe, is a common theme in Hawaiian songs. (See U. L. of H., p. 194). The canoe here represents the eruption of fire directed at Lohiau, the hoapaio, who is the target, as well as Hiiaka. ↑

6 Aimoku wahine. An aimoku is one who eats up the land, a conqueror, a literal description of Pele. ↑

6 Aimoku wahine. An aimoku is someone who dominates the land, a conqueror, which is a direct description of Pele. ↑

7 Kini maka o ka la. In the original text from which this is taken the form is Kini-maka, offering the presumption that it is intended as a proper name. Kini-maka was a malevolent kupua, demigod, against whom, it is charged that she was given to scooping out and eating the eyes of men and her fellow gods. Her name was then called Walewale-o-Ku. Kane, it is said, took her in hand and weaned her from her bad practice; after which she was called Kini-maka, Forty-thousand-eyes. The phrase o ka la affixed to her name discountenances the idea that she is the one here intended. It becomes evident that the whole expression means rather the many eyes of the Sun, i.e., the many rays that dart from the Sun; and this is the way I construe it. ↑

7 Kini maka o ka la. In the original text, this is presented as Kini-maka, suggesting it is meant as a proper name. Kini-maka was a malicious kupua, demigod, known for allegedly scooping out and consuming the eyes of men and other gods. She was later named Walewale-o-Ku. It’s said that Kane intervened and helped her stop her harmful behavior; after that, she was known as Kini-maka, Forty-thousand-eyes. The phrase o ka la attached to her name suggests that this isn’t the intended meaning. It becomes clear that the entire phrase actually refers to the many eyes of the Sun, meaning the numerous rays that shine from the Sun; and this is how I interpret it. ↑

8 Pau o ka wahine? The question as to the kind of pau, skirt, worn by the women—those of Pele’s fire-brigade, as I have termed them—is pertinent, from the fact that the answer will throw light on their mood and the character of their errand, whether peaceful, warlike, etc. The answer given in the text (line 20 of the translation) is Their skirts were fern and leaf of the ti. A pau of fern was said to be hanohano, dignified. Ua kapa ia ka palai he palai alii; o ka la-i, ua kapa ia he mea kala (the pau of fern was worn by chiefs; the pau of ti leaf was a sign of propitiation.) A woman wore a ti leaf during her period of monthly infirmity. The whole subject will bear further investigation. ↑

8 Is the woman done? The question about the type of pau, or skirt, worn by the women—those in Pele’s fire-brigade, as I call them—is important because the answer will reveal their mood and the nature of their mission, whether it’s peaceful, aggressive, etc. The text (line 20 of the translation) states, Their skirts were made of fern and ti leaves. A fern pau was described as hanohano, or dignified. Ua kapa ia ka palai he palai alii; o ka la-i, ua kapa ia he mea kala )the fern pau was worn by chiefs; the ti leaf pau signified propitiation.) A woman would wear a ti leaf during her monthly period. This whole subject deserves further exploration. ↑

9 Kihi o ka Mahina, the horn of the Moon. The manner of fastening the pau, knotting or tucking it in at each hip, gave it a crescent shape, with an angle at each hip. This seems to have suggested to the poet a comparison with the horns of the young Moon. ↑

9 Kihi o ka Mahina, the horn of the Moon. The way the pau was secured, either by knotting or tucking it in at each hip, created a crescent shape with an angle at each side. This likely inspired the poet to compare it to the horns of the young Moon. ↑

10 Akua lehe-oi, an undoubted reference to Pele,—the sharp devouring edge, lip, of her lava-flow. ↑

10 Akua lehe-oi, clearly referring to Pele—the intense, consuming edge of her lava flow. ↑

11 Akua lehe-ama. This also must refer to Pele—her gaping lips. ↑

11 Akua lehe-ama. This must also refer to Pele—her wide-open mouth. ↑

12 Puke, this archaic form of pu’e, a hill of potatoes, yams and the like. ↑

12 Puke, this outdated term for pu’e, a mound of potatoes, yams, and similar foods. ↑

13 The Hawaiians had no such thing as bread. The Hawaiian word ai, in line 20 of the original, means vegetable food. The necessities of the case seem to justify the use of the word bread in the translation. The reader will pardon the anachronism. ↑

13 The Hawaiians didn’t have bread. The Hawaiian word ai, in line 20 of the original, refers to plant-based food. Given the context, it's reasonable to use the word bread in the translation. The reader will understand the slight anachronism. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXXIV

PELE’S BRIGADE IS SENT TO THE ATTACK OF LOHIAU

Pele broke forth in great rage when her people slunk back, their errand not half accomplished. “Ingrates, I know you. Out of pity for that handsome fellow, you have just made a pretense and thrown a few cinders at his feet. Go back and finish your work. Go!”

Pele exploded in anger when her people retreated, their task far from complete. "Ungrateful ones, I know you. Out of pity for that handsome guy, you've merely pretended and tossed a few embers at his feet. Go back and complete your work. Go!"

Hiiaka, on witnessing the second charge of the fire-brigade, again broke forth in song:

Hiiaka, seeing the fire brigade charge again, burst into song once more:

Hulihia Kilauea, po i ka uahi;

Hulihia Kilauea, night in the smoke;

Nalowale i ke awa1 ka uka o ka Lua.

Moana Heëia—la kapu i ke Akua!

Moana Heëia—holy is the goddess!

Haki palala-hiwa ke alo o ka pohaku;

Ai’na makai a’ahu, koe ka oka—

Koe mauka o ka Lae Ohi’a.

Haki’na ka hala, apana ka pohaku;

Haki'na ka hala, apana ka pohaku;

Kiké ka alá; uwé ka mamane—

Ka leo o ka laau waimaka nui,

O ka wai o ia kino á pohaku,

Kanaka like Kau-huhu ke oko o ke ahi;

Kanaka like Kau-huhu the edge of the fire;

Ho’onu’u Puna2 i ka mahu o ka Wahine.

Ho’onu’u Puna2 in the heat of the Woman.

Kahá ka lehua i ka uka o Ka-li’u;

Kahá ka lehua in the uplands of Ka-li’u;

Makua ke ahi i ka nahelehele—

Ke á li’u-la o Apua.

E ha’a mai ana i ku’u maka

Ka ponaha lehua mauka o Ka-ho’i-kú;

Puni’a i ke awa ka uka o Nahunahu:

Kiná Puna, e poá i ke Akua.

Kiná Puna, take care in the presence of God.

Ua kaulu-wela ka uka o Olueä; [198]

Ua kaulu-wela ka uka o Olueä; [__A_TAG_PLACEHOLDER_0__]

Ua haohia e ke ahi, ku ka halelo.2

Moku kahawai, niho’a ka pali;

Ua umu pa-enaena ke alo o ka pohaku.

O Ihi-lani,3 o Ihi-awaawa,4

O Ihi-lani, __A_TAG_PLACEHOLDER_0__ o Ihi-awaawa, __A_TAG_PLACEHOLDER_1__

Hekili ke’eke’e, ka uila pohaku;

Giant clam, rock electric;

Puoho, lele i-luna, ka alá kani oleolé,

Puoho, fly high up, and sing a sweet song,

Kani au-moe, kani ku-wá, kani helele’i;

Owé, nakeke i ka lani, nehe i ka honua;

Owé, a gentle breeze in the sky, whispers across the earth;

Ku’u pali kuhoho holo walawala i-luna, i-lalo;

Ku’u pali kuhoho runs fast up and down;

Ka iho’na o ka pali uhi’a e ka noe;

Pa’a i ka ohu na kikepa lehua a ka Wahine;

Ho’o-maka’u ka uka—he ahi ko ka Lua.

Ho’o-maka’u ka uka—there’s a fire in the pit.

Ke ho’o-malana a’e la e ua na opua;

Ne’ene’e i kai o Papa-lau-ahi.

Ne’ene’e at the sea of Papa-lau-ahi.

Lapalapa ka waha o ke Akua lapu;

Hukihuki5 ka lae ohi’a o Kai-mú,

Hukihuki5 the flower of the ohi’a tree of Kai-mú,

E hahai aku ana i-mua, i-hope.

Hopo aku, hopo mai;

Stay here, come here;

Hopo aku au o ka ua liilii noe lehua i ka papa.

O Pua’a-kanu6 oheohe, me he kanáka oa7 la i ka La;

O Pua’a-kanu6 oheohe, just like the people7 out in the sun;

Ke’a ka maha lehua i kai o Ka-pili nei: [199]

Ke’a the many lehua flowers at the shore of Ka-pili here: [__A_TAG_PLACEHOLDER_0__]

I pili aku ho’i maua o haele,8

E pi’i i ka uka, e kui, e lei i ka lei,

Ka lehua o ka ua nahuhu—(nahunahu)

Nahu’a e ke ahi—uli ke a—

Nahu’a and the fire—dark blue the wind—

Mahole ka papa, manihole i ka ai ia e ke Akua:

Ai kolohe ka Wahine ia Puna,

Ho’o-pohaku i ka Lae Ohi’a.

Ho’o-pohaku at Lae Ohi’a.

Ka uahi o ka mahu ha’a-lele’a i uka;

Ka hala, ka lehua, lu ia i kai.

Ha’aha’a Puna, ki’eki’e Kilauea:

Ha’aha’a Puna, deep Kilauea:

Ko Puna kuahiwi mau no ke ahi.

O Puna, aina aloha!

Oh Puna, beloved land!

Aloha-ino Puna, e moe’a nei,

Aloha Puna, sleeping now,

Ka aina i ka ulu o ka makani!

The language of this mele is marked by a certain mannerism that can hardly be described as either parallelism or as antithesis, though it approaches now one and now the other. It is as if each picture could not be accomplished save by representing its grouping from more than one point of view.

The language of this mele has a distinct style that can't easily be classified as either parallelism or antithesis, even though it sometimes resembles both. It's like each image can only be fully captured by showing its arrangement from multiple perspectives.

TRANSLATION

Kilauea breaks forth: smoke blurs the day;

Kilauea erupts: smoke clouds the daylight;

A bitter rain blots out one half the Pit;

A harsh rain obscures half of the Pit;

Heëia is whelmed by a tidal wave;—

Heëia is overwhelmed by a tidal wave;—

Dread day of the fiery Goddess!

The face of the cliff is splintered away;

The face of the cliff is jagged and crumbling;

The lowlands are littered with fragments;

The lowlands are scattered with fragments.

Her besom spares other land, not the park.

Her broom clears other lands, but not the park.

The screw-palms are rent, the rock-plates shattered;

The screw-palms are torn apart, the rock plates broken;

The bowlders grind, the mamanes groan;

The boulders grind, the mommas groan;

I hear the pitiful sob of the trees.

I hear the sad cries of the trees.

The tree-gods weep at their change into stone.

The tree gods weep as they turn to stone.

Man, like the roof-pole, strangles in smoke;

Man, like the roofbeam, chokes in smoke;

Puna chokes with the steam of the Woman;

Puna is suffocating from the heat of the Woman;

How groan the lehuas of Ka-li’u!

How the lehuas of Ka-li’u groan!

A quivering flame enwraps Apua.

A flickering flame surrounds Apua.

Mine eyes are blinded at the sight

Of the forest-circle of Ho’o-kú; [200]

Of the Ho’o-kú circle; [__A_TAG_PLACEHOLDER_0__]

Nahunahu is swallowed up in the rack.

Nahunahu is caught up in the rack.

Puna, how scarred! by the Goddess ravaged!

Puna, how scarred! by the Goddess devastated!

Olueä’s uplands quiver with heat—

Olueä's hills shimmer with heat—

What ravage! its rocky strata uptorn;

What destruction! its rocky layers torn apart;

Deep-gullied the canyons, toothed are the cliffs;

Carved canyons, jagged cliffs;

Like an oven glows the face of the rocks.

Like an oven, the face of the rocks glows.

Now Heaven hurls her forked bolts

Now Heaven sends down her lightning bolts

And bitter thunder-bombs; rocks burst and fly.

And loud thunderclaps; rocks explode and scatter.

A crash of splintered echoes breaks the night,

A crash of shattered sounds interrupts the night,

Shatters the heavens and rends the earth.

Shatters the sky and tears the ground.

My towering cliff is shook like a reed;

My towering cliff shakes like a reed;

The trail adown the cliff is wreathed in steam;

The path down the cliff is filled with steam;

Mist veils the ragged spurs of lehua—

Mist covers the jagged peaks of lehua—

A reign of terror! flames leap from the Pit;

A reign of terror! Flames leap from the Pit;

The storm-clouds spread their wings for rain;

The storm clouds spread out, ready to pour.

They rush in column over the plain.

They hurry in a line across the open field.

The mouth of the demon vomits flame—

The demon's mouth breathes fire—

A besom-stroke to wooded Kai-mú.

A broom sweep to wooded Kai-mú.

Destruction follows before and behind;

Destruction follows before and after;

What terror smites a-far and a-near!

What terror strikes from near and far!

A brooding horror wraps my soul

A dark dread envelops my soul.

As the fine rain covers the plain.

As the light rain falls over the field.

A spectacle this for the eye of Day!

A sight this is for the eye of Day!

An offering’s laid—a pig? a man!

An offering is made—a pig? a man!

Deem’st it a crime to snuggle close in travel?

Do you think it's wrong to snuggle up while traveling?

That we gathered flowers in the woods?

That we picked flowers in the woods?

That we strung them and plaited wreaths?

That we made them into necklaces and braided wreaths?

That we hung them about our necks?—

That we wore them around our necks?—

Red blossoms that sting us like fire—

Red blossoms that prick us like fire—

A fire that burns with a devilish flame,

A fire that burns with a wicked flame,

Till the blistered skin hangs in rags:

Till the burned skin hangs in tatters:

And this—is the work of the God!

And this is the work of God!

The faithless Woman! Puna sacked!

The faithless woman! Puna raided!

The Park of Lehua all turned to rock!

The Park of Lehua has all turned to stone!

The column of rock moves ever on;

The column of rock keeps moving on;

Lehuas and palms melt away,

Lehuas and palms fade away,

As the fire sweeps down to the sea.

As the fire rushes down to the ocean.

For Puna’s below and Pele above,

For Puna below and Pele above,

And Puna’s mountain is ever aflame.

And Puna’s mountain is always on fire.

Oh Puna, land close to my heart!

Oh Puna, a place that's dear to my heart!

Land ever fore-front to the storm!

Land always in front of the storm!

I weep for thy sorrowful plight!

I cry for your sad situation!

[201]

[__A_TAG_PLACEHOLDER_0__]

“Cowed, and by a boy!” said Pele as her servants, with shame in their faces, slunk away from their unfinished task. “This is no job for women,” she continued. “These girls can’t stand up before a man—not if he has a smooth face and a shapely leg.”

“Scared, and by a boy!” said Pele as her servants, with shame on their faces, slinked away from their unfinished task. “This is no job for women,” she continued. “These girls can’t hold their own against a man—not if he has a smooth face and a nice leg.”

As she spoke the fire-lake in Hale-ma’u-ma’u took on a ruddier hue, lifted in its cauldron and began to boil furiously, spouting up a score of red fountains.

As she spoke, the fire lake in Hale-ma’u-ma’u turned a deeper red, bubbling in its cauldron and starting to boil violently, shooting up a dozen red fountains.

“Men, gods, take these fires and pour them upon the man,” said Pele, addressing Lono-makua, Ku-pulupulu, Ku-moku-halii, Ku-ala-na-wao, Kupa-ai-ke’e, Ka-poha-kau, Ka-moho-alii, Kane-milo-hai and many others.

The gods well knew on what perilous ground they stood, with whom they had to deal, the fierceness of Pele’s wrath when it was stirred; yet, in their hatred of a great wrong, they moved with one purpose to push back the fires that were threatening Lohiau. With their immortal hands they flung away the embers and masses of flame until the heavens were filled with meteor-fragments.

The gods understood very well the risky situation they were in and who they were up against, aware of the fierce anger of Pele when provoked. Yet, driven by their shared hatred of a terrible injustice, they united in their effort to push back the flames that were endangering Lohiau. With their immortal hands, they threw aside the burning embers and large flames until the sky was filled with fragments of meteorites.

Pele’s wrath rose to a mighty heat at this act of mutiny and disloyalty and she cursed the whole assembly. “Go,” said she, “back to Huli-nu’u whence you came. Let the land on which you stand remain barren and yield no harvest nor any food for mortal or for immortal.”

Pele’s anger flared up at this act of rebellion and betrayal, and she cursed everyone gathered there. “Go,” she said, “back to Huli-nu’u where you came from. May the land you’re standing on stay barren, producing no crops or food for mortals or immortals.”

Now Pele was one of the chief gods on earth. The land was hers. Did she not make it? Her authority extended also to heaven. Did not her flames mount to the zenith? All the gods, even the great gods Ku, Kane, Kanaloa and Lono, depended on her for certain things. When she voyaged from Kahiki to the new land of Hawaii they were constrained to follow her. Not because of any command she laid upon them did they do this, but because such was their inclination. Where Pele was there was food, wealth, the things they had need of. They followed as a dog tags after its master.

Now Pele was one of the main gods on earth. The land was hers. Didn't she create it? Her power also reached up to heaven. Didn't her flames rise to the highest point? All the gods, even the significant ones like Ku, Kane, Kanaloa, and Lono, relied on her for certain things. When she traveled from Kahiki to the new land of Hawaii, they had to follow her. It wasn't because she ordered them to, but because they wanted to. Where Pele was, there was food, wealth, and everything they needed. They followed her like a dog follows its owner.

The threat made by Pele was, then, no idle breath. It was a thing of terrible moment—to be stripped of their fat offices and banished to a far-off barren land, a terrible sentence. Some of the gods gave in at once and made their peace with the terrible goddess. Of those who stood firm in their opposition were Ku-moku-hali’i, Ku pulu-pulu, Ku-ala-na-wao, Kupa-ai-ke’e and Ku-mauna.9 Condemned to banishment, they were indeed in a [202]sorry plight. They found themselves on the instant deprived of their jobs and of their power. Food they had not, nor the means of obtaining it; these were in the possession of Kane and Kanaloa. The ocean was not free to them; it was controlled by Ka-moho-alii. In their extremity they became vagabonds and took to the art of canoe-making. Thus were they enabled to fly to other lands.

The threat made by Pele was definitely serious. It was something significant—being stripped of their important positions and exiled to a distant, barren land was a harsh punishment. Some of the gods quickly gave in and made peace with the fearsome goddess. Among those who remained steadfast in their opposition were Ku-moku-hali’i, Ku pulu-pulu, Ku-ala-na-wao, Kupa-ai-ke’e, and Ku-mauna. 9 Condemned to exile, they found themselves in a [__A_TAG_PLACEHOLDER_0__] dire situation. They were instantly deprived of their jobs and their power. They had no food and no way to get any; those resources were held by Kane and Kanaloa. The ocean was off-limits to them; it was controlled by Ka-moho-alii. In their desperation, they became wanderers and took up canoe-making. This allowed them to escape to other lands.

New dispositions having been made and fresh stratagems set on foot, Pele turned loose another deluge of fire, Lono-makua consenting to manage the operation. The fire burst into view at Keaau, from which place it backed up into the region of Ola’a and there divided into two streams, one of which continued on the Hilo side, while the other followed a course farther towards Kau. Lohiau, thus surrounded, would find himself obliged to face Pele’s wrath without the possibility of retreat.

New plans were set in motion and new strategies initiated; Pele unleashed another wave of fire, with Lono-makua agreeing to manage the operation. The fire became visible at Keaau, then spread back into the Ola’a area, splitting into two streams—one flowed toward Hilo, while the other moved further toward Kau. Lohiau, now surrounded, would have to confront Pele's fury without a chance to escape.

Hiiaka, not fearing for herself but seeing the danger in which her lover was placed, bade him pray; and this was the prayer he offered:

Hiiaka, not afraid for herself but recognizing the danger her lover was in, urged him to pray; and this was the prayer he offered:

Popo’i, haki kaiko’o ka lua;

Popo’i, strong righteous duel;

Haki ku, Haki kakala, ka ino,

Popo’i aku i o’ü o lehua,

I Kani-a-hiku,10 wahine11 ai lehua,

I Kani-a-hiku, __A_TAG_PLACEHOLDER_0__ woman __A_TAG_PLACEHOLDER_1__ eats lehua,

A ka unu12 kupukupu, a eha ka pohaku

I ka uwalu a ke ahi,

I ke kaunu a ka Pu’u-lena:13

Huli ka moku, nakeke ka aina; [203]

Huli the island, turn the land; [__A_TAG_PLACEHOLDER_0__]

Kuhala-kai,14 kuhulukú15 ka mauna;

Kuhala-kai,__A_TAG_PLACEHOLDER_0__ kuhulukú__A_TAG_PLACEHOLDER_1__ at the mountain;

Pehu ka leo i Pu’ukú-akahi;16

Pehu ka leo i Pu’ukú-akahi;__A_TAG_PLACEHOLDER_0__

Hano ka leo i Pu’uku-alua;16

Hano ka leo i Pu’uku-alua;__A_TAG_PLACEHOLDER_0__

Aheahe ana i Mauna Kua-loi17—

Aheahe at Mauna Kua-loi __A_TAG_PLACEHOLDER_0__—

I kauhale a ke Akua.

I love you, God.

I ke ahu a Ka-hoa-lii.18

I ke ahu a Ka-hoa-lii.__A_TAG_PLACEHOLDER_0__

Kahá ka leo o ka ohi’a;

Uwé ka leo o ke kai;

Huli ke alo o Papa-lau-ahi.

Kai ho’onaue hala ko Keaäu;

Kai lu lehua ko Pana-ewa;

Ke popo’i a’e la i ke ahu a Lono, e.

E lono ana no anei? He ho’okuli;

He kuli ia nei, he lono ole.

TRANSLATION

A storm and wild surf in the Pit,

A storm and rough waves in the Pit,

The fire-waves dashing and breaking;

The waves crashing and breaking;

Spume splashes the buds of lehua—

Spume splashes on the lehua buds—

The bird-choir—O consumer of trees,

The bird choir—O consumer of trees,

O’erthrowing the fishermen’s altar;

Overthrowing the fishermen's altar;

The rocks melt away in thy flame;

The rocks melt away in your fire;

Fierce rages the Pu’u-lena;

The Pu’u-lena rages fiercely;

The island quakes with thy tremor;

The island shakes with your tremor;

A flood of rain on the lowland,

A sudden downpour in the valley,

A wintry chill on the highland.

A winter chill in the highlands.

A boom, as of thunder, from this cliff;

A loud boom, like thunder, from this cliff;

A faint distant moaning from that cliff;

A whispered sigh from yonder hill,—

A soft sigh from over that hill,—

Home of the gods, inviolate, [204]

Home of the gods, untouched, [__A_TAG_PLACEHOLDER_0__]

Shrine of the God Hoalii.

Now groans the soul of the tree a-flame;

Now the soul of the tree moans in the flames;

Now moans the heart of the restless sea.

Now the heart of the restless sea moans.

Uptorn are the ancient fire-plates.

The ancient fire plates are torn.

The Kea-au sea uproots the palms;

The Kea-au sea pulls the palms out of the ground;

Pana-ewa’s sea scatters the bloom;

Pana-ewa’s sea spreads the bloom;

It beats at the altar of Lono.

Does she lend her heart to my cry?

Does she open her heart to my plea?

Deaf—her ears are deaf to my prayer.

Deaf—she can't hear my plea.

Let us picture to ourselves the scene of the story that now has the stage—a waterless, wind-swept, plain of volcanic slag and sand, sparsely clad with a hardy growth whose foliage betrays the influence of an environment that is at times almost Alpine in its austerity. Above the horizon-line swell the broad-based shapes of Mauna-kea, Mauna-loa and Hualalai. In the immediate foreground, overlooking the caldera—where are Pele’s headquarters—we see two figures, standing, crouching, or reclining, the lovers whose stolen bliss has furnished Pele with the pretext for her fiery discipline. Measured by the forces in opposition to them, their human forms shrink into insignificance. Measured by the boldness of their words and actions, one has to admit the power of the human will to meet the hardest shocks of fortune. Listen to the swelling words of Lohiau as Pele’s encircling fires draw nearer:

Let's imagine the scene of the story unfolding on stage—a barren, windswept plain of volcanic rock and sand, sparsely covered with resilient plants whose leaves show how harsh the environment can be, at times almost like an Alpine setting. Rising above the horizon are the massive shapes of Mauna Kea, Mauna Loa, and Hualalai. In the foreground, overlooking the caldera—where Pele’s headquarters are located—we see two figures, standing, crouching, or lying down, the lovers whose secret joy has given Pele a reason for her fiery punishment. Compared to the forces opposing them, their human forms seem insignificant. Yet, looking at the courage in their words and actions, one has to acknowledge the strength of human will to withstand the toughest challenges. Listen to Lohiau's powerful words as Pele's encroaching flames come closer:

Hulihia ka mauna, wela i ke ahi;

Wela nopu i ka uka o Kui-hana-lei;

Ke á pohaku; pu’u lele mai i uka o Ke-ka-ko’i—

Ke-ka-ko’i ka ho’okela mai ka Lua.

O ka maiau19 pololei kani le’ale’a;

O ka maiau__A_TAG_PLACEHOLDER_0__ straight-up jam fun;

O ka hinihini kani kua mauna;

O ka mapu leo nui, kani kóhakohá;

O kanáka loloa20 o ka mauna,

O kanaka loloa __A_TAG_PLACEHOLDER_0__ o ka mauna,

O Ku-pulupulu i ka nahele;

O Ku-pulupulu in the forest;

O na ’kua mai ka wao kele; [205]

O na ’kua mai ka wao kele; [__A_TAG_PLACEHOLDER_0__]

O Kuli-pe’e-nui21 ai-ahua;

O Kuli-pe’e-nui__A_TAG_PLACEHOLDER_0__ beauty;

O Kiké alawa o Pi’i-kea;22

O Kiké alawa o Pi’i-kea;__A_TAG_PLACEHOLDER_0__

O ka uahi Pohina i uka;

O ka uahi mapu-kea i kai;

O ka uahi noe lehua, e;

O ke awa nui, i ka mauna;

O ke po’o o ke ahi, i ka nahele;

O ka ai’na a Pele ma, i uka;

Ua ku ke oka, aia i kai.

Pau a’e la ka maha laau—

Ka maha ohi’a loloa o Kali’u,

A ka luna i Pohaku-o-kapu.

A ka luna at Pohaku-o-kapu.

Kapu mai la Puna, ua kulepe i ke ahi;

Ua puni haiki Kilauea.

Kilauea is erupting.

Ua ha ka lama i ka luna i Moku-aweoweo;

Ua ha ka uka i Ke-ahi-a-Laka;

Ai’na a’e la o Moe-awakea i Ku-ka-la-ula,

A ka luna, i Pohaku-holo-na’e.

At the top, in Pohaku-holo-na’e.

Ku au, kilohi, nana ilaila e maliu mai:

Ku au, look, watch there as it approaches:

O ku’u ike wale aku ia Maukele,

I ka papa lohi o Apua—

He la lili’u, e nopu, e wela ka wawae.

Pau ke a, kahuli ha’a ka pahoehoe,

A pau na niu o kula i Kapoho.

Holo ke ahi mahao’o23 o Kua-uli;

Holo ke ahi mahaoʻo __A_TAG_PLACEHOLDER_0__ o Kua-uli;

Pau Oma’o-lala i ke ahi:

Pau Oma’o-lala in the fire:

I hi’a no a á pulupulu i ka lau laau.

Kuni’a ka lani, haule ka ua loku;

Kuni'a ka lani, haule ka ua loku;

Ka’a mai ka pouli, wili ka puahiohio;

Ka ua koko, ke owé la i ka lani.

Eia Pele mai ka Mauna, mai ka luna i Kilauea.

Eia Pele from the mountain, from the top at Kilauea.

Mai O’olueä, mai Papa-lau-ahi a hiki Maláma.

Mahina ka uka o Ka-li’u;

Moon of Ka-li’u;

Enaena Puna i ka ai’na e ke ’Kua wahine. [206]

Enaena Puna in the land of the goddess. [__A_TAG_PLACEHOLDER_0__]

Kahuli Kilauea me he ama24 wa’a la;

Kahuli Kilauea is like a boat;

Pouli, kikaha ke Akua o ka Po;

Pouli, the god of the night;

Liolio i Wawau ke Akua o ka uka;

Liolio and Wawau are the gods of the uplands;

Niho’a ka pali, kala-lua i uka;

Niho’a the cliff, split in two inland;

Koeä a mania, kikaha koa’e;

Lele pauma ka hulu maewaewa.

A’ea’e na akua i ka uka;

Aloha to the gods in the uplands;

Noho Pele i ke ahiü;

Noho Pele in the fire;

Kani-ké ilalo o ka Lua.

Kani-ké below the Lava.

Kahuli Kilauea, lana me he wa’a25 la;

Kahuli Kilauea, floating like a boat25 there;

Kuni’a a’e la Puna, mo’a wela ke one—

Mo’a wela paha Puna, e!

Mo’a wela maybe Puna, e!

Wela i ke ahi au, a ka Wahine.

TRANSLATION

The Mount is convulsed; the surging fire

The mountain is shaking; the roaring fire

Sweeps o’er the height of Kui-hana-lei;

Sweeps over the height of Kui-hana-lei;

The rocks ablaze; the hillocks explode

The rocks are on fire; the hills are erupting.

Far out by Ax-quarry, aye, and beyond,

Far out by Ax-quarry, yeah, and beyond,

Where gleefully chirped the pololei,

Where joyfully chirped the pololei,

And the grasshopper trilled on the mountain

And the grasshopper chirped on the mountain.

A resonant intermittent cry.

A loud intermittent cry.

Now comes the tall man of the mount,

Now comes the tall man from the mountain,

Ku-pulupulu, the Lord of the Woods.

In his train swarm the pigmy gods of the wilds,

In his entourage are the tiny gods of the wilderness,

The knock-kneed monster Kuli-pe’e—

The knock-kneed monster Kuli-pe'e—

That subterraneous eater of towns—

That underground destroyer of towns—

And watchful Pi’i-kea, the Roach god.

And vigilant Pi’i-kea, the Roach god.

A blinding smoke blurs the hinter-land;

A thick smoke clouds the background;

A milk-white cloud obscures the lowland,

A white cloud covers the flatlands,

Enshrouding the groves of lehua.

Surrounding the lehua groves.

The smoke-rack bulks huge in the upland;—

The smoke stack looms large in the highlands;—

The fire has its head in the Mount,

The fire has its head in the Mountain,

And thence the Pele gang start on a raid.

And from there, the Pele gang sets off on a raid.

The ash of their ravage reaches the sea: [207]

The ash from their destruction reaches the sea: [__A_TAG_PLACEHOLDER_0__]

She’s made a fell sweep of forest and grove

She’s made a deadly sweep of the forest and grove

Clean down to Pohaku-o-kapu.

Now, tabu is Puna, forbidden to man:

Now, tabu is Puna, off-limits to man:

The fire-tongues dart and hedge it about.

The flames flicker and surround it.

A torch buds out from Moku-aweö,

A torch blooms from Moku-aweö,

To answer the beacon flung by Laka.

To respond to the signal sent out by Laka.

Now she’s eaten her way from sleepy noon

Now she’s eaten her way from a lazy noon

Till when the windy mountain ridge

Buds with the rosy petals of dawn.

Buds with the pink petals of morning.

Here stand I to wait her relenting:

Here I stand to wait for her change of heart:

I see naught but desolate Puna

I see nothing but a lonely Puna.

And the quivering plain of Apua:

And the trembling plain of Apua:

All about is flame—the rock-plain rent;

All around is flame—the rocky ground split;

The coco-palms that tufted the plain

The coconut palms that dotted the field

Are gone, all gone, clean down to Ka-poho.

Are gone, all gone, completely down to Ka-poho.

On rushes the dragon with flaming mouth,

On comes the dragon with a fiery mouth,

Eating its way to Oma’o-lala.

For tinder it has the hair of the fern.

For tinder, it has the hair of the fern.

A ghastly rain blots out the sky;

A terrible rain covers the sky;

The sooty birds of storm whirl through the vault;

The dark birds of the storm swirl through the sky;

Heaven groans, adrip, as with dragon-blood.

Heaven groans, dripping, like dragon's blood.

Here Pele comes from her fortress, her Mount,

Here Pele comes from her fortress, her mountain,

Deserting her resting place, her hearth—

Deserting her resting place, her home—

A wild raid down to Malama.

Kali’u’s highlands shine like the moon;

Kali’u’s highlands glow like the moon;

All Puna glows at the Goddess’ coming.

All Puna shines at the arrival of the Goddess.

The crater’s upset; the ama flies up;

The crater's disturbed; the ama soars up;

The God of night plods about in the dark;

The God of night walks slowly through the darkness;

The Upland God makes a dash for Vavau.

The Upland God rushes to Vavau.

The pali are notched like teeth, dissevered,

The pali are notched like teeth, cut apart,

Their front clean shaven, where sailed the bosen,—

Their faces clean-shaven, where the bosun sailed,—

White breast of down—on outstretched wings.

White fluffy breast—on spread wings.

The gods ascend to the highlands;

The gods rise to the mountains;

The goddess Pele tears in a frenzy;

The goddess Pele is in a frenzy;

She raves and beats about in the Pit:

She rages and thrashes around in the Pit:

Its crumbled walls float like boats in the gulf:

Its crumbled walls drift like boats in the gulf:

An ash-heap is Puna, melted its sand—

An ash heap is Puna, its sand has melted—

Crisp-done by thy fire, Thine, O Woman!

Crisp and cooked by your fire, Yours, O Woman!

When Hiiaka recognized the desperate strait of her friend and lover she urged him to betake himself again to prayer. [208]

When Hiiaka saw the desperate situation of her friend and lover, she urged him to turn to prayer again. [__A_TAG_PLACEHOLDER_0__]

“Prayer may serve in time of health; it’s of no avail in the day of death,” was his answer.

“Prayer might be useful when you’re healthy, but it doesn’t help on the day you die,” was his answer.

It was not now a band of women with firebrands, but a phalanx of fire that closed in upon Lohiau. The whole land seemed to him to be a-flame. The pictures that flit through his disturbed mind are hinted at in the song he utters. The pangs of dissolution seem to have stirred his deeper nature and to have given him a thoughtfulness and power of expression that were lacking in the heyday of his lifetime. Hiiaka called on him for prayer and this was his response:

It wasn't a group of women with torches anymore, but a wall of fire that surrounded Lohiau. The entire land felt like it was burning. The images racing through his troubled mind are echoed in the song he sings. The pains of dying seem to have awakened a deeper side of him, giving him a level of thoughtfulness and expression that he didn't have in the prime of his life. Hiiaka asked him to pray, and this was his response:

Pau Puna, ua koele ka papa;

Pau Puna, the board is settled;

Ua noe ke kuahiwi, ka mauna o ka Lua;

Ua noho ke kuahiwi, ka mauna o ka Lua;

Ua awa mai ka luna o Uwé-kahuna—

Ka ohu kolo mai i uka,

Ka ohu kolo come from the uplands,

Ka ohu kolo mai i kai.

Ke aá la Puna i ka uka o Na’ena’e;26

O ka lama kau oni’oni’o,27

The light is bright,__A_TAG_PLACEHOLDER_0__

O na wahine i ke anaina,

I ka piha a ka naoa o mua nei.

Oia ho’i ke kukulu 28 a mua;

Oia and build __A_TAG_PLACEHOLDER_0__ up ahead;

Oia ho’i ke kukulu awa;

Oia ho’i ke kuleana awa;

O kai awa i ka haki pali,

O kai a Pele i popo’i i Kahiki—

Popo’i i ke alo o Kilauea;

Popo'i at Kilauea;

O kai a Ka-hulu-manu:29

O kai a Ka-hulu-manu:__A_TAG_PLACEHOLDER_0__

Opiopi30 kai a ka Makali’i;

Opiopi__A_TAG_PLACEHOLDER_0__ and the Makali’i;

Ku’uku’u kai a ka pohaku, [209]

Ku’uku’u kai at the rock, [__A_TAG_PLACEHOLDER_0__]

Ke ahi a ka noho31 uka,

Ke ahi a ka noho __A_TAG_PLACEHOLDER_0__ upland,

Kukuni i ke kua32 o ka makani.

Wela ka ulu33 o ka La i Puna, e;

Kiná Puna i ka ai’na e ke Akua, e.

Kiná Puna in the land of the God, e.

He akua34 ke hoa, e;

He akua__A_TAG_PLACEHOLDER_0__ your friend, yes;

Ke kuhi la iaia he kanáka—

He akua ke hoa, e!

He's a god, friend!

TRANSLATION

Puna is ravaged, its levels fire-baked;

Puna is devastated, its landscape scorched by fire;

Fog blots out the forest-heights of the Pit;

Fog blots out the treetops of the Pit;

Uwé-kahuna’s plain is bitter cold—

Uwé-kahuna’s plain is freezing—

A mist that creeps up from the sea,

A fog that rises from the ocean,

A mist that creeps down from the mount;

A mist that creeps down from the mountain;

Puna’s dim distant hills are burning—

Puna’s faint, distant hills are on fire—

A glancing of torches—rainbow colors—

A flash of rainbow torches—

The whole assembly of women.

The entire group of women.

In pity and love they stand before us;

In compassion and love, they stand before us;

They form the first line of battle

They are the front line in the fight.

And they make up the second line.

And they form the second line.

The raging waves engulf the steep coast—

The crashing waves overwhelm the steep coastline—

The sea Pele turmoiled at Kahiki,

The sea was stormy at Kahiki,

That surged at the base of Kilauea—

The bird-killing flood Ka-hulu-manu.

Makali’i’s waves were like folds in a mat;

Makali’i’s waves were like creases in a rug;

A smiting of rock against rock

A clash of rock against rock

Is the awful surge of the Pele folk.

Is the terrible rise of the Pele people.

The wind-blast enflames their dry tinder.

The wind sparks their dry kindling.

The face of the Sun is hot in Puna.

The Sun's surface is hot in Puna.

I companioned, it seems, with a god;

I hung out, it seems, with a god;

I had thought her to be very woman.

I had thought she was very much a woman.

Lo and behold, she’s a devil!

[210]

[__A_TAG_PLACEHOLDER_0__]

Apropos of the meaning of na’ena’e I will quote the words of a Hawaiian song by way of illustration:

Apropos of the meaning of na’ena’e, I will quote the words of a Hawaiian song as an illustration:

Makalii lua ka La ia Ka-wai-hoa,35

Anoano i ka luna o Hoaka-lei:36

Lei manu i ka hana a ke kiü;37

Luli ke po’o, éha i ka La o Maka-lii,

Hoiloli lua i na ulu hua i ka hapapa.

TRANSLATION

Wondrous small looks the Sun o’er Waihoa,

Wondrously small looks the Sun over Waihoa,

How lonesome above Hoaka-lei!

So lonely above Hoaka-lei!

Birds crown the hill to escape from the Kiü;

Birds gather on the hill to get away from the Kiü;

Men turn the head from the Sun’s winter heat

Men turn their heads away from the Sun's winter warmth.

And scorn the loaves of the bread-fruit tree.

And look down on the breadfruit tree's fruits.

In answer to these words of Lohiau Pele muttered gruffly, “God! Did you take me to be a human being? That’s what is the matter with you, and your clatter is merely a wail at the prospect of death.”

In response to Lohiau's words, Pele growled, “God! Did you think I was a human? That’s your problem, and your noise is just a cry at the thought of dying.”

Under the torture of the encircling fires Lohiau again babbles forth an utterance in which the hallucinations of delirium seem to be floating before him:

Under the torment of the surrounding flames, Lohiau once more mutters something that seems to be filled with the illusions of delirium floating before him:

Wela ka hoku, ka Maláma:

Wela ka hoku, ka Malama:

Ua wela Makali’i, Kaelo ia Ka-ulua;38

Kai ehu ka moku, papápa ka aina;

Ha’aha’a39 ka lani; kaiko’o ka Mauna,

Ha’aha’a39 the heavens; strong is the Mountain,

Ha ka moana; popo’i Kilauea.

Hike the beach; enjoy Kilauea.

Ale noho ana Papa-lau-ahi;

Still in the kitchen;

O mai Pele i ona kino—

Hekikili ka ua mai ka lani;

Hekikili, the rain comes from the sky;

Nei ke ola’i; ha ka pohakahi a ka Ikuwá; [211]

Nei ke ola’i; put the stone down, Ikuwá; [__A_TAG_PLACEHOLDER_0__]

Ku mai Puna ki’eki’e;

Ha’aha’a ka ulu a ka opua,

Pua ehu mai la uka o Ke-ahi-a-Laka;

Pau mahana i kahi Wai-welawela40 o ka Lua, e;

Iki’ki i ka uwahi lehua;

Burning the lehua flowers;

Paku’i ka uwahi Kanáka.

Paku’i the fire of Kanáka.

Pua’i hanu, eä ole i ke po’i a ke ahi.

Pua’i hanu, don’t let the fire catch you.

E Hiiaka e, i wai maka e uwé mai!

TRANSLATION

The stars are on fire, and the moon;

The stars are burning bright, and the moon;

Cold winter is turned to hot summer;

Cold winter turns into hot summer;

The island is girdled with storm;

The island is surrounded by a storm;

The land is scoured and swept barren;

The land is stripped and left empty;

The heavens sag low—high surf in the Pit—

The sky hangs low—big waves in the Pit—

There’s toss of a stormy ocean,

Wild surging in Kilauea;

Fire-billows cover the rocky plain,

Fire billows cover the rocky plain,

For Pele erupts her very self.

A flood of rain follows lightning-bolt;

A downpour of rain comes after a lightning strike;

Earth quakes with groaning and tossing,

Earth trembles with moans and shifts,

Answered with shouts from the Echo god.

Once Puna was lifted to heaven;

Once Puna was taken up to heaven;

Now the cloud of dark omen hangs low.

Now the dark cloud of doom hangs low.

White bellies the cloud over Laka’s hearth;

Wai-wela-wela supplies a warm skirt.

Wai-wela-wela offers a warm skirt.

I choke in this smoke of lehua—

I’m struggling to breathe in this lehua smoke—

How pungent the smell of burnt man!

How strong the smell of burnt flesh!

I strangle, my breath is cut off—

I choke, my breath is taken away—

Ugh! what a stifling blanket of fire!

Ugh! What a suffocating blanket of heat!

Your tears, Hiiaka, your tears!

[212]

[__A_TAG_PLACEHOLDER_0__]

1 Awa. The full expression would probably be ua awa, bitter rain, i.e., bad weather. ↑

1 Awa. The full phrase would likely be ua awa, meaning bitter rain, or bad weather. ↑

2 Halelo, rough, jagged like aa. The following quotation is given:

2 Halelo, rough and uneven like lava rocks. The following quote is provided:

Ku ke a, ka halelo o Kaupo,

I ho’okipa i ka hale o ka lauwili:

I welcome you to the house of the lauwili:

E-lau-wili. He lau-wili ka makani, he Kaua-ula.

E-lau-wili. It's a windy day, a Kaua-ula.

TRANSLATION

How jagged stand the rocks of Kaupo,

How sharp and uneven are the rocks of Kaupo,

That once held the house of the shiftless!

That once was the home of the lazy!

↑

3 Ihi-lani, literally, the splendor of heaven; said to be a god of lightning, also the name of a hill. ↑

3 Ihi-lani, which means the beauty of heaven; believed to be a god of lightning and also the name of a hill. ↑

4 Ihi-awaawa, said to be the name of a god of lightning, as well as the name of a hill. ↑

4 Ihi-awaawa, believed to be the name of a lightning god and also the name of a hill. ↑

5 Huki-huki, literally, to pull, to haul with a succession of jerks. The action here figured is eminently descriptive of the manner of advance of a lava-flow. It is not with the uniform movement of a body of water. It shoots out a tongue of molten stuff here and there; and as this cools, or is for cause arrested, a similar process takes place at some other point. This movement bears a striking resemblance to the action of a body of skirmishers advancing under fire. Its progress is by fits and starts. ↑

5 Huki-huki, which means to pull or haul with a series of jerks. The action described here is a clear illustration of how a lava flow moves. It doesn’t flow smoothly like water. Instead, it shoots out a tongue of molten material here and there; as one part cools or stops for some reason, a similar action occurs at another point. This movement closely resembles how a group of soldiers skirmishes while moving forward under fire. Its progress is characterized by fits and starts. ↑

6 Pua’a-kanu. In spite of the fact that this is claimed by Hawaiians to be a place-name, I must see in it an allusion to a swine, devoted to sacrifice, connoting Lohiau himself. ↑

6 Pua’a-kanu. Even though Hawaiians say this is a place-name, I have to interpret it as a reference to a pig, dedicated to sacrifice, implying Lohiau himself. ↑

7 Oa, a poetical contraction for loa, long. ↑

7 Oa, a poetic shortening of loa, which means long. ↑

8 Haele. By a figure of speech—metonymy—the word haele, meaning to travel, is used to signify a fellow traveler, the companion, of course, is Hiiaka herself. ↑

8 Haele. Using a figure of speech called metonymy, the word haele, which means to travel, is used to refer to a fellow traveler, the companion being Hiiaka herself. ↑

9 Ku-mauna, a rain-god of great local fame and power; now represented by a monolithic bowlder about thirty feet high, partly overgrown with ferns and moss, situated in the lower edge of the forest-belt, that lies to the south and Kau of Mauna-loa, deserves more than passing mention. The region in which this rock is situated is declared by vulcanologists to have been one vast caldera and must have been the scene of tremendous disturbances.

9 Ku-mauna, a famous and powerful rain god in the area, is now symbolized by a massive boulder about thirty feet tall, partially covered in ferns and moss. This boulder is located at the edge of the forest to the south and toward the ocean of Mauna-loa, and it deserves more than just a brief mention. Experts in volcanology say that this area used to be one massive caldera and must have experienced significant geological upheaval.

Up to the present time the Hawaiians have continued to hold Ku-mauna in great reverence mingled with fear. The following modern instance is[212]not only a true story, and interesting, but also furnishes an illustration of the attitude of mind of the Hawaiian people generally,—or many of them—towards their old gods.

Up to now, Hawaiians still hold Ku-mauna in deep respect mixed with fear. The following modern example is[__A_TAG_PLACEHOLDER_0__]not only a true story and interesting, but also shows the mindset of the Hawaiian people in general—or many of them—towards their old gods.

During a period of severe drought in the district of Kau, Hawaii, a gentleman named S——, while hunting in the neighborhood of the rock that bears the name Ku-mauna, took occasion to go out of his way and visit the rock. Standing before the rocky mass and calling it by name, he used towards it insulting and taunting epithets, professing to hold it responsible for the drought that was distressing the land. He concluded his tirade by discharging his rifle point blank against the face of the rock, resulting in the detachment of a considerable fragment.

During a severe drought in the Kau district of Hawaii, a man named S——, while hunting near the rock called Ku-mauna, decided to take a detour to visit the rock. Standing in front of it and calling it by name, he hurled insults and mockery at it, claiming it was to blame for the drought affecting the land. He ended his outburst by shooting directly at the rock with his rifle, which caused a large piece to break off.

The vaqueros in the employ of Mr. S.——, who were assisting in the hunt, horrified at the sacreligious act, at once put spurs to their horses and made off, predicting the direst consequences from the rash act of Mr. S——.

The cowboys working for Mr. S.——, who were helping with the hunt, were horrified by the sacrilegious act. They immediately spurred their horses and rode away, fearing the worst consequences from Mr. S——'s reckless act.

Now for the denouement: Within about ten days of this occurrence, the valley, on one side of which Mr. S—— had his residence, was visited by a violent rain-storm—such as would in popular speech be termed a cloud-burst. There was a mighty freshet, the waters of which reached so high as to flood his garden and threaten the safety of his house, which he saved only by the most strenuous exertions. The land which had been his garden was almost entirely washed away and in its place was deposited a pell-mell of stones.

Now for the ending: About ten days after this happened, the valley where Mr. S—— lived was hit by a severe rainstorm—what most people would call a cloudburst. There was a huge flood, with the water rising high enough to drown his garden and put his house at risk, which he only managed to save through incredibly hard work. The land that had been his garden was almost completely washed away, leaving behind a chaotic mix of stones.

Needless to say, that, by the natives, this incident was and is regarded to this day as conclusive evidence of the divine power of Ku-mauna and of his wrath at the audacious person who insulted him. Special significance is attached to the fact that as part of Ku-mauna’s reprisal the place that had been a garden was turned into a field of rocks. The only wonder is that Mr. S—— got off with so light a punishment. ↑

Needless to say, the locals see this incident as clear proof of Ku-mauna's divine power and his anger towards the bold person who insulted him. It's especially significant that, as part of Ku-mauna's revenge, what used to be a garden was turned into a field of rocks. The surprising part is that Mr. S—— faced such a light punishment. ↑

10 Kani-a-hiku, a place-name—that of a village in the remote valley of Wai-manu—here used, apparently, for its meaning. To analyze its meaning, Kani = a sound, a voice, probably a bird-song; Hiku, a celebrated kupua, the mother of the famous mythical hero Mawi. It is said that when the wind, locally known as the Kapae, but more commonly named the Ho’olua—the same as our trade-wind—blew gently from the ocean, the listening ears of Kani-a-hiku heard, in the distance, the sound of hula drums and other rude instruments mingling with the voices of men chanting the songs of the hula. This seems to be the kani referred to. ↑

10 Kani-a-hiku is the name of a village in the remote valley of Wai-manu, likely referenced here for its meaning. To break down its meaning, Kani means a sound or a voice, probably bird song; Hiku refers to a famous kupua, the mother of the well-known mythical hero Mawi. It’s said that when the wind, locally known as Kapae but more commonly called Ho’olua—the same as our trade wind—blew softly from the ocean, the ears of Kani-a-hiku could hear, in the distance, the sound of hula drums and other simple instruments mixed with the voices of men chanting the hula songs. This seems to be the kani that’s being mentioned. ↑

11 Wahine ai lehua, Pele. Who else would it be? ↑

11 Wahine ai lehua, Pele. Who else could it be? ↑

12 Unu kupukupu (also written, it is said, haunu kupukupu), a hummock or natural rock-pile, such as would be selected by fishermen, with the addition, perhaps, of a few stones, as an altar on which to lay their offering and before which to utter their prayers. Kupukupu indicates the efficacy of such an altar as a luck-bringer. ↑

12 Unu kupukupu (also spelled, it’s said, haunu kupukupu), is a small mound or natural pile of rocks that fishermen might use, possibly adding a few stones to create an altar where they place their offerings and say their prayers. Kupukupu signifies the effectiveness of this altar as a source of good luck. ↑

13 Pu’u-lena, a wind felt at Kilauea that blew from Puna. The word lena, yellow, suggests the sulphurous fumes that must have added to it their taint at such time as the wind passed over the volcanic pit. ↑

13 Pu’u-lena is a wind that can be felt at Kilauea, blowing in from Puna. The word lena, meaning yellow, hints at the sulfurous fumes that likely contaminated the air as the wind blew over the volcanic pit. ↑

14 Ku-hala-kai, a plentiful fall of rain. ↑

14 Ku-hala-kai, abundant rain. __A_TAG_PLACEHOLDER_1__

15 Ku-hulu-ku, a chilling of the atmosphere. ↑

15 Ku-hulu-ku, a temperature drop. __A_TAG_PLACEHOLDER_1__

16 Pu’uku-akahi, Pu’uku-alua, names applied to hills on one or the other side of the fire-pit, whence seem to come those sonorous puffing or blowing sounds that accompany the surging of the fires. ↑

16 Pu’uku-akahi, Pu’uku-alua, are names given to the hills on either side of the fire-pit, from which the deep puffing or blowing sounds seem to arise, accompanying the roar of the flames. ↑

17 Kua-loi. This is probably shortened from the full form Kua-loiloi. The reference is to a law, or custom, which forbade any one to approach Pele from behind, or to stand behind her. He kua loiloi ko Pele, the meaning of which is, Pele has a fastidious back. ↑

17 Kua-loi. This likely comes from the longer version Kua-loiloi. It refers to a law or tradition that prohibited anyone from approaching Pele from behind or standing behind her. He kua loiloi ko Pele, which means, Pele has a particular sensitivity about her back. ↑

18 Ka-hoa-lii, literally, companion of kings; the shark-god, a relation of Pele, who occupied a section of the plateau on the northwestern side of the caldera, a place so sacred that the smoke and flames of the volcano were not permitted to trespass there. ↑

18 Ka-hoa-lii, which means companion of kings; the shark-god, a relative of Pele, who lived in a part of the plateau on the northwestern side of the caldera, a location so sacred that the smoke and flames of the volcano were not allowed to enter. ↑

19 Maiau pololei, land shells found on trees, generally called pupu-kanioi. ↑

19 Maiau pololei, land shells discovered on trees, commonly known as pupu-kanioi. ↑

20 Kanaka loloa, Ku-pulupulu, one of the gods of the canoe-makers; here spoken of as a tall man in contradistinction, perhaps, to the dwarfish Kini-akua, who were his followers. ↑

20 Kanaka loloa, Ku-pulupulu, one of the gods of the canoe builders; mentioned here as a tall man, possibly in contrast to the short Kini-akua, who were his followers. ↑

21 Kuli-pe’e-nui, a deity, or an idealization, of a lava flow. The feature that seems to be emphasized is the stumbling, crawling, motion, which as seen in a flow, may be compared to the awkward, ataxic movement of one whose knees are dislocated and leg-bones broken. ↑

21 Kuli-pe’e-nui, a god or a representation of a lava flow. The focus here seems to be on the stumbling, crawling motion, which in a flow can be likened to the awkward, shaky movement of someone with dislocated knees and broken leg bones. ↑

22 Pi’i-kea, the god of the roaches, who is described as given to making certain tapping motions with his head which, I believe, are practiced by the roach at the present time. ↑

22 Pi’i-kea, the god of the cockroaches, is known for making specific tapping movements with his head, which I think are still done by cockroaches today. ↑

23 Mahao’o, an epithet applied to a dog that shows a patch of yellow hairs on each side of his face. It has somewhat the force of our expression, breathing out flames. ↑

23 Mahao’o, a term used for a dog that has a patch of yellow fur on each side of its face. It carries a similar meaning to our phrase, breathing out flames. ↑

24 Ama wa’a. The commotion in Kilauea is here compared to the upsetting of the canoe’s outrigger (ama). When an outriggered canoe capsizes the outrigger, ama, as a rule, lifts out of the water. ↑

24 Ama wa’a. The chaos in Kilauea is like what happens when a canoe's outrigger (ama) is overturned. When an outrigger canoe capsizes, the outrigger, ama, typically gets lifted out of the water. ↑

25 Wa’a. The reference seems to be to the masses of solid lava that, not infrequently may be seen to break off from the wall of the fire-pit and float away on the surface of the molten lake, even as an iceberg floats in the ocean. ↑

25 Wa’a. This likely refers to chunks of solid lava that can often be seen breaking off from the edge of the fire pit and floating on the surface of the molten lake, just like an iceberg floats in the ocean. ↑

26 Na’ena’e, said of an object that looks small from a distance. The use of the particle emphatic o, placed before this word, implies that it performs the office of a proper name, here a place-name. Such a use of the particle emphatic before a noun not a proper name indicates that the word is used as an abstract term. ↑

26 Na’ena’e refers to something that appears small from afar. When the emphatic particle o is placed before this word, it suggests that it functions as a proper name, specifically a place name. Using the emphatic particle before a noun that isn't a proper name shows that the word is being used in an abstract sense. ↑

27 Lama kau oni’oni’o. When two strings of kukui nuts are bound together to form one torch, the light given by it is said to be of varying colors. The word oni’oni’o alludes to this fact. ↑

27 Lama kau oni’oni’o. When two strands of kukui nuts are tied together to make one torch, the light it produces is said to vary in color. The term oni’oni’o refers to this quality. ↑

28 Kukulu a awa, said of those in the rear of the company that came against Lohiau. I cannot learn that this is a military term. ↑

28 Kukulu a awa, referring to those at the back of the group that confronted Lohiau. I can't find any evidence that this is a military term. ↑

29 Kai-a-ka-hulu-manu, literally, the sea of the bird feathers. Some claim this as being the same as the Kai-a-ka-hinali’i; others, and I think rightly, claim that it was a distinct flood that occurred at a later period and that destroyed all birds and flying things. ↑

29 Kai-a-ka-hulu-manu, which means the sea of bird feathers. Some people say this is the same as the Kai-a-ka-hinali’i; others, and I believe they are correct, argue that it was a separate flood that happened later and wiped out all birds and flying creatures. ↑

30 Opiopi. The waves of the sea in the season of Makali’i are compared to the wrinkles in a mat, the contrast with those of the Kai-a-ka-hulu-manu, and the kai a ka pohaku. ↑

30 Opiopi. The ocean waves during the Makali’i season are likened to the wrinkles in a mat, contrasting with those of the Kai-a-ka-hulu-manu and the kai a ka pohaku. ↑

31 Noho, a seat, or to sit. Here used for the people there living. ↑

31 Noho, a place to sit or to stay. Here it refers to the people living there. ↑

32 Kua o ka makani (literally, at the back of the wind). Koolau, the windward side of an island, was its kua, back. The whole line contains an ingenious reference to the manner of fire-lighting. When the smouldering spark from the fire-sticks has been received on a bunch of dry grass, it is waved to and fro to make it ignite. To the old-fashioned Hawaiian familiar with this manner of fire-making this figure is full of meaning. ↑

32 Kua o ka makani (literally, at the back of the wind). Koolau, the windward side of an island, was its back. The whole phrase cleverly refers to the way of lighting a fire. When the smoldering spark from the fire-sticks lands on a bundle of dry grass, it's waved back and forth to catch fire. For the traditional Hawaiian who knows this method of making fire, this imagery carries a lot of significance. ↑

33 Ulu o ka La, the figure of the Sun as it touched the horizon, or its glare. ↑

33 Ulu o ka La, the image of the Sun as it met the horizon, or its brightness. ↑

34 Akua, literally, a god. This is a generic term and includes beings that we would call heroes, as well as devils and demons. ↑

34 Akua, which means god. This is a broad term that encompasses figures we might refer to as heroes, as well as devils and demons. ↑

35 Ka-wai-hoa, the southern point of Niihau. ↑

35 Ka-wai-hoa, the southern tip of Niihau. ↑

36 Hoaka-lei, a hill on Niihau. ↑

36 Hoaka-lei, a hill on Niihau. __A_TAG_PLACEHOLDER_1__

37 Kiu, the name of a wind. ↑

38 Makalii, Kaelo and Ka-ulua are cold months. Lohiau found them hot enough. ↑

38 Makalii, Kaelo, and Ka-ulua are cold months. Lohiau thought they were warm enough. ↑

39 Ha’aha’a, literally, hanging low. I am reminded of an old song uttered, it is said, by a hero from the top of Kauwiki hill, in Hana, Maui: “Aina ua, lani ha’aha’a.” Land of rain, where the heavens hang (ever) low. ↑

39 Ha’aha’a, which means hanging low. I'm reminded of an old song supposedly sung by a hero from the top of Kauwiki hill in Hana, Maui: “Aina ua, humble sky.” Land of rain, where the skies hang low. ↑

40 Wai-wela-wela, a hot lake in lower Puna. ↑

40 Wai-wela-wela, a warm lake in lower Puna. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXXV

THE DEATH OF LOHIAU

Lohiau, in his last agony, wandered in mind and babbled of many things. To his credit, be it said that his thoughts were not wholly centered on himself. There was a margin of regard for others, as when he sang in these words:

Lohiau, in his final moments, was lost in thought and spoke of many things. To his credit, it should be noted that his thoughts weren't entirely focused on himself. He showed concern for others, like when he sang these words:

Aloha na hale o makou i makamaka ole,

Aloha to our houses that are without friends,

Ke ala hele mauka o Huli-wale la, e.

Huli wale; ke huli wale a’e nei no,

Huli wale; ke huli wale a'e nei no,

I ka makana ole, i ka mohai ole e ike aku ai,

E kanaenae aku ai la ho’i, ia oe, ia oe!

TRANSLATION

My love to the homes made desolate, [213]

My love to the homes left empty, [__A_TAG_PLACEHOLDER_0__]

On the road which makes this turning.

On the road that leads to this turn.

I turn away with an empty hand,

I turn away with my hands empty,

Lacking an offering fit to make peace,

Lacking an offering suitable for making peace,

To soften thy heart and appease thee—

To soften your heart and calm you—

To soften thy heart and content thee.

To soften your heart and make you happy.

At the last flicker of life, when the rocky encasement had well nigh completed the envelopment of his body, Hiiaka, daring the barrier of fire that had come between them, sprang to his side and, with the last kiss, whispered into his ear, “Go not on the side whence the wind blows; pass to leeward, on the day of our meeting.” (Mai hele i ka makani; hele i ka pohu, ma ka la a kaua e halawai ai.) By this cryptic expression, Hiiaka meant to put Lohiau on his guard against enemies that lay in wait for him. If he went to the windward he might reveal himself to them by his flair. She also embodied her warning in song:

At the last moment of life, when the rocky shell had almost completely surrounded his body, Hiiaka, defying the barrier of fire that separated them, jumped to his side and, with a final kiss, whispered in his ear, “Don’t go where the wind blows; go downwind, on the day we meet again.” (Mai hele i ka makani; hele i ka pohu, ma ka la a kaua e halawai ai.) With this mysterious message, Hiiaka intended to warn Lohiau about enemies waiting for him. If he went into the wind, he might expose himself to them. She also expressed her warning through a song:

Aloha ko’u hoa i ka ua pua-kukui,

Aloha my friend in the rain of light flowers,

Kui lehua o Moe-awakea,

When Moewakea blooms,

Lei pua o Ka-la-hui-pua,

The flower of the group,

Kae’e lehua o Pu’u-lena, la, mauka:

Kae’e lehua of Pu’u-lena, look, up the mountain:

Mauka oe e hele ai,

Where are you going?

Ma ka ulu o ka makani;

O moe’a oe e ka á Pu’u-lena la—

Make, make loa o oe!

Make, make lots of love!

TRANSLATION

My love to thee, mate of the sifting rain,

My love to you, partner of the falling rain,

Such time as we strung the lehua,

In the snatches of noonday rest,

In the brief moments of midday break,

On the days when we dreamed of reunion;

On the days when we dreamed of coming together;

And this was done in the uplands.

And this happened in the highlands.

In the uplands you shall safely journey;

In the hills, you will travel safely;

Safe in the hush and lee of the wind;

Safe in the quiet and shelter from the wind;

Lest the blasts of Pu’u-lena shall smite

Lest the blasts of Pu’u-lena strike

And sweep you away to an endless doom.

And carry you off to a never-ending fate.

A swarm of emotions buzzed in the chambers of Hiiaka’s mind, of love, of self-destruction, of revenge. In an agony of indecision she strode this way and that, wringing her hands and wailing in a strictly human fashion. The master passion came [214]to the front and had sway: she would find Lohiau, and with him renew the bond of friendliness which had grown up in the midst of the innocent joys and toils of travel shared by them in common. An access of divine power came to her. She immediately began to tear up the strata of the earth. As she broke through the first stratum and the second, she saw nothing. She tore her way with renewed energy: rock smote against rock and the air was full of flying debris.

A rush of emotions buzzed in Hiiaka’s mind—love, self-destruction, revenge. In a whirlwind of indecision, she paced back and forth, wringing her hands and crying out like any human would. The strongest feeling took over: she was determined to find Lohiau and restore the bond of friendship that had blossomed amidst their shared innocent joys and struggles during their travels together. A surge of divine power filled her. She began to tear through the layers of the earth. As she broke through the first and second layers, she found nothing. She pushed forward with renewed strength: rocks crashed together, and debris filled the air.

After passing the third stratum, she came upon a ghastly sight—the god of suicide, suspended by the neck, his tongue protruding from his mouth. It was a solemn lesson. After passing the fourth stratum she came upon the stratum of Wakea, and here she found the inanimate bodies of her former companions of travel, the faithful Wahine-oma’o and Paú-o-pala’e. She restored them to life and animation, bidding them return to the beautiful world of sunshine and fresh air.

After passing the third layer, she encountered a horrifying sight—the god of suicide, hanging by his neck, his tongue sticking out of his mouth. It was a serious lesson. After passing the fourth layer, she came to the layer of Wakea, where she found the lifeless bodies of her former travel companions, the loyal Wahine-oma’o and Paú-o-pala’e. She brought them back to life and urged them to return to the beautiful world of sunshine and fresh air.

She came at last to the tenth stratum with full purpose to break up this also and thus open the flood-gates of the great deep and submerge Pele and her whole domain in a flood of waters. That, indeed, would have been the ruin of all things. At this moment there came to Hiiaka the clear penetrating tone of a familiar voice. It was the voice of her fast friend and traveling companion, Wahine-oma’o, who had but recently left her and who, now, under the inspiration of the great god Kane, had come to dissuade Hiiaka from her purpose. For the execution of that purpose meant a universe in confusion. It was time, then, for Kane to interfere. He did this by putting into the mouth of her dearest friend on earth an appeal to which Hiiaka could not but listen and, listening, heed:

She finally arrived at the tenth level, determined to break this one as well and unleash the floodgates of the great deep, drowning Pele and her entire realm in a deluge. That would truly spell disaster for everything. In that moment, Hiiaka heard a clear and familiar voice ringing out. It was her close friend and travel companion, Wahine-oma’o, who had just left her but had now returned, inspired by the great god Kane, to talk Hiiaka out of her plan. Following through on that plan would lead to chaos in the universe. It was time for Kane to step in. He accomplished this by giving Wahine-oma’o, Hiiaka's dearest friend on earth, words that Hiiaka couldn’t ignore and, upon hearing, had to take to heart:

A po Kaena i ka ehu o ke kai;

A po Kaena in the sea mist;

Ki-pú iho la i ka lau o ke ahi;

Pala e’ehu i ka La ka ulu o Poloa, e!

Po wale, ho’i; e ho’o-po mai ana ka oe ia’u,

I ka hoa o ka ua, o ke anu, o ke ko’eko’e!

Auhea anei oe? Ho’i mai kaua;

He au Ko’olau1 aku ia.

He is from Ko’olau __A_TAG_PLACEHOLDER_0__ .

[215]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

Kaena is darkened with sea-mist;

Kaena is shrouded in sea mist;

Eruptions burst up mid lakes of flame;

Eruptions shot up through lakes of fire;

Scorched and gray are Po-loa’s bread-fruits.

Scorched and gray are Po-loa’s breadfruits.

Now, as a climax, down shuts the night.

Now, as a climax, the night falls.

You purpose to blind with darkness

You intend to blind with darkness

The woman who went as your fellow

The woman who went as your companion

Through rain and storm and piercing cold.

Through rain, storms, and biting cold.

List now, my friend: return with me—

List now, my friend: come back with me—

We’ve had a spell of nasty weather!

We’ve had a stretch of terrible weather!

For Hiiaka to give ear to the pleading voice of her friend, the woman who had shared with her the shock of battle and the hardships of travel from Hawaii to Kaua’i and back again, was to run the risk of being persuaded.

For Hiiaka to listen to the desperate pleas of her friend, the woman who had experienced the shock of battle and the difficulties of traveling from Hawaii to Kaua’i and back, was to risk being convinced.

“Come with me,” said Wahine-oma’o; “let us return to our mistress.”

“Come with me,” said Wahine-oma’o; “let’s go back to our mistress.”

“I must first seek and find Lohiau,” answered Hiiaka.

“I need to first find Lohiau,” Hiiaka replied.

“Better for us first to go before Pele. She will send and bring Lohiau.” Thus pleaded the woman Wahine-oma’o.

“It's better for us to go to Pele first. She will send for Lohiau.” This is what the woman Wahine-oma’o pleaded.

Hiiaka turned from the work of destruction and, hand in hand, they made their way back into the light and wholesome air of the upper world.

Hiiaka turned away from the destruction and, hand in hand, they walked back into the bright and fresh air of the upper world.

The sisters—those who bore the name Hiiaka—received her cordially enough. They prattled of many things; buzzed her with questions about her travels of long ago—as it now seemed to Hiiaka. It was not in their heart to stir the embers of painful issues. No more was it in their heart to fathom the little Hiiaka of yesterday, the full-statured woman of to-day. Beyond the exchange of becoming salutations, Hiiaka’s mouth was sealed. Until Pele should see fit to lend ear and heart to her speech not a word would she utter regarding her journey.

The sisters—those who carried the name Hiiaka—welcomed her warmly. They chatted about various things, showering her with questions about her travels long ago, which now felt like ages past to Hiiaka. They had no intention of revisiting painful memories. Nor did they consider the little Hiiaka of the past, now a grown woman. Other than exchanging polite greetings, Hiiaka remained silent. Until Pele decided to listen and care about her words, she wouldn’t say a thing about her journey.

But Pele lay on her hearth silent, sullen—no gesture, no look of recognition.

But Pele lay on her hearth silent and gloomy—no movement, no sign of recognition.

The kino wailua, or spirit from Lohiau, in the meantime, after having in vain tried to solace itself with the companionship of the forest song-birds and having found that resource empty of human comfort, fluttered across the desolate waste of ocean like a tired sea-bird back to his old home and there appeared to his aikane Paoa in a vision at night.

The kino wailua, or spirit from Lohiau, meanwhile, after unsuccessfully trying to find comfort in the company of the forest songbirds and realizing that it offered no human solace, drifted across the lonely ocean like a weary seabird returning to its old home and appeared to his aikane Paoa in a nighttime vision.

“Come and fetch me,” he said (meaning, of course, his body). “You will find me lying asleep at Kilauea.” [216]

“Come and get me,” he said (referring, of course, to his body). “You’ll find me asleep at Kilauea.” [__A_TAG_PLACEHOLDER_0__]

Paoa started up in a fright. “What does this mean?” he said to himself. “That Lohiau is in trouble?”

Paoa jumped up in alarm. “What does this mean?” he thought to himself. “Is Lohiau in trouble?”

When he had lain down again the same vision repeated itself. This time the command was imperative: “Come and rescue me; here I am in the land of non-recognition.”2

When he lay down again, the same vision came back. This time the command was urgent: “Come and save me; here I am in the land of unrecognition.”2

Now Paoa roused himself, assured that Lohiau’s sleep was that of death, but not knowing that he was, for the second time, the victim of Pele’s wrath. He said nothing to anyone but made all his preparations for departure in secret, reasoning that Kahua-nui, the sister of Lohiau, would not credit his story and would consequently interfere with his plans.

Now Paoa got up, convinced that Lohiau was sleeping like he was dead, unaware that he was, for the second time, suffering from Pele's anger. He didn't say anything to anyone and quietly got ready to leave, thinking that Kahua-nui, Lohiau's sister, wouldn't believe him and would end up messing with his plans.

He entered his canoe and, pressing the water with his paddle, his craft made a wonderful run towards Hawaii. It was necessary for him only to dip his paddle in the brine at intervals and to direct the course. The canoe seemed almost to move of itself. That same morning he arrived at Waipio. To his astonishment, there, in a boat-shed on the beach lay the canoe which he recognized as that of his friend Lohiau. The people of the district had been wondering whose it was and how it had come there.

He got into his canoe and, using his paddle, made an amazing run toward Hawaii. All he needed to do was dip his paddle in the saltwater occasionally and steer the direction. The canoe almost seemed to move by itself. That same morning, he reached Waipio. To his surprise, there in a boat shed on the beach was the canoe he recognized as belonging to his friend Lohiau. The locals had been curious about whose it was and how it ended up there.

Paoa found many things that were new and strange to him in this big raw island of Hawaii. Not the least of these was the land on which he trod, in places a rocky shell covering the earth like the plates on the back of the turtle, or, it might be, a tumble of jagged rocks—the so-called aä—a terrain quite new to his experience. It seemed as if the world-maker had not completed his work.

Paoa found many things that were new and strange to him on this vast, untamed island of Hawaii. Among these was the ground beneath his feet, which in some areas felt like a rocky shell covering the earth like the plates on a turtle's back, or perhaps a jumble of sharp stones—the so-called aä—a landscape completely unfamiliar to him. It felt as if the creator had not finished his work.

Of the route to Kilauea he was quite ignorant, but he was led. There flitted before him a shadow, a wraith, a shape and he followed it. At times he thought he could recognize the form of Lohiau and, at night or in the deep shadows of the forest, he seemed to be looking into the face of his friend.

Of the way to Kilauea, he had no idea, but he followed. A shadow, a ghostly figure, moved ahead of him, and he tracked it. Sometimes he thought he could make out the shape of Lohiau, and in the night or the dense shadows of the forest, it felt like he was gazing into his friend's face.

When night came he lay down in a sheltered place and slept. In the early morning, while darkness yet brooded over the land, he was roused by the appearance of a light. His first thought was that day had stolen upon him: but no, it was the kino wailua of his friend that had come to awaken him and lead him on the last stage of his journey. [217]

When night fell, he settled down in a safe spot and went to sleep. In the early morning, while darkness still covered the land, he was stirred by the sight of a light. At first, he thought day had crept up on him; but no, it was the kino wailua of his friend that had come to wake him and guide him on the final leg of his journey. [__A_TAG_PLACEHOLDER_0__]

1 Ko’olau, a term applied generally to the windward side of an island, which was, of course, the stormy side. The expression au Ko’olau, or Ko’olau weather, is one of great significance. ↑

1 Ko’olau refers to the windward side of an island, known for being the stormier side. The phrase au Ko’olau, or Ko’olau weather, carries a lot of importance. ↑

2 E ki’i mai oe ia’u; eia au la i ke au a ka hewahewa. ↑

2 Come up to me; here I am in the time of trouble. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXXVI

PAOA SEEKS OUT THE BODY OF HIS DEAD FRIEND LOHIAU

Under the lead of his spiritual guide, Paoa arrived that day at Kilauea and, standing at the brink of the great caldera, he saw the figure of Lohiau beckoning to him as it stood on a heap of volcanic debris. The wraith dissolved into nothingness as he approached the spot; but there lay a figure in stone having the semblance of a man. It was more an act of divination than the exercise of ordinary judgment that told him this was the body of Lohiau. “I thought you had summoned me to take home your living body, my friend!” was his exclamation. His voice was broken with emotion as he poured out his lament:

Under the guidance of his spiritual mentor, Paoa arrived at Kilauea that day. Standing at the edge of the massive caldera, he saw the figure of Lohiau waving to him from a pile of volcanic rubble. As he got closer, the apparition vanished into thin air; but there lay a stone figure that looked like a man. It was more of a vision than a normal realization that led him to understand this was Lohiau's body. “I thought you had called me to take your living body home, my friend!” he exclaimed. His voice trembled with emotion as he expressed his grief:

Mau a’alina oe mauka o Ka-la-ke-ahi;

Ma Puna ka huli mai ana;

Ka ua a Makali’i,

The rain of Makali’i,

Ke ua la i Laau,

I Kaú, i Ka-hihi, i Ka-pe’a,

I ke wao a ke akua.

I am a child of the gods.

Eia ho’i au la, o ka Maka-o-ke-ahi;

Eia ho'i au la, o ka Maka-o-ke-ahi;

Aole ho’i na la o ka Lawa-kua,

Ke Koolau la, e, aloha!

Ke Koolau la, hey, aloha!

Aloha ku’u hoa i ka ua anu lipoa,

Aloha my friend in the gentle cold rain,

Hu’ihu’i, ko’eko’e, kaoü:

He ahi ke kapa o kaua e mehana ai,

E lala ai kaua i Oma’o-lala;

I pili wale, i ha’alele la, e.

Ha’alele i Wailua na hoa aloha—

O Puna, aina aloha,

Oh Puna, beloved land,

O Puna, i Kaua’i.

O Puna, on Kaua’i.

TRANSLATION

Thou bundle of scars from a fiery day,

’Twas at Puna our journey began,

It was at Puna our journey began,

With a dash of rain in the summer;

With a bit of rain in the summer;

Rain again when we entered the woods,

Rain, too, in Kaú, in the jungle,

In the forest-haunts of the gods, [218]

In the forest homes of the gods, [__A_TAG_PLACEHOLDER_0__]

Rain at each crossing of road and path:—

Rain at every intersection of road and path:—

Here stand I, with fire in my eye:

Here I stand, with fire in my eyes:

Our days of communion are gone;

Our days of togetherness are over;

You’ve bidden adieu to Ko’olau:

You’ve said goodbye to Ko’olau:

Hail now to my mate of the gloomy rain—

Hail now to my friend of the gloomy rain—

When wet and cold and chilled to the bone,

When you're wet, cold, and shivering to the core,

Our garment of warmth the blazing hearth;

Our source of warmth is the blazing fireplace;

Then basked we at Oma’o-lala,

Then we relaxed at Oma’o-lala,

Haunting the place, then tearing away.

Haunting the place, then pulling away.

E’en so you tore away from your friends,

E'en so you tore away from your friends,

Those friends of Wailua, of Puna—

That dear land of Puna, Kaua’i!

That beloved land of Puna, Kaua’i!

(Here is another version of the eloquent prayer of Paoa; furnished by Poepoe, who obtained it from Rev. Pa’aluhi):

(Here is another version of the eloquent prayer of Paoa, provided by Poepoe, who got it from Rev. Pa’aluhi):

O mau a’alina oe,

You're doing well,

O mau kakala ke ahi.

The bad flame is the fire.

Ma Puna ka hiki’na mai

Ma Puna has arrived

A ka ua makali’i,

Ka ua a’ala ai laau,

The trees are fragrant.

I ka hiki, i ka pa’a,

I ke ahu a ke Akua.

Eia ho’i au, la.

I'm coming back, okay.

O ka maka o ke ahi;

Aole ho’i na la,

O ka lawakua1 a ke Koolau.

O ka lawakua__A_TAG_PLACEHOLDER_0__ a ke Koolau.

E, aloha o’u hoa,

E, hello my friend,

I ka ua a ka lipoa,2

Lihau anu, ko’eko’e, ka-o-ú—

He ahi ke kapa e mehana ai,

E lála3 ai kaua i Oma’o-lala.4

E lála__A_TAG_PLACEHOLDER_0__ there far away in Oma’o-lala.__A_TAG_PLACEHOLDER_1__

I pili wale, i ha’alele la, e.

Ha’alele i Puna na hoaloha, e,

Ha'alele i Puna na hoaloha, e,

Ka aina i ka houpu a Kane5

He aikane ka mea aloha, e

He-e!

Hey!

[219]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

You’ve encased him tight in a lava shell,

You’ve trapped him tightly in a lava shell,

Scorched him with tongues of flame.

Burned him with fire.

Puna, the place of thy landing,

Puna, the place where you arrived,

First impact of winter rain—

First effect of winter rain—

Sweet rain, feeding the perfume,

Sweet rain, nourishing the fragrance,

Drunk by vine and firm-rooted tree—

Drunk from the wine and the solidly rooted tree—

The wilderness-robe of the gods.

The god's wilderness robe.

Here am I, too, eye-flash of flame;

Here I am, too, a flash of flame;

As for them, no friends they of mine:

As for them, they're not my friends:

Companions mine of the stormy coast,

Companions of mine from the stormy coast,

My love goes forth to my toil-mate

My love goes out to my work partner.

Of the mist, cold rain and driving storm;

Of the fog, chilly rain, and fierce storm;

A blazing hearth our garment then,

A blazing hearth our clothing then,

And to bask in the sun at Oma’o-lála.

And to soak up the sun at Oma’o-lála.

Those seeming friends, they went with us,

Those so-called friends went with us,

And then, they left us in Puna—

Land dear to the heart of Kane:

Who eats of your soul is your true friend.

Who feeds on your soul is your true friend.

Woe is me, woe is me!

Hiiaka, not yet come back from her adventures in the underworld, heard this lament of Paoa and wondered at his performance—that he, a handsome man, should be standing out in the open with not even a malo about his loins to hide his nakedness, “I wonder what is his name,” she said aloud.

Hiiaka, who had not yet returned from her adventures in the underworld, heard Paoa’s lament and thought about his performance—that he, a handsome man, was standing out in the open without even a malo around his waist to cover his nakedness. “I wonder what his name is,” she said aloud.

Paoa, intent on supersensual things, heard the wondering words of Hiiaka and responded to them:

Paoa, focused on extraordinary matters, heard Hiiaka's curious words and replied to her:

Hulihia ke au, pe’a ilalo i Akea;

Hulihia ka mole o ka honua;

Hulihia ka ale ula, ka ale lani,

I ka puko’a, ka a’aka,6 ke ahua,

Ka ale po’i, e, i ka moku.

Nawele ke ahi, e, a i Kahiki; [220]

Nawele ke ahi, e, a i Kahiki; [__A_TAG_PLACEHOLDER_0__]

Nawele ka maka o Hina-ulu-ohi’a.7

Nawele ka maka o Hina-ulu-ohi’a.__A_TAG_PLACEHOLDER_0__

Wela ka lani, kau kahaeä;8

Wela ka lani, kau kahaeä; __A_TAG_PLACEHOLDER_0__

Wahi’a ka lani, uli-pa’a ka lani;

Eleele ka lau o Ka-hoa-li’i;

Eleele ka lau of Ka-hoa-li’i;

Ka pohaku kuku’i o ka Ho’oilo;

Nahá mai Ku-lani-ha-ko’i;9

Nahá mai Ku-lani-ha-ko’i; __A_TAG_PLACEHOLDER_0__

Ke ha’a-lokuloku nei ka ua;

It's raining heavily now;

Ke nei nei ke ola’i;

Live well;

Ke ikuwá mai la i uka.

Ke o’oki la i ka piko o ka hale,

A mo’ ka piko i Eleuä,10 i Eleaö:

Ka wai e ha’a Kula-manu,11

Ka wai e ha’a Kula-manu,__A_TAG_PLACEHOLDER_0__

Ka nahele o Ke-hua,

The forest of Ke-hua,

I loa i ke kula o Ho’o-kula-manu.

I went to the school of Ho’o-kula-manu.

E Pele, e wahi’a12 ka lani;

E Pele, e wahi’a__A_TAG_PLACEHOLDER_0__ ka lani;

E Pele e, ka wahine ai laau o Puna,

Ke ai holoholo la i ka papa o Hopoe;

Pau a’e la Ku-lili-ka-ua13 [221]

Pau a’e la Ku-lili-ka-ua__A_TAG_PLACEHOLDER_0__ [__A_TAG_PLACEHOLDER_1__]

Ka nahele makai o Keäau,

The coastal neighborhood of Keāau,

A ka mahu a ka Wahine,

Ka uahi keä i uka,

Ke ai la i Pohaku-loa,14

Ke ai la i Pohaku-loa,__A_TAG_PLACEHOLDER_0__

I ke ala a Lau-ahea;15

I go the Lau ahea; __A_TAG_PLACEHOLDER_0__

He wawaka ka huila o ka lani.

E Ku-kuena16 e, na’u ho’i e noho

Ka la puka i Ha’eha’e.

The sun rises in Ha’eha’e.

O ka luna o Uwé-kahuna;

O ka uwahi hauna-laau;

O ke po’o ku i ka pohaku;

O ka alá kani koele;

A ka nakolo i ka nei.

Ma’alili ole ai ua ’kua ai i ke a;

Nakeke ka niho o Pele i Kilauea;

Pohaku wai ku kihikihi,17

Pohaku wai ku kihikihi,__A_TAG_PLACEHOLDER_0__

Ku hiwa ai i ka maka o ka pohaku—

Pohaku ai-wawae o Malama;

Pohaku ai-wawae of Malama;

Hopo aku ka haka’i hele i ka la.

Pi’i a ka wai i uka,

Moana ai wai a ka Olohe;18

Kawa lele ai Kilauea;

Kilauea's lava flows;

Hohonu ai ka lua i uka,

Kapuahi ku-ku-ku.

Kapuahi stop it.

Nau ke ku’i o ke Akua;

Holo ka paku’i, lahe’a i na moku.

Holo the boat, sailing through the islands.

Nou ka lili, no ke Akua: [222]

Nou ka lili, no ke Akua: [__A_TAG_PLACEHOLDER_0__]

Lili’a i uka, lili’a i kai—

Lili’a in the mountains, lili’a by the sea—

O ka lili kepa i o kipi-kipi.

O haele a Mauna Pu’u-kuolo

A ka ehu o lalo

Paú mahana ai ka Wai-welawela.

The sun rises over Wai-welawela.

E Ku e, ke’ehia, ke’ehia ka pae opua;

Hina ololo i Ulu-nui:

Hina ololo in Ulu-nui:

Hina aku la, palala ke ao—

He ao omea a Ulu-lani.

Ke wela nei ka La;

The sun is setting;

Ke kau nei ka malu hekili iluna:

Ku’i, naue ka leo o ka opua, e—

Ku’i, the voice of the clouds, oh—

Opua ai laau la;

A ka luna i Moku-aweo-weo

A is the chief of Moku-aweo-weo

Hua’i Pele i ona kino;

Hua’i Pele and her body;

Lawe ka ua la, lawe ke kaupu e:

Opiopi kai a ke Akua;

O God, you are great;

Kuahiwi haoä19 i Kaú i waena.

Kuahiwi haoä19 in Kau is in between.

Ho’po mai la Puna i ka uwahi a ke Akua;

Poá ino no ka pua e lu ia nei.

Poá is the flower that blooms here.

Pau ku’u kino lehua a i kai o Puna:

Hao’e Puna, koele ka papa;

Hao’e Puna, right on point;

O ka uwahi na’e ke ike’a nei.

Kai-ko’o ka lua, kahuli ko’o ka lani

Ke Akua ai lehua o Puna,

Nana i ai iho la Hawaii kua uli:

Wahi’a ka lani; ne’e Hiiaka-i-ka-ale-i;20

Wahi’a ka lani; ne’e Hiiaka-i-ka-ale-i; __A_TAG_PLACEHOLDER_0__

Ne’e Hiiaka-i-ka-ale-moe;

O Hiiaka-pa’i-kauhale;

Hiiaka-i-ka-pua-enaena;21

Hiiaka-i-ka-pua-enaena;__A_TAG_PLACEHOLDER_0__

Hiiaka-i-ka-pua-lau-i;

O Hiiaka-noho-lae;22 [223]

O Hiiaka-noho-lae;__A_TAG_PLACEHOLDER_0__ [__A_TAG_PLACEHOLDER_1__]

Hiiaka-wawahi-lani;

Hiiaka-i-ka-poli-o-Pele,

Hiiaka in the arms of Pele,

Halanalana waimaka e hanini nei;

Halanalana is flowing now;

Wela mai ka maka o ka ulu o Ho’olono, e.

Ho’olono au o Ho’olei’a.

I listen to Ho’olei’a.

O Ho’olei’a au; o Kalei (au) a Paoa;

O Paoa au la, i lono oe.

TRANSLATION

The world is convulsed: the earth-plates sink

The world is shaking: the tectonic plates are sinking

To the nether domain of Wakea;

To Wakea's underworld;

Earth’s rooted foundations are broken;

Earth's solid foundations are shattered;

Flame-billows lift their heads to the sky;

Flame billows reach up to the sky;

The ocean-caves and reefs, the peopled land

The ocean caves and reefs, the populated land

And the circle of island coast

And the circle of the island's coast

Are whelmed in one common disaster:

Are overwhelmed by a single disaster:

The gleam of it reaches Kahiki:—

The shine of it reaches Kahiki:—

Such blush encircles the pale apple’s eye.

Such blush surrounds the pale apple's eye.

Heaven’s blotted out, the whole sky darkened;

Heaven's shut out, the entire sky went dark;

Hoali’i’s cliffs are shadowed with gloom.

Hoali’i’s cliffs are shrouded in darkness.

Now bellows the thunder of Winter;

Now the thunder of Winter roars;

Ku-lani-ha-ko’i’s banks are broken;

Ku-lani-ha-ko’i's banks are unstable;

Down pours a pitiless deluge of rain;

Down comes a relentless downpour of rain;

There’s rumble and groan of the earthquake,

There’s the rumble and groan of the earthquake,

The reverberant roar of thunder,

The echoing roar of thunder,

The roof-stripping swoop of the tempest.

The roof-stripping dive of the storm.

Tearing the thatch over Ele-uä,

Tearing the thatch over Ele-ao.

The freshet makes home for the water-fowl,

The flood gives a home to the waterfowl,

Flooding the thickets at Kehau,

Flooding the bushes at Kehau,

The wide-spread waters of Kula-manu.

The vast waters of Kula-manu.

O Pele, fold back the curtains of heaven;

O Pele, open the curtains of heaven;

Thou Woman, consumer of Puna woods,

Swift thy foray in Hopoe’s fields:

Swift your adventure in Hopoe’s fields:

The land of contending rains is wiped out,

The land of competing rains is gone,

And the lands that border Keäau.

Up springs the steam from her caldron,

Up rises the steam from her kettle,

A white cloudy mountain of smoke:

A white, cloudy mountain of smoke:

She’s consuming the bowlders of Long-rock,

She’s eating the boulders of Long Rock,

The treacherous paths of Lau-ahea.

The dangerous paths of Lau-ahea.

A flash of lightning rends the sky! [224]

A flash of lightning splits the sky! [__A_TAG_PLACEHOLDER_0__]

O Ku-kuena, ’tis for you to dwell

O Ku-kuena, it’s for you to stay

In the flaming Eastern Gate of the Sun.

In the blazing Eastern Gate of the Sun.

The plateau of Uwé-kahuna

The Uwé-kahuna plateau

Breathes the reek of burning woods;

Breathes the smell of burning wood;

There’s pelting of heads with falling stones

There’s a barrage of falling stones hitting heads.

And loud the clang of the smitten plain,

And loud was the sound of the hit ground,

Confused with the groan of the earthquake.

Confused by the rumble of the earthquake.

Yet this cools not the rock-eater’s rage:

Yet this doesn’t cool the rock-eater’s anger:

The Goddess grinds her teeth in the Pit.

Lo, tilted rock-plates melt like snow—

Lo, tilted rock plates melt like snow—

Black faces that shine like a mirror—

Sharp edges that bite the foot of a man,

Sharp edges that hurt a person's foot,

The traveler’s dread in the glare of the sun.23

The traveler's fear in the bright sunlight.23

The fire-flood swells in the upland—

The fire-flood rises in the hills—

A robber-flood—it dries up the streams.

A robber flood—it dries up the rivers.

Here’s cliff for god’s jumping, when wild their sport;

Here’s a cliff for jumping, when their fun is wild;

Deep the basin below, and boiling hot.

Deep in the basin below, and scalding hot.

The Goddess gnashes her teeth and the reek

The Goddess grits her teeth and the stench

Of her breath flies to the farthest shore.

Thine was the fault, O Goddess, thine, a

Jealous passion at all times and places—

Jealous passion all the time—

The snap and spring of a surly dog.

The abrupt movement and energy of an angry dog.

Let your gnashing range to its limit,

Let your gnashing reach its limit,

Till it reaches the fringe of your skirt,

Till it reaches the edge of your skirt,

Your hot paü at Wai-welawela.

Your hot tip at Wai-welawela.

Trample down, O Ku, these ominous clouds;

Trample down, O Ku, these threatening clouds;

Let them sag and fall at Ulu-nui.

Let them droop and drop at Ulu-nui.

They flatten, they break; look, they spread.

White loom, now, the clouds of Ulu-lani;

Fierce blazes the Sun, and Thunder

Unrolls his black curtains on high.

Unrolls his black curtains up high.

Then bellows his voice from the cloud—

Then his voice calls out from the cloud—

The ominous cloud that swallows the trees.

The dark cloud that covers the trees.

From the crest of Moku-aweö

From the top of Moku-aweö

Pele pours out her body, her self—

Pele expresses herself completely, pouring out all of her being—

A turmoil of rain and of sea-fowl.

A chaotic mix of rain and seabirds.

Now boils the lake of the Goddess:

Now the lake of the Goddess is boiling:

In Ka-ú an oasis-park remains;

In Ka-ú, an oasis park exists;

Her smoke covers Puna with night.

Her smoke blankets Puna in darkness.

What a robbery this, to crush the flowers! [225]

What a crime this is, to destroy the flowers! [__A_TAG_PLACEHOLDER_0__]

My bodily self, my lehuas, gone!

My physical self, my lehuas, gone!

My precious lehuas, clean down to Puna!

My precious lehuas, clean all the way to Puna!

And Puna—the land is trenched and seared!

And Puna—the land is scarred and burned!

The smoke that o’erhangs it, that I can see.

The smoke that hangs over it, that I can see.

High surf in the Pit, turmoiling the sky—

High surf in the Pit, churning the sky—

The god who ate Puna’s Lehuas,

The god who consumed Puna’s Lehuas,

She ’twas laid waste green-robed Hawaii.

She had laid waste to green-robed Hawaii.

The heavens—let them rend, Hiiaka!

The heavens—let them tear, Hiiaka!

Plunge you in the wild tossing sea;

Plunge yourself into the wild, churning sea;

And you, who delight in the calm sea;

And you, who find joy in the calm ocean;

Hiiaka, thou thatcher of towns,

Hiiaka, you builder of towns,

Hiiaka, soul of the flame-bud;

Hiiaka, spirit of the flame-bud;

Hiiaka, emblemed in ti-bud;

Hiiaka, symbolized by ti bud;

Hiiaka, who dwells on the headland;

Hiiaka, who lives on the cliff;

Hiiaka, who parts heaven’s curtains;

Hiiaka, who opens heaven's curtains;

Hiiaka—of Pele’s own heart!

Hiiaka—Pele's own heart!

These tears well from eyes hot with weeping,

These tears flow from eyes burning with crying,

The eyes of this scion, this herald:

The eyes of this descendant, this messenger:

I proclaim that he’s outcast and exiled.

I declare that he’s been cast out and banished.

’Tis I, Paoä announce this:

It’s me, Paoä announce this:

He speaks what is ment for your ear!

He says what is meant for your ear!

1 Lawakua, an intimate companion, a friend. ↑

1 Lawakua, a close friend, a true companion. ↑

2 Ua a ka lipoa, a fine, cold rain; a Scotch mist. ↑

2 It's a cold rain, like a light drizzle. ↑

3 Lala, to bask in the sunlight. ↑

3 Lala, to soak up the sun. ↑

4 Oma’o-lala, a place in upper Ola’a, named from the bird oma’o. ↑

4 Oma’o-lala, a spot in upper Ola’a, is named after the bird oma’o. ↑

5 Aina i ka houpu a Kane, a proverbial expression applied to Puna, signifying the affection in which Puna was held. ↑

5 Aina i ka houpu a Kane, a saying used for Puna, representing the love and appreciation people had for Puna. ↑

6 A’aka, an ocean cave (definition not given in the dictionary). ↑

6 A’aka, an ocean cave (definition not provided in the dictionary). ↑

7 Nawele ka maka o Hina-ulu-ohi’a. By metonymy, a figure of speech for which the Hawaiian poets showed great fondness, the name of the goddess, or superior being, Hina-ulu-ohi’a, is here used instead of the fruit which seems to have been her emblem. This fruit, the ohi’a puakea, is a variety of the ohi’a ai, or mountain apple, as it is commonly called. The common variety is of a deep red color shading into purple; but this variety, departing from the usual rule, is of a pale lemon color. This pale variety shows a faint pink or reddish ring about the maka, or eye where the flower was implanted. The poet’s fancy evidently makes a comparison between this delicate aureole and the dim glow by which the volcanic fire made itself perceived in its periphery at Kahiki. ↑

7 Nawele ka maka o Hina-ulu-ohi’a. Using metonymy, a literary device that Hawaiian poets really loved, the name of the goddess, or higher being, Hina-ulu-ohi’a, is used here instead of the fruit that appears to be her symbol. This fruit, the ohi’a puakea, is a type of the ohi’a ai, commonly known as the mountain apple. The typical variety is a deep red color fading into purple; however, this particular variety differs from the norm and is a light lemon color. This pale type has a subtle pink or reddish ring around the maka, or eye, where the flower was attached. The poet’s imagination clearly draws a connection between this delicate halo and the soft light that volcanic fire emitted at its edges in Kahiki. ↑

8 Kahaea, a pile of white cumulus clouds, or a single large cloud, which was regarded by weather prophets, soothsayers and diviners as a significant portent. ↑

8 Kahaea, a bunch of white cumulus clouds, or a big single cloud, was seen by weather forecasters, psychics, and seers as an important sign. ↑

9 Ku-lani-ha-ko’i. The old Hawaiians imagined that somewhere in the heavens was an immense reservoir of water, and that a heavy downpour of rain was due to the breaking of its banks. When the clouds of storm and rain gathered thick and black, they saw in this phenomenon a confirmation of their belief, which gained double assurance when the clouds discharged their watery contents. ↑

9 Ku-lani-ha-ko’i. The ancient Hawaiians believed there was a vast reservoir of water somewhere in the sky, and that when it rained heavily, it meant the reservoir had overflowed. When dark and thick storm clouds formed, they viewed this as a sign that their belief was true, which was further confirmed when the clouds released their rain. ↑

10 Eleua … Eleao. When a Hawaiian house had a door at each end, the door at one end was named Ele-ua, that at the other end Ele-ao. ↑

10 Eleua … Eleao. When a Hawaiian house had a door on each side, the door at one side was called Ele-ua, and the one on the opposite side was called Ele-ao. ↑

11 Kula-manu. A plain or tract of land that was flooded in wet weather and thus converted for a time into a resort for water-fowl, was termed a kula-manu or bird plain. ↑

11 Kula-manu. A flat area or piece of land that gets flooded during rainy weather and becomes a temporary haven for waterfowl is called a kula-manu or bird plain. ↑

12 Wahi’a ka lani. This passive form of the verb has here the force of entreaty almost equivalent to the imperative. The opening here spoken of was the parting and drawing aside of the dark clouds that shut in the heavens, an opening that would be equivalent to the restoration of peace and good will. ↑

12 Wahi’a ka lani. This passive verb form is used here to express a plea that’s almost like a command. The "opening" mentioned refers to the parting of the dark clouds that cover the sky, creating an opening that symbolizes the return of peace and goodwill. ↑

13 Ku-lili-ka-ua, the name applied to a grove of pandanus in Puna. ↑

13 Ku-lili-ka-ua, the name given to a cluster of pandanus trees in Puna. ↑

14 Pohaku-loa, the name of a rocky ledge or cliff in Puna. ↑

15 Lau-ahea. This was a deceitful voice, a vocal Will-o’-the-wisp, that was sometimes heard by travelers and that enticed them into the wilderness or thicket there to be entrapped in some lua meke or fathomless pit. ↑

15 Lau-ahea. This was a misleading voice, a tempting Will-o’-the-wisp, that could occasionally be heard by travelers, luring them into the wilderness or dense underbrush, where they could be caught in some lua meke or deep pit. ↑

16 Kuku-ena, a sister of Pele who, like Kahili-opua, was a physician and of a benevolent disposition. She was wont to act as the guide to travelers who had their way in the mazes of a wilderness. So soon, however, as the traveler had come clear into a clear place and was able to orient himself, she modestly disappeared. ↑

16 Kuku-ena, a sister of Pele who, like Kahili-opua, was a healer and had a kind nature. She would often guide travelers through the confusing paths of the wilderness. However, as soon as the traveler reached an open area and could find their bearings, she would quietly slip away. ↑

17 Ku kihikihi, to stand cornerwise or edgewise. In the ebullition that stirs the mass of a lava lake at seemingly rhythmical intervals the congealed crust that has formed on the surface is seen to break up, become tilted on edge, and then be sucked down into the depths by the vortex of the lava-pit. The allusion here is to the tilting of the plate on edge in this wonderful phenomenon. ↑

17 Ku kihikihi, meaning to stand at an angle or sideways. In the boiling action of a lava lake, which happens at seemingly rhythmic intervals, the solid crust that has formed on the surface can be seen breaking apart, tilting on its side, and then being pulled down into the depths by the swirling motion of the lava pit. The reference here is to the way the plate tilts in this amazing phenomenon. ↑

18 Olohe. This is explained and described as meaning a spectral appearance of human figures and of objects animate and inanimate moving about in the firmament. The description given of it almost leads one to think it a mirage or fata morgana. ↑

18 Olohe. This is explained as a vision of ghostly human figures and objects, both living and non-living, moving through the sky. The way it's described makes it seem almost like a mirage or fata morgana. ↑

19 Kuahiwi haoa, a term applied in Kau to a forest-clump which a devastating lava flow has spared, after having laid waste the country on all sides of it. ↑

19 Kuahiwi haoa, a term used in Kau to describe a cluster of trees that a destructive lava flow has saved, while destroying the surrounding land. ↑

20 Hiiaka-i-ka-ale-i, Hiiaka of the bounding billow. The number of the sisters in whose names that of Hiiaka formed a part was considerable, as may be inferred from the fact that the names here mentioned do not include the whole list of them. ↑

20 Hiiaka-i-ka-ale-i, Hiiaka of the crashing waves. The number of sisters named after Hiiaka was quite large, as suggested by the fact that the names listed here do not cover the entire group. ↑

21 Hiiaka-i-ka-pua-enaena, Hiiaka of the burning flower. Her emblem was the little budlike pea-blossom flame. This name is sometimes given as Hiiaka-i-ka-pua-aneane, a more delicate but less striking epithet. ↑

21 Hiiaka-i-ka-pua-enaena, Hiiaka of the burning flower. Her symbol was the small bud-like flame of a pea blossom. This name is sometimes referred to as Hiiaka-i-ka-pua-aneane, which is a more delicate but less impressive title. ↑

22 Hiiaka-noho-lae, Hiiaka who dwells on the cape. She was recognized by a trickle of blood on the forehead. ↑

22 Hiiaka-noho-lae, Hiiaka who lives on the cape. She was identified by a small trickle of blood on her forehead. ↑

23 O ka la ko luna. O ka pahoehoe ko lalo. The sun overhead. The lava below. ↑

23 O ka la ko luna. O ka pahoehoe ko lalo. The sun is above. The lava is below. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXXVII

PAOA COMES BEFORE PELE

The eminence of Akani-kolea stood near at hand and offered Paoa a vantage ground for better contemplation of the mysterious earth-pit, and when the first tide of emotion had swept by thither he repaired. Looking down into the desolate abyss, his gaze centered on a group of human figures, beautiful women, seated on the vast plates of pahoehoe that made the floor of the caldera. He saw but four of them, Pele herself not being visible. He had no clue as to their identity and was only impressed as by the sight of beautiful women who were to him as goddesses. The grandeur and strangeness of the scene moved him to song:

The prominence of Akani-kolea was nearby and gave Paoa a great spot to better reflect on the mysterious pit in the ground. Once the initial wave of emotion passed, he made his way there. Looking down into the empty void, he focused on a group of people—beautiful women—sitting on the expansive slabs of pahoehoe that formed the caldera’s floor. He could only see four of them, with Pele herself absent. He had no idea who they were and was only struck by the sight of these lovely women, who appeared to him like goddesses. The magnificence and oddity of the scene inspired him to sing:

Hulihia ka Mauna,

The mountain is transformed,

Wela i ke ahi a ka Wahine;

Wela na ohi’a o Kulili i ka ua;

Wela, a nopu ke ahi o ka Lua. [226]

Wela, the fire at the two. [__A_TAG_PLACEHOLDER_0__]

Ai kamumu, nakeke ka pahoehoe;

Wela, a iluna o Hale-ma’uma’u;

Wela, at the summit of Hale-ma’uma’u;

Malu ka pali o Ka-au-eä.

Malu the shore of Ka-au-eä.

Auwe, e Hiiaka-i-ka-poli-o-Pele, e,

Auwe, Hiiaka-i-ka-poli-o-Pele, e,

E ola, e, e ola Lohiau-ipo,

I ka pali o Keé, i Haena, e!

TRANSLATION

Destruction and turmoil in the Pit:

Destruction and chaos in the Pit:

The fires of the Woman have done it—

Consuming the forests of Ku-lili—

Using the forests of Ku-lili—

Fires that boil from the depths of the Pit,

Fires that surge from the depths of the Pit,

Shaking the stone-plates till they rattle.

Shaking the stone plates until they rattle.

It’s furnace-hot in that House-of-fern,

It's furnace-hot in that fern house,

But there’s shelter at Ka-au-eä.

Oh Hiiaka of Pele’s heart,

Oh Hiiaka, beloved of Pele,

Life to thee, and life to dear Lohiau—

Life to you, and life to dear Lohiau—

Soul plucked by thee from death at Keé,

Soul taken by you from death at Keé,

Death in the cliff Keé, at Haena.

Pele, in the retirement of her gloomy cavern, was quite out of the range of Paoa’s eye-shot, but his voice rang in her ears distinctly. “What a handsome man is that standing on the edge of the cliff at Akani-kolea!” exclaimed Pele’s women, unable to repress their admiration.

Pele, in the solitude of her dark cave, was far out of Paoa’s sight, but his voice clearly echoed in her ears. “What a handsome man is that standing on the edge of the cliff at Akani-kolea!” exclaimed Pele’s women, unable to hide their admiration.

“Call to him and invite him to come down here where we can talk together,” said Pele. “Way up there on the pali wall—that’s no place for us to talk and become acquainted with each other. Tell him to come down here and we’ll discuss matters great and small, look upon the large stem and the small stem; see one another face to face; learn each other’s heart’s desire.”1

“Call him over and invite him to come down here so we can chat,” said Pele. “Up there on the cliff—that’s not a good spot for us to talk and get to know each other. Tell him to come down here and we’ll go over everything, big and small; check out the big stem and the small stem; see each other face to face; and understand each other's true desires.”1

For all her fine words. Pele did not at once come forward and meet her visitor face to face. She lay unrecognized in her stygian boudoir, to all appearance a withered hag.

For all her eloquent words, Pele didn’t immediately step forward to meet her guest face to face. She lay unrecognized in her dark room, looking like a withered old woman.

Paoa, well versed in the wiles of Woman, adept in the logomachies and etiquettes of court-life, was quite put to his trumps and found it necessary to summon all his diplomacy and exercise [227]all his power of self-command in dealing with the shrewd and attractive women that surrounded him. It was evident to the watchful eye of our heroine—Hiiaka—that he was dangerously attracted by the voluptuous beauty of her sister, Hiiaka-of-the-waves. In the persistent silence of Pele, upon her fell the leading part of the conversation with Paoa:

Paoa, skilled in the tricks of women and well-versed in the politics and etiquette of court life, found himself in a challenging situation and had to call upon all his diplomacy and self-control when interacting with the clever and alluring women around him. Our heroine, Hiiaka, noticed with keen observation that he was dangerously drawn to the captivating beauty of her sister, Hiiaka-of-the-waves. With Pele remaining quietly distant, it was Hiiaka who took the lead in the conversation with Paoa:

“What might be the purpose of your pilgrimage?” she asked.

“What’s the purpose of your pilgrimage?” she asked.

“I come in answer to the call of my friend, Lohiau.”

“I’m here in response to my friend Lohiau’s call.”

“But Lohiau is dead,” chorused the women.

“But Lohiau is dead,” the women echoed.

“Yes, dead! And what was the cause of his death?”

“Yes, dead! And how did he die?”

“He kissed Hiiaka,” the woman answered.

“He kissed Hiiaka,” the woman said.

“Ah! but who killed him?”

“Ah! but who did it?”

“Pele.” Her voice sank to a whisper, and the name she uttered was to be made out, or guessed at, rather by a study of the protruding lips and the sympathetic arching of the brow than by any sound emitted. Her eyes also made a half-turn in the direction of Pele’s cave.

“Pele.” Her voice dropped to a whisper, and the name she said could be understood or guessed more by watching her lips move and the sympathetic raise of her eyebrows than by any sound she made. Her eyes also glanced partially toward Pele’s cave.

“He came to Hawaii in the expectation that Pele would be his life.” Paoa spoke with thoughtful deliberation. “How came it about that she should cause his death?” … After a moment’s pause, he continued: “He tasted death once at Haena and, now, again, here, on this barren … a second death, and through the wrath of Pele!”

“He came to Hawaii believing that Pele would be his life.” Paoa spoke with careful thought. “How did it happen that she caused his death?” … After a moment’s pause, he continued: “He faced death once at Haena and now, once again, here, on this barren … a second death, and because of Pele’s wrath!”

Pele roused herself at this and spoke up: “What is that you say? that Lohiau died at Haena?”

Pele woke up at this and said, “What do you mean? Lohiau died at Haena?”

“Yes, he tasted of death there,” Paoa answered firmly.

“Yes, he experienced death there,” Paoa replied confidently.

“How, then, did he become alive again?” asked Pele sharply.

“How did he come back to life?” Pele asked sharply.

“Hiiaka, she treated him, and by her gracious skill and power brought his soul and body together again. That done, they sailed away for Hawaii.”

“Hiiaka, she cared for him, and with her kind skill and power, she brought his soul and body back together. Once that was done, they set sail for Hawaii.”

The eyes of Pele were literally, as well as metaphorically, opened. She turned herself about and, in a lowered voice, with a show of astonishment, for the first time, addressed Hiiaka: “Is this true, that you worked over Lohiau and restored him to life?”

Pele's eyes were wide open, both literally and figuratively. She turned around and, speaking softly and with a look of surprise, asked Hiiaka for the first time, "Is it true that you brought Lohiau back to life?"

“It is true, and it is also true that, not until you had put to death Hopoe, did I bestow any dalliance or caress of love upon Lohiau.”

“It’s true, and it’s also true that I didn’t show any affection or love to Lohiau until you had killed Hopoe.”

Hiiaka’s expression as she faced Pele was such as might have sat upon the countenance of a judge passing sentence on a confessed criminal at the bar.

Hiiaka’s expression as she faced Pele was like that of a judge delivering a sentence to a confessed criminal in court.

Pele sat impenetrable, sphinxlike, deep in her own labyrinthine [228]philosophy of the obligations due to a social autocrat and a goddess.

Pele sat unmoving, like a sphinx, deep in her own complex [__A_TAG_PLACEHOLDER_0__]thoughts about the duties owed to a social autocrat and a goddess.

Paoa broke the silence: “Shall not Lohiau, then, live again?”

Paoa broke the silence: “Isn’t Lohiau going to live again?”

“Go back to Haena,” said Pele, “and when you hear that Lohiau lives again, then will be the time for you to come and take him home.”

“Go back to Haena,” Pele said, “and when you hear that Lohiau is alive again, that will be the time for you to come and take him home.”

“That would be well, then,” said Paoa.

“That would be good, then,” said Paoa.

A spell of confusion, of enchantment, seemed now to fall upon the man whilom so boastful. “But where is Pele?” he asked, looking from face to face.

A wave of confusion and enchantment seemed to wash over the once boastful man. “But where is Pele?” he asked, glancing from one face to another.

“That is Pele,” said the goddess, pointing to her sister Wave (Hiiaka-i-ka-ale-i).

"That's Pele," said the goddess, pointing to her sister Wave (Hiiaka-i-ka-ale-i).

“I have a sign by which I may know Pele; let me apply the test to these women,” said Paoa.

“I have a way to identify Pele; let me put these women to the test,” said Paoa.

The company could but agree to this; whereupon, beginning with Wave, he took each one of them in turn by the hand, carrying it to his cheek, the better to test its warmth, holding the hollow to his ear to catch any murmur that might reverberate from it. Each hand he found to be only of natural heat. Turning, then, to Pele herself, he proposed to inspect her hand. At this the goddess drew back.

The company could only agree to this; then, starting with Wave, he took each of them by the hand, bringing it to his cheek to feel its warmth, holding the palm to his ear to hear any sound that might echo from it. He found that each hand was just naturally warm. Turning to Pele herself, he suggested checking her hand. At this, the goddess stepped back.

“If none of these beautiful women is Pele, how can you think that a wrinkled old woman like me is the divine and beautiful Pele?”

Paoa insisted and Pele had to consent. He reached out and took her hand and, on the instant, dropped it; it was burning hot.

Paoa insisted, and Pele had to agree. He reached out and took her hand, but then instantly dropped it; it was scalding hot.

“This is Pele!” he exclaimed.

“This is Pelé!” he exclaimed.

Paoa stood in awed silence before the goddess. Resentment and thoughts of revenge, like evil birds, had taken flight.

Paoa stood in quiet amazement before the goddess. Resentment and thoughts of revenge, like dark birds, had taken off.

At Pele’s command, the women led him away to take refreshment in the sacred dining hall of Mauli-ola. Before seating himself, Paoa uttered this memorable pule, a mele that has drifted down to us from the wa po:

At Pele’s request, the women took him to the sacred dining hall of Mauli-ola for refreshments. Before he sat down, Paoa expressed this memorable pule, a mele that has been passed down to us from the wa poPlease provide the text you would like me to modernize.

Hulihia ke au, ka papa honua o kona moku;

Hulihia, kulia mai ka moku o Kahiki—

Hulihia, here comes the land of Kahiki—

Aina no Kahiki i ka la kahi,

Aina ho’owali’a e Haumea:

Aina in worship of Haumea:

Ho-omoe aku la Kahiki-ku,

Kulapa mai ka ulu wela, o mai ke ahi. [229]

Kulapa from the hot grove, where the fire comes from. [__A_TAG_PLACEHOLDER_0__]

Keehi aku la no e nalo2 kapua’i, e—

Kapua’i akua no Pele.

Kapua’i deity for Pele.

Ke ke’ekeehi wale la no i ka lani;

Haule, u’ina i Polapola;

Haule, u’ina in Polapola;

Noho i ka lau ha’a o ka moku.

Hina Kukulu o Kahiki;

Hina Kukulu of Kahiki;

Hina ka omuku i ka makani;

Hina was directed by the wind;

Hina ka pae opua ki’i ke ao;

Hina, the rising cloud of the world;

Hina ka onohi ula3 i ka lani;

Hina ka onohi ula3 in the sky;

Kanewenewe opua i ke kai.

Kanewenewe floats in the sea.

Eä mai ana ma Nihoa,

Eā mai ana ma Nihoa,

Ma ka mole mai o Lehua,

Mai Kaua’i nui a Oahu, a Moloka’i,

Lana’i a Kanaloa, mai Maui a Hawaii,

Lana’i and Kanaloa, from Maui to Hawaii,

Ka Wahine—o Pele—i hi’a i kana ahi

A á pulupulu, kukuni, wela ka lani:

He uwila ku’i no ka honua;

Hekili pa’apa’ina i ke ao;

Hekili unites in the world;

Pohaku puoho, lele iluna;

Opa’ipa’i wale ka Mauna;

The mountain stands tall;

Pipili ka lani, pa’a iä moku.

Nalo Hawaii i ka uahi a ka Wahine,

Nalo Hawaii in the smoke of the Woman,

I ka lili a ke Akua.

Oliliku ka ua mai ka lani;

Oliliku means the rain comes from the sky;

Lili ana ho’i i kana ahi;

Lili just got back from the fire;

Lili ana ho’i Pele

Lili is coming home, Pele

Hama-hamau ka leo, mai pane!

Eia Pele, ko’u Akua!

Hey God, my deity!

Ke lauwili nei ka makani;

The wind is swirling;

Hoanoano mai ana na eho lapa uwila;

Hekili wawahi ka lani;

Hekili is the sky’s sound;

Ku loloku ka ua i uka;

Ku’i ka hekili, nei ke ola’i;

Lele kapu i kai.4

Lele jumps in the sea.__A_TAG_PLACEHOLDER_0__

Hiki lele ai i lalo o Kane-lu-honua.

Hiki lele goes down to Kane-lu-honua.

O Kane-pua-hiöhiö, wili,—

Wili ia i uka, wili ia i kai; [230]

Wili ia i uka, wili ia i kai; [__A_TAG_PLACEHOLDER_0__]

Wili ia i luna, wili ia i lalo;

Wili it up, wili it down;

Wili ia i ka uä,

I ka hoöle akua, hoöle mana—5

Ka ho’o-malau,6 e, ka ho’o-maloka;7

Ka ho’o-malau,__A_TAG_PLACEHOLDER_0__ e, ka ho’o-maloka;__A_TAG_PLACEHOLDER_1__

Ke A-papa-nu’u,8 ke A-papa-lani.9

Ke A-papa-nu’u, __A_TAG_PLACEHOLDER_0__ ke A-papa-lani.__A_TAG_PLACEHOLDER_1__

O Mano-ka-lani-po,10 o ke aka lei-hulu—

O Mano-ka-lani-po,__A_TAG_PLACEHOLDER_0__ of the feather lei—

Hulu o manu kiü, o manu ahiahi;

O manu aha’i lono:—

Ha’ina a’e ana ka mana o ko’u Akua

Iwaho nei la, e; ha’ina ho’i!

Kukulu ka pahu kapu a ka leo:11

He ala12 hele, he ala muku,

He eats whole, he eats bite-sized,

No Kane, laua o Kanaloa; [231]

No Kane, god of Kanaloa; [__A_TAG_PLACEHOLDER_0__]

He ki13 ho’iho’i kanawai;

He ki__A_TAG_PLACEHOLDER_0__ ho’iho’i laws;

He kai14 oki’a kanawai;

He kai__A_TAG_PLACEHOLDER_0__ food law;

He kua15 a kanawai —

He kua__A_TAG_PLACEHOLDER_0__ a kanawai —

No Pele, no ko’u Akua, la!

TRANSLATION

There’s turmoil and heaving of strata

There’s chaos and shifting of layers

In the land She claimed for her own.

In the land she claimed as her own.

Kahiki was land at the dawn of time,

Kahiki was land at the beginning of time,

A land by Haumea mixed and tempered;

A land shaped and molded by Haumea;

Then She spread out Kahiki-ku;

Then she laid out Kahiki-ku;

She kindled her fires; the flames leapt high.

She lit her fires; the flames shot up high.

The Goddess covers her footprints—

The goddess hides her tracks—

The foot-marks of Goddess Pele—

The footprints of Goddess Pele—

She treads the path of the heavens;

She walks the path of the sky;

Swoops down and lands at Polapola.

She dwells in the level island plain.

She lives on the flat island plain.

Down fall the pillars of Kakihi;

The wind topples over the ruins;

The wind knocks down the ruins;

Down tumble the sun-kissing clouds;

Down fall the sun-kissing clouds;

Down sinks the blood-red eye of Heaven

Down sinks the blood-red eye of the sky

And big-bellied clouds that loom at sea.

And large, rounded clouds that hang over the sea.

Pele heaves in sight at Nihoa—

Pele comes into view at Nihoa—

That limpet stuck to Lehua’s base.

That limpet was stuck to Lehua’s base.

From famed Kaua’i to Oahu;

From famous Kaua’i to Oahu;

Thence on to Mother Hina’s isle;

Thence on to Mother Hina’s island;

To Lana’i of Kanaloa;

To Mani and, last, to Hawaii:

To Mani and, finally, to Hawaii:

This the route of the Woman—Pele.

This is the path of the Woman—Pele.

Then she rubs her fire-sticks to a blaze:

Then she rubs her sticks together to make a fire:

Up flames her touchwood, kindling the heavens. [232]

Up goes her touchwood in flames, igniting the heavens. [__A_TAG_PLACEHOLDER_0__]

Earth sees the flash of lightning, hears the boom

Earth sees the flash of lightning and hears the thunder.

Of thunder echoed by mountain walls—

Rocks flung in space bombard the day,

Rocks thrown through space hit during the day,

Shaking the mountain to its base.

Shaking the mountain to its core.

The firmament sags, clings to the earth;

The sky droops, hangs low to the ground;

Hawaii is lost in Her smoke,

Hawaii is lost in its smoke,

At the passion-heat of the Goddess.

At the intense passion of the Goddess.

Down clatters the rain from the sky—

Down falls the rain from the sky—

A damper this to the Goddess’ fires;

A dampener to the Goddess’s flames;

It rouses the wrath of Pele.

It provokes the anger of Pele.

Keep silence! retort not! never a word!

Keep quiet! Don’t respond! Not a single word!

’Tis the voice of Pele; she’s my God.

It’s the voice of Pele; she’s my God.

The wind veers; there’s far-off corruscation;

The wind shifts; there’s a distant sparkle;

The thunder wrenches heaven’s gates;

The thunder shakes heaven’s gates;

A sobbing of rain in the mountains,

A soft crying of rain in the mountains,

The crash of thunder and earthquake;

The sound of thunder and the shaking of the ground;

Old tabus take flight to the ocean.

Old taboos take flight to the ocean.

Now starts up the Earth-shaker Kane,

Now comes the Earth-shaker Kane,

And Kane, the whirl-wind-breeder—

And Kane, the whirlwind breeder—

A tempest-whirl, o’er mountain and sea;

A whirlwind storm, over mountains and sea;

A tempest-whirl, in heaven and on earth;

A storm-twirl, in the sky and on the ground;

A tempest-whirl, sodden with rain,

A wild storm, soaked with rain,

The atheist and the skeptic,

The nonbeliever and the skeptic,

The scorner and unbeliever—

The skeptic and nonbeliever—

Powers of the under-world and the air.—

Powers of the underworld and the sky.—

The hero Mano-ka-lani-pó,

His emblem a feathery wreath—

His emblem a feather wreath—

Plume from the bird that spies and tattles,

Plume from the bird that watches and gossips,

From the bird that makes proclamation,

From the bird that chirps,

Declaring the might, the power, of my God;

Declaring the strength and power of my God;

Out here, in the open, declare it.

Out here, in the open, say it out loud.

Proclaim the edict of silence—

Proclaim the silence decree—

A short way, a true way, this way

A simple path, a genuine path, this path

Of Kane, of Kanaloa—

Compact this and bind in one bundle;

Compact this and tie it all together in one bundle;

Let Ocean then swallow the rest.

Let the Ocean then take the rest.

A jealous flame is Pele’s back:

That is the law of Pele, of my God!

That is the law of Pele, my God!

This pule, which I have heard spoken of as ka pule kanawai—from the use of the word kanawai in the last part of the mele, dates back, it is said, to the time of Paao, the priest and chief who [233]came to Hawaii from Samoa in the remote ages. Paoa’s argument—if he can be said to have had any—seems to be that Pele should cast away, throw into the ocean, the lumber of old laws and tabus and start afresh.

This pule, which I've heard referred to as ka pule kanawai—because of the use of the word kanawai in the last part of the mele—goes back, it’s said, to the time of Paao, the priest and chief who [__A_TAG_PLACEHOLDER_0__]came to Hawaii from Samoa in ancient times. Paoa’s argument—if it can be considered an argument—seems to be that Pele should discard, throw into the ocean, the remnants of old laws and tabus and start anew.

Before leaving the subject—the consideration of the mele—I must mention, apropos of the expression pahu kapu a ka leo, in verse 54, an incident related to me by a Hawaiian friend (J. M. P.). He says that when he was a boy, his mother, when a thunder-storm arose, would often say to him, “keep silence! that’s Kane-hekili.” In Kahuku, island of Oahu, at a place not far from the sugar-mill, is a cave, known as Keana. In former times this cave was the home where lived a mother and her two sons. One day, having occasion to journey to a distance, she left them with this injunction, “If during my absence you hear the sound of thunder, keep still, make no disturbance, don’t utter a word. If you do it will be your death.” During her absence, there sprang up a violent storm of thunder and lightning, and the young lads made an outcry of alarm. Thereupon a thunderbolt struck them dead, turning their bodies into stone. Two pillar-shaped stones standing at the mouth of the cave are to this day pointed out in confirmation of the truth of the legend.

Before leaving the topic—the discussion of the mele—I need to mention, regarding the phrase pahu kapu a ka leo, in verse 54, an incident shared with me by a Hawaiian friend (J. M. P.). He recalls that when he was a boy, his mother would often tell him during a thunderstorm, “be quiet! That’s Kane-hekili.” In Kahuku, on the island of Oahu, not far from the sugar mill, there’s a cave known as Keana. In the past, this cave was home to a mother and her two sons. One day, when she had to travel a bit further away, she instructed them, “If you hear thunder while I’m gone, stay calm, don’t make any noise, and don’t say a word. If you do, it will cost you your life.” While she was away, a fierce storm with thunder and lightning erupted, and the boys cried out in fear. As a result, a lightning bolt struck them dead, turning their bodies into stone. Two pillar-shaped stones at the entrance of the cave are still shown today as proof of the legend.

As Paoa concluded his prayer-song the eyes of the whole company were turned upon him, and on the lips of them all was the question, “Was she then your God?”

As Paoa finished his prayer-song, everyone in the group looked at him, and they all had the same question on their lips: “Was she then your God?”

“She is my God,” he answered, “and my ancestors from the earliest times have worshipped her.” … Then, turning his eyes about him, as if to survey the land, he continued, “If this were my land, as is Kaua’i, there would be no lack of good and wholesome food-provision, and that of all kinds. Things are different here … I am a stranger in this land.”

“She is my God,” he replied, “and my ancestors have worshipped her since ancient times.” … Then, looking around, as if to take in the landscape, he added, “If this were my land, like Kaua’i, there would be plenty of good and healthy food—of every kind. Things are different here … I am a stranger in this land.”

On hearing these words, which had in them the sting of truth, for poison had been mixed with some of the food, the women stealthily hid away certain dishes and substituted for them others.

On hearing these words, which carried the sting of truth, since poison had been mixed with some of the food, the women quietly hid certain dishes and replaced them with others.

At the conclusion of the repast the women who had been in attendance brought him a girdle delicately embroidered with fibers from the coconut that he might be suitably appareled for his interview with the woman Pele. “You will find,” they said, “that Pele is in reality a woman of wonderful beauty.… In order to win her, however, you will need to use all your arts of fascination … and your caution as well. Make hot love [234]to her, but, look out! don’t let your fancy lead you to smile upon any other beauty.”

At the end of the meal, the women who had been present brought him a beautifully embroidered belt made from coconut fibers so he would be properly dressed for his meeting with the woman Pele. “You’ll see,” they said, “that Pele is truly a woman of incredible beauty.… To win her over, though, you’ll need to use all your charms … and be careful too. Show her intense affection [__A_TAG_PLACEHOLDER_0__], but be careful! Don’t let your interests lead you to smile at any other beauty.”

Pele at first kept Paoa at a distance and, with deep subtlety, said to him, “Here are beautiful women—women more beautiful than I—take one of them.”

Pele initially kept Paoa at a distance and, with a nuanced approach, said to him, “Here are beautiful women—women even more beautiful than I—choose one of them.”

Paoa, well schooled in courtly etiquette and logomachy, was not tripped up by any such snare as Pele laid for him. He stood his ground and faced the god as an equal.

Paoa, well-versed in courtly manners and wordplay, was not caught off guard by any trap Pele set for him. He stood firm and faced the god as an equal.

As Pele contemplated Paoa it dawned upon her that here stood a man, a being of gracious power, one who combined in himself qualities—attractions—she had never before seen materially embodied in the human form. The woman in Pele laid aside the god—the akua—and came to the front. All thought of bantering talk and word-play slunk away: her whole being was sobered and lifted up. The change in her outward, physical appearance kept pace with the inward: the rough armor that had beset her like the prongs of horned coral, both without and within, melted and dropped away; the haglike wrinkles ceased to furrow her profile. Her whole physical being took on the type of womanly perfection.

As Pele looked at Paoa, it hit her that here was a man, a being of graceful power, who embodied qualities—attractions—she had never seen so vividly in a person before. The woman in Pele set aside the goddess—the akua—and stepped forward. Thoughts of playful banter and word games faded away: her entire being became serious and elevated. The change in her outward, physical appearance matched the inner transformation: the rough armor that had surrounded her, like the spines of horned coral, both inside and out, melted away; the hag-like wrinkles no longer lined her face. Her entire physical presence took on an ideal of womanly beauty.

And what of Paoa, the man who had come with heart full of bitterness, determined on revenge? He was conquered, overwhelmed.

And what about Paoa, the man who had arrived with a heart full of bitterness, set on revenge? He was defeated, overwhelmed.

Their meeting was that of lovers, who stood abashed in each other’s presence. Pele’s beauty and charm were like that of a young bride coming to the nuptial couch.…

Their meeting was like that of lovers who felt shy around each other. Pele’s beauty and charm were reminiscent of a young bride approaching the wedding bed.…

The dalliance and love-making of Pele and Paoa was a honeymoon that continued for three days and three nights. By virtue of this mysterious union with the goddess, Paoa acquitted himself of a ceremonial duty, as it were, and thus gained Pele’s dispensation from further obligations to her bed and the liberty of exercising free choice among all the beautiful women that thronged Pele’s court. It was there he made his abode until the time for his return to his own Kaua’i. [235]

The flirtation and romance between Pele and Paoa was a honeymoon that lasted for three days and nights. Through this mysterious connection with the goddess, Paoa fulfilled a ceremonial duty and earned Pele’s freedom from any further commitments to her and the chance to choose freely among all the beautiful women in Pele’s court. He stayed there until it was time for him to return to his home in Kaua’i. [__A_TAG_PLACEHOLDER_0__]

1 Aohe o kahi nana oluna o ka pali. Iho mai a lalo nei; ike i ke au nui me ke au iki, he alo a he alo; nana i ka makemake. The exact meaning of ke au iki and ke au nui is not clear. ↑

1 There is no place to look up at the cliff. Come down; see the large and small waves face to face; observe what you desire. The exact meaning of ke au iki and ke au nui is not clear. ↑

2 Keehi … e nalo kapua’i. I am informed that Hawaiians, in order to conceal their goings, would erase their footprints by blurring them with their feet. ↑

2 Keehi … e nalo kapua’i. I've heard that Hawaiians would cover their tracks by smudging their footprints with their feet to hide where they had gone. ↑

3 Onohi ula i ka lani, a fragment of a rainbow. ↑

3 Onohi ula i ka lani, a piece of a rainbow. ↑

4 Lele kapu i kai. This may be put,—the old order has passed. ↑

4 Lele kapu i kai. This can be said—the old way is gone. ↑

5 Hoole akua, hoole mana. (To deny God, to deny supernatural power). It thus appears that the old Hawaiians were not unacquainted with those phases of skepticism that have flourished in all philosophic times. ↑

5 Hoole akua, hoole mana. (To deny God, to deny supernatural power). It seems that the ancient Hawaiians were familiar with the kinds of skepticism that have existed throughout philosophical history. ↑

6 Ho’o-malau, to treat one’s religious duties, or solemn things, with scorn. ↑

6 Ho’o-malau, to disrespect one’s religious obligations or serious matters. ↑

7 Ho’o-maloka, to be neglectful of one’s religious duties, or of solemn things. In old times, how often did the writer hear the term ho’o-maloka applied as a stigma to those who persistently neglected and showed indifference to the services and ordinances of the church. ↑

7 Ho’o-maloka, to be careless about one’s religious obligations or serious matters. In the past, how often did the writer hear the term ho’o-maloka used as a label for those who repeatedly ignored and showed a lack of interest in the church's services and ordinances. ↑

8 Apapa-nu’u, the under-world and its spiritual powers. ↑

8 Apapa-nu’u, the underworld and its spiritual powers. ↑

9 Apapa-lani, the heavens and their spiritual powers. ↑

9 Apapa-lani, the skies and their spiritual forces. ↑

10 Mano-ka-lani-po. This distinguished name was borne by that one of Kaua’i’s kings who preceded its last independent monarch, Ka-umu-alii, by fourteen generations, which would bring his reign in the first half of the fifteenth century. He has the honor, unique among Hawaiian kings, of having his name affixed as a sobriquet to the island that was his kingdom. Whether the use of his name in this connection, apparently as a god, is to be regarded as antedating its occurrence in the Ulu genealogy (given by Fornander. See The Polynesian Race; vol. I, p. 195.), or whether, on the other hand, it is to be considered as an apotheosis of a name justly held in veneration, we cannot decide. ↑

10 Mano-ka-lani-po. This notable name belonged to one of Kaua’i’s kings who ruled fourteen generations before its last independent monarch, Ka-umu-alii, placing his reign in the early part of the fifteenth century. He uniquely holds the honor among Hawaiian kings of having his name attached to the island that was his kingdom. It's unclear whether the use of his name in this context, seemingly as a god, predates its mention in the Ulu genealogy (as noted by Fornander. See The Polynesian Race; vol. I, p. 195.), or if it should be seen as a glorification of a name that is rightfully respected; we cannot make a definitive judgment. ↑

11 Pahu-kapu a ka leo. The best-informed and most thoughtful among the Hawaiian authorities have poorly defined and contradictory notions as to the meaning of this term. Its literal meaning may be given as sacred (or tabu) pillar. Mr. Tregear, in his incomparable Maori Comparative Dictionary, gives one meaning of the word to be sanctuary. One thoughtful Hawaiian defines it as a pillar, such as Pele set up, due regard for which demanded silence. Another, equally well informed, defines it as an edict, or canon. To the writer it seems more logical and safer to adopt the material view regarding this phrase. ↑

11 Pahu-kapu a ka leo. The most knowledgeable and reflective among Hawaiian experts have vague and conflicting ideas about what this term really means. Its literal translation could be sacred (or tabu) pillar. Mr. Tregear, in his exceptional Maori Comparative Dictionary, lists one interpretation of the word as sanctuary. One insightful Hawaiian sees it as a pillar that Pele erected, which required silence out of respect. Another equally knowledgeable person interprets it as an edict or canon. To the author, it seems more logical and prudent to take a material perspective on this phrase. ↑

12 Ala hele … ala muku, (literally, a short path or road). This ala hele … ala muku was probably the rainbow. It is said in Hawaiian story that when Hiiaka came down from the cave where she found the body of Lohiau she used a rainbow as her way of descent. In an old mele occurs this line: O ke anuenue ke ala o Kaha’i. The rainbow was the path of Kaha’i. ↑

12 Ala hele … ala muku, (literally, a short path or road). This ala hele … ala muku was probably the rainbow. In Hawaiian stories, it's said that when Hiiaka came down from the cave where she found Lohiau's body, she descended along a rainbow. An old song includes this line: O ke anuenue ke ala o Kaha’i. The rainbow was the path of Kaha’i. ↑

13 Ki ho’iho’i. Hawaiian authorities differ as to the meaning of this phrase. After much cogitation and search, I concluded that the word ki has the same root-meaning as i, to utter. (I find myself supported in such an interpretation by no less an authority than Edward Tregear. Maori Comparative Dictionary.) ↑

13 Ki ho’iho’i. Hawaiian experts have different opinions about what this phrase means. After a lot of thought and research, I’ve come to the conclusion that the word ki shares the same basic meaning as i, which is to say. (I have the backing of no less an authority than Edward Tregear. Maori Comparative Dictionary.) ↑

14 Kai oki’a. Hawaiian authorities are quite at sea as to the meaning of these words. I think it means that the ocean is a gulf that swallows up and destroys. A very stringent tabu, says one, that regulated the diet, cutting off bananas and the like. ↑

14 Kai oki’a. Hawaiian authorities are really confused about the meaning of these words. I believe it means that the ocean is a gulf that consumes and destroys. One person says it’s a very strict taboo that controlled the diet, banning things like bananas. ↑

15 Kua a. Pele is said to have had a back that was so hot that any fabric laid upon it was reduced to ashes. It was also said to be tabu for any one to approach Pele from behind. ↑

15 Kua a. Pele was known to have a back so hot that anything touching it would turn to ashes. It was also considered forbidden for anyone to approach Pele from behind. ↑

[__A_TAG_PLACEHOLDER_0__]

CHAPTER XXXVIII

HIIAKA AND LOHIAU … A REUNION

Hiiaka’s sense of outrage touched every fiber of her being and stirred such indignation against her sister that she could not again take her former place as a member of Pele’s court. Hawaii was the largest island of the group, but it was not large enough to hold herself and Pele. Of all the islands Kaua’i was the one most remote from the scene of her troubles; it was also the land which Lohiau had claimed as his own—and his was a name that called up only the most tender emotions. To Kaua’i would she go.

Hiiaka's outrage affected her deeply and sparked such anger towards her sister that she could no longer fit in with Pele's court. Hawaii was the biggest island in the chain, but it wasn’t big enough for both her and Pele. Out of all the islands, Kaua’i was the farthest away from her troubles; it was also the land Lohiau had claimed for himself—and his name brought back only the fondest feelings. That’s where she would go.

The company of those who shared her feelings and whose personal attachment to her was sufficient to lead them with herself in a venture of new fortunes was not large. It included, of course, her two staunch attendants, Pau-o-pala’e and Wahine-oma’o and, strangely enough, a considerable quota of the sisters who shared with her the name Hiiaka (qualified though it was in each case by some additional distinguishing epithet). Towards Kaua’i, then, did they set their faces or, more literally, turn the prow of their canoe.

The group of people who understood her feelings and whose personal bond with her was strong enough to join her in a new adventure wasn't very big. It included, of course, her two loyal companions, Pau-o-pala’e and Wahine-oma’o, and, oddly enough, a significant number of the sisters who also shared the name Hiiaka (though each had an additional unique title). So, they headed towards Kaua’i, or more literally, turned the front of their canoe in that direction.

Many unforeseen things, however, were to happen before the God of Destiny would permit her to gain her destination. Other strands stood ready to be interwoven with the purposeful threads Hiiaka was braiding into her life.

Many unexpected events, however, were set to occur before the God of Destiny would allow her to reach her goal. Other threads were ready to be woven together with the intentional strands Hiiaka was braiding into her life.

In the ancient regime of Hawaii, the halau, as the home and school of the hula, stood for very much and for many things. It served, after a fashion, as a social exchange or clearing house for the whole nation; the resort of every wandering minstrel, bohemian soul or beau esprit whose oestrus kept him in travel; the rallying point of souls dislocated from an old and not yet accommodated to a new environment; a place where the anxious and discouraged, despairing of a new outlook, or seeking balm for bruised hearts, might quaff healing nepenthe.

In ancient Hawaii, the halau, which was both a home and a school for hula, meant a lot of different things. It functioned as a social hub for the entire nation; a gathering spot for every wandering performer, free spirit, or creative thinker driven by a desire to explore; a central place for those feeling lost in a changing world; a space where the anxious and discouraged, feeling hopeless or looking for comfort for their aching hearts, could find healing respite.

It is not to be wondered at, then, that Hiaaka, not yet healed of her bruises, on reaching Oahu and finding herself in the peaceful haven of Kou, should turn her steps to the home of that hospitable siren and patroness of the hula Pele-ula, as to a sanitarium or hospital whose resources would avail for the assuagement of her troubles. It was almost an article of Pele-ula’s creed that in the pleasures and distractions of the hula was [236]to be found a panacea for all the wounds of the spirit; and Pele-ula, as if taking her cue from the lady of the Venusberg, offered her consolations generously to every comfort-needing soul that fared her way.

It’s no surprise, then, that Hiaaka, still recovering from her injuries, upon reaching Oahu and finding herself in the peaceful haven of Kou, would head to the home of the welcoming siren and patroness of the hula, Pele-ula, as if it were a clinic or place of healing that could help ease her troubles. It was almost a fundamental belief of Pele-ula that in the pleasures and distractions of the hula was [__A_TAG_PLACEHOLDER_0__] a cure for all the wounds of the spirit; and Pele-ula, as if inspired by the lady of the Venusberg, generously offered her comforts to every soul in need that crossed her path.

Hiiaka stepped into the life at Pele-ula’s court as if she had been absent from it for only a day. Madame Pele-ula, good sport that she was, bore no grudge against the woman who had outplayed her at every turn, and would do it again. She received Hiiaka with open arms. As to entertainment, the play was the thing and that, fortunately, was already appointed for the same evening. It was the same old performance, the hula kilu, with but slight change in the actors and with full opportunity for Hiiaka to display her marvelous skill in hurling the kilu.

Hiiaka walked back into Pele-ula’s court as if she had only been gone for a day. Madame Pele-ula, being the good sport she was, held no grudges against the woman who had outsmarted her at every opportunity, and would likely do so again. She welcomed Hiiaka with open arms. For entertainment, the event was the item and, fortunately, it was already scheduled for the same evening. It was the same old show, the hula kilu, with just a few different performers and plenty of chances for Hiiaka to showcase her amazing talent in throwing the kilu.

It was Hiiaka’s play and she, following the custom of the game, was caroling—in sober strain—a song of her own; when, to her astonishment, a voice from the crowd struck in and carried the song to completion in the very words that would have been her’s. Hiiaka stood and listened. The voice had a familiar ring; the song was not yet in the possession of the public, being known only to a few of her own household, among whom was to be reckoned Lohiau. There was no avoiding the conclusion: it was Lohiau.

It was Hiiaka’s turn to play, and following the game’s tradition, she was singing—seriously—a song of her own when, to her surprise, a voice from the crowd joined in and finished the song with the exact words she would have used. Hiiaka stopped to listen. The voice sounded familiar; the song wasn’t well-known yet, only familiar to a few people in her household, including Lohiau. There was no denying it: it was Lohiau.

It remains to tell the miracle of Lohiau’s reappearance among men in living form and at this time. While the body of Lohiau lay entombed in its stony shroud, his restless spirit fluttered away and sought consolation in the companionship of the song-birds that ranged the forests of Hawaii.

It’s time to share the miracle of Lohiau’s return to the living world. While Lohiau’s body was buried in its rocky grave, his restless spirit wandered off, looking for comfort in the company of the songbirds that filled the forests of Hawaii.

When the magician La’a, who lived in Kahiki, contemplated the degraded condition of Lohiau, alienated from all the springs of human affection, living as a wild thing in the desert, he determined on his rescue and despatched Kolea (plover), one of his ancestral kupuas, to fetch him. The mission of Kolea was not a success. The voice, the manner, the arguments of the bird made no appeal to Lohiau; they were, in fact, distasteful to him and rather increased his devotion to his other bird-friends.

When the magician La’a, who lived in Kahiki, saw how lost Lohiau was, cut off from all human connection and living like a wild animal in the desert, he decided to save him and sent Kolea (plover), one of his ancestral helpers, to bring him back. Kolea’s mission didn’t succeed. The bird’s voice, behavior, and reasons didn’t resonate with Lohiau; in fact, they turned him off even more and deepened his loyalty to the other birds he was friends with.

“Well, Kolea, what sort of a place is Kahiki?” asked Lohiau.

“Well, Kolea, what kind of place is Kahiki?” Lohiau asked.

“A most charming place,” he answered, nodding his head and uttering his call, “Ko-lé-a, Ko-lé-a.”

“A really charming place,” he replied, nodding his head and calling out, “Ko-lé-a, Ko-lé-a.”

Lohiau was disgusted with his performances and would have nothing more to do with Kolea. [237]

Lohiau was fed up with his performances and wanted nothing more to do with Kolea. [__A_TAG_PLACEHOLDER_0__]

When Kolea returned and reported his failure to La’a, that magician sent another bird on the same errand, one of more seductive ways, Ulili. There was something in the voice and manner of Ulili that touched the fancy and won the heart of Lohiau at once and he began to follow him. Ulili skilfully lured him on and at last brought him to Kahiki and delivered him over to his master. La’a ministered to the soul of Lohiau with such tenderness and skill that he became reconciled once more to human ways. But the soul of Lohiau still remained an unhoused ghost, and at times ranged afar in its restless excursions.

When Kolea came back and told La'a about his failure, the magician sent another bird on the same mission, one with more charm, Ulili. There was something in Ulili's voice and manner that captivated Lohiau instantly, and he began to follow him. Ulili skillfully led him on and eventually brought him to Kahiki, handing him over to his master. La'a cared for Lohiau's soul with such tenderness and skill that he became at peace with human life again. However, Lohiau's soul still felt like a restless ghost without a home, occasionally wandering far away on its restless journeys.

Now it happened that at the very time when these events were taking place Kane-milo-hai, an elder brother of Pele, was voyaging from Kahiki to Hawaii. His canoe was of that mystical pattern, the leho (cowry) in which Mawi had sailed. While in the middle of the Iëië-waho channel he caught sight of the distracted spirit of Lohiau fluttering like a Mother Carey’s chicken over the expanse of waters. The poor ghost, as if desirous of companionship, drew nigh and presently came so near that Kane-milo-hai captured it and, having ensconced it in his ipu-holoho-lona,1 he sailed on his way.

Now it happened that at the same time these events were happening, Kane-milo-hai, an elder brother of Pele, was traveling from Kahiki to Hawaii. His canoe was of that mystical design, the leho (cowry), which Mawi had sailed. While he was in the middle of the Iëië-waho channel, he spotted the troubled spirit of Lohiau fluttering like a Mother Carey’s chicken over the vast waters. The poor ghost, seemingly wanting company, came closer, and soon Kane-milo-hai captured it and, after placing it in his ipu-holoho-lona, he continued on his journey.

Reaching Hawaii and coming to the desolate scene of Lohiau’s tragedy, he recognized a charred heap as the former bodily residence of the shivering ghost in his keeping. He broke the stony form into many pieces and then, by the magical power that was his, out of these fragments he reconstructed the body of Lohiau, imparting to it its original form and lineaments. Into this body Kane-milo-hai now introduced the soul and Lohiau lived again.

Reaching Hawaii and arriving at the desolate site of Lohiau’s tragedy, he recognized a charred pile as the former physical home of the shivering ghost he was keeping. He shattered the stony form into many pieces and then, with his magical power, he reconstructed Lohiau’s body from these fragments, restoring its original shape and features. Into this body, Kane-milo-hai then introduced the soul, and Lohiau lived again.

The tide of new life surging in the veins of Lohiau stirred in him emotions that found utterance in song:

The wave of new life flowing through Lohiau ignited feelings in him that expressed themselves in song:

I ola no au i ku’u kino wailua,

I feel good in my body and spirit,

I a’e’a mai e ke ’lii o Kahiki,

Ke ’lii nana i a’e ke kai uli,

Kai eleele, kai melemele,

black food, yellow food,

Kai popolo-hua mea a Kane;

Kai papalolo from Kane;

I ka wa i po’i ai ke Kai-a-ka-hina-lii—

Kai mu, kai lewa. Ho’opua ke ao ia Lohiau;

O Lohiau—i lono oukou.

O Lohiau—you've heard about him.

Ola e; ola la; ua ola Lohiau, e!

O Lohiau, ho’i, e!

Oh Lohiau, come back!

[238]

[__A_TAG_PLACEHOLDER_0__]

TRANSLATION

I lived, but ’twas only my soul;

I lived, but it was only my soul;

Then came Kahiki’s King and took me—

Then Kahiki's King came and took me—

The King who sails this purple and blue,

An ocean, now black, now amber,

An ocean, sometimes black, sometimes amber,

The dark mottled sea of Kane,

The dark, speckled sea of Kane,

The sea that whelmed those monarchs of old,

The sea that overwhelmed those kings of the past,

A sea that is ghostly, foreign, strange.

A sea that feels eerie, unfamiliar, and odd.

Lohiau flowers anew in the sunlight;

Lohiau blooms again in the sunlight;

It is I, Lohiau! Do you hear it?

It’s me, Lohiau! Do you hear that?

New life has come to Lohiau!

New life has arrived at Lohiau!

To Lohiau, aye, to Lohiau!

To Lohiau, yes, to Lohiau!

Having come to himself, Lohiau sought his own. His chancing at Kou and his appearance at the halau in which Pele-ula was holding her kilu performance, and on the very evening of Hiiaka’s arrival, was an arrangement of converging lines that reflected great credit on the god of Destiny.

Having regained his senses, Lohiau looked for what was his. His arrival at Kou and his presence at the halau where Pele-ula was putting on her kilu performance, coinciding with Hiiaka's arrival, was a perfect alignment of events that showcased the influence of the god of Destiny.

Lohiau arrived at the kilu hall just in time to witness the opening of the game. Having seated himself quietly in the outskirts of the assembly, he begged a neighbor to permit him, as a favor, to conceal himself under the ample width of his kihei, exacting of him also the promise not to betray his retreat. Thus hidden, he could see without being seen. The sight of Hiiaka, the words of her song—he had heard them a score of times before—stirred within him a thousand memories. Without conscious effort of will, the words of his response sprang from his heart almost with the spontaneity of an antiphonal echo. Let us bring together the two cotyledons of this song:

Lohiau arrived at the kilu hall just in time to see the game start. After quietly finding a spot on the edge of the gathering, he asked a neighbor if he could hide under the wide folds of his kihei, also getting a promise that he wouldn't reveal his hiding place. Hidden this way, he could watch without being noticed. Seeing Hiiaka and hearing her song—he had experienced it many times before—brought back a flood of memories. Without even trying, the words he wanted to say flowed from his heart almost like a natural echo. Let us bring together the two parts of this song:

O ka wai mukiki a’ala lehua o ka manu,

O ka awa ili lena i ka uka o Ka-li’u,

O ka manu aha’i kau-laau o Puna:—

Aia i ka laau ka awa o Puna.

Mapu wale mai ana no ia’u kona aloha,

Mapu wale mai ana no iāʻu kona aloha,

Hoolana mai ana ia’u, e moe, e;

A e moe no, e-e-e.

And now comes the unexpected antiphone by Lohiau: [239]

And now we hear the surprising reply from Lohiau: [__A_TAG_PLACEHOLDER_0__]

O Puna, lehua ula i ka papa;

I ula i ka papa ka lehua o Puna:

Ke kui ia mai la e na wahine o ka Lua:

Mai ka Lua a’u i hele mai nei, mai Kilauea.

Aloha Kilauea, ka aina a ke aloha.

Aloha Kilauea, the land of love.

TRANSLATION

Nectar for gods, honeyed lehua;

Nectar for the gods, sweet lehua;

Food for the birds, bloom of lehua;

Food for the birds, blossom of lehua;

Pang of love, the yellow-barked awa,

Quaffed by the dryads in Puna’s wilds;

Quaffed by the tree nymphs in Puna’s wilderness;

Bitter the sweet of Puna’s tree-awa.

Bitter is the sweetness of Puna’s tree-awa.

His love wafts hither to me from dreamland—

His love drifts over to me from dreamland—

The cry of the soul for love’s fond touch;

The soul cries out for the gentle touch of love;

And who would forbid the soul’s demand!

And who would deny what the soul craves!

Antiphone

Puna’s plain takes the color of scarlet—

Puna's plain turns vivid red—

Red as heart’s blood the bloom of lehua.

Red as the blood of the heart is the bloom of lehua.

The nymphs of the Pit string hearts in a wreath:

The nymphs of the Pit create heart-shaped wreaths:

Oh the pangs of the Pit, Kilauea!

Oh the pains of the Pit, Kilauea!

Still turns my heart to Kilauea.

Still makes my heart ache for Kilauea.

We must leave to the imagination of the reader the scene that occurred when Lohiau, the man twice called back from the dead, leaves his hiding place and comes into Hiiaka’s encircling arms lovingly extended to him.

We should let the reader imagine the scene that unfolds when Lohiau, the man who has been brought back to life two times, emerges from his hiding spot and steps into Hiiaka’s arms, which she lovingly extends to him.

This was accomplished the reunion of Hiiaka and Lohiau, and thus it came to pass that these two human streams of characters so different, in defiance of powerful influences that had long held them apart, were, at length, turned into one channel—that of the man, not wholly earthly, but leavened with the possibility of vast spiritual attainment under the tonic discipline of affliction; that of the woman, self-reliant, resourceful, yet acutely in need of affection; human and practical, yet feeling after the divine, conscious of daily commerce with the skies; and, yet, in spite of all, in bondage to that universal law which gives to the smaller and weaker body the power to introduce a perturbation into the orbit of the greater and to pull it away from its proper trajectory.

This was achieved through the reunion of Hiiaka and Lohiau, and so it happened that these two very different human characters, despite the powerful forces that had kept them apart for so long, finally came together as one. The man, not entirely earthly, but infused with the potential for great spiritual growth through the challenging discipline of suffering; the woman, independent and resourceful, yet deeply in need of love; both human and practical, yet reaching for the divine, aware of a daily connection with the heavens; and still, despite everything, trapped by that universal law which allows the smaller and weaker to disrupt the path of the greater and pull it off course.

The old order has passed away, the order in which the will of [240]Pele has ruled almost supreme, regardless of the younger, the human, race which is fast peopling the land that was hers in the making. Hitherto, surrounded by a cohort of willing servants ready at all times to sacrifice themselves to her caprice,—behold, a new spirit has leavened the whole mass, a spirit of dissent from the supreme selfishness of the Vulcan goddess, and the foremost dissident of them all is the obedient little sister who was first in her devotion to Pele, the warm-hearted girl whom we still love to call Hiiaka-i-ka-poli-o-Pele.

The old order is gone, the one where the will of [__A_TAG_PLACEHOLDER_0__]Pele ruled almost completely, ignoring the younger, human race that is quickly populating the land she helped create. Until now, she was surrounded by a group of devoted servants always ready to sacrifice themselves for her whims—but now, a new spirit has infused everything, a spirit that disagrees with the supreme selfishness of the Vulcan goddess. The most prominent dissenter among them all is the obedient little sister who was first in her loyalty to Pele, the warm-hearted girl we still affectionately call Hiiaka-i-ka-poli-o-Pele.

THE END

[241]

[__A_TAG_PLACEHOLDER_0__]

1 A calabash, often covered with a net, used by a fisherman to hold his spare hooks and lines and, by the traveler, his belongings. ↑

1 A gourd, often covered with a net, used by a fisherman to keep his spare hooks and lines, and by a traveler, his belongings. ↑

[__A_TAG_PLACEHOLDER_0__]

INDEX OF FIRST LINES.

A cat’spaw ruffles the Waianae sea: song by Hiiaka 161

__A_TAG_PLACEHOLDER_0__ 161

A gust of wind from the west: song by Hiiaka 175

__A_TAG_PLACEHOLDER_0__ 175

A hala bunch, snatched by the wind: song by Hiiaka 68

__A_TAG_PLACEHOLDER_0__ 68

Ah!—Aka, and you Kilioë: song by Hiiaka 136

__A_TAG_PLACEHOLDER_0__ 136

Aha, my will has snared the bird: song by Hiiaka 175

__A_TAG_PLACEHOLDER_0__ 175

A Hono-ma-ele au, i Hono-ka-lani: oli by Hiiaka 64

__A_TAG_PLACEHOLDER_0__ 64

Aia la, lele-iwi o Maka-hana-loa: oli by Hiiaka 189

__A_TAG_PLACEHOLDER_0__ 189

Aia no ke ’kua la i uka: oli by Hiiaka 166

__A_TAG_PLACEHOLDER_0__ 166

A ka lae ohi’a i Papa-lau-ahi: oli by Hiiaka 10

__A_TAG_PLACEHOLDER_0__ 10

A Ka-lalau, a Ke-é: oli by Hiiaka 107

__A_TAG_PLACEHOLDER_0__ 107

A ka lihi au i ka hala o Hanalei: oli by Lohiau 181

__A_TAG_PLACEHOLDER_0__ 181

A ka luna i Kilauea: pule by Hiiaka 148

__A_TAG_PLACEHOLDER_0__ 148

A ka luna, i Pu’u-onioni: oli by Hiiaka 20

__A_TAG_PLACEHOLDER_0__ 20

Ako nanani maka i Wawae-noho, e: oli by Hiiaka 135

__A_TAG_PLACEHOLDER_0__ 135

A kulou anei, e uwé ana: oli by Hiiaka 179

__A_TAG_PLACEHOLDER_0__ 179

Alas, my man, alas: song by Hiiaka 133

__A_TAG_PLACEHOLDER_0__ 133

Alas, my woman, alas: song by Lohiau’s wraith 132

__A_TAG_PLACEHOLDER_0__ 132

A Lima-loa i ke kaha: oli by Hiiaka 134

__A_TAG_PLACEHOLDER_0__ 134

Aloha ko’u hoa i ka ua pua-kukui: oli by Hiiaka 213

__A_TAG_PLACEHOLDER_0__ 213

Aloha na hale o makou i makamaka ole: oli by Lohiau 212

__A_TAG_PLACEHOLDER_0__ 212

Aloha, Oahu, e-e!: travel song of Pele XIII

__A_TAG_PLACEHOLDER_0__ XIII

Aloha o Maui, aloha, e!: travel song of Pele XV

__A_TAG_PLACEHOLDER_0__ XV

Aloha wale ka i’a lamalama o ku’u aina, la: oli by Mana-mana-ia-kaluea 69

__A_TAG_PLACEHOLDER_0__ 69

Aloha wale ka nikiniki: oli by Lohiau 181

__A_TAG_PLACEHOLDER_0__ 181

Aloha wale ka pali o Pi-na-na’i: oli by Mana-mana-ia-kaluea 72

__A_TAG_PLACEHOLDER_0__ 72

A loko au o Mahiki: incantation by Hiiaka 51

__A_TAG_PLACEHOLDER_0__ 51

A loko au o Pana-ewa: oli by Hiiaka 24

__A_TAG_PLACEHOLDER_0__ 24

A luna au a Poha-kea: oli by Hiiaka 163

__A_TAG_PLACEHOLDER_0__ 163

A luna au o Poha-kea: oli by Hiiaka 164

__A_TAG_PLACEHOLDER_0__ 164

A luna i Wahine-kapu: pule by Hiiaka 140

__A_TAG_PLACEHOLDER_0__ 140

A luna au o Wai-pi’o: mele uhau by Hiiaka 50

__A_TAG_PLACEHOLDER_0__ 50

A makani Kua-mú lehua ko uka: oli by Hiiaka 166

__A_TAG_PLACEHOLDER_0__ 166

A makani pahele—hala kou Maile-huna: oli by Lohiau 175

__A_TAG_PLACEHOLDER_0__ 175

A makani pua ia lalo: oli by Hiiaka 175

__A_TAG_PLACEHOLDER_0__ 175

A Moolau, i ka pua o ka uhiuhi,
Helele’i mai ana ka pua o Ko’o-ko’o-lau: kanaenae by Hiiaka 52 [242]

__A_TAG_PLACEHOLDER_0__ 52 [__A_TAG_PLACEHOLDER_1__]

A Mo’o-lau, i ka pua o ka uhiuhi, Pala luhi ehu iho la: Mele ho’uluulu by Hiiaka 53

__A_TAG_PLACEHOLDER_0__ 53

A noho ana: oli by Hiiaka 65

__A_TAG_PLACEHOLDER_0__ 65

Aole a’e nei ke kane: oli by Hiiaka 132

__A_TAG_PLACEHOLDER_0__ 132

Aole e make ku’u alii ia oe: oli by Waihinano 79

__A_TAG_PLACEHOLDER_0__ 79

A po Kaena i ka ehu o ke kai: oli by Wahine-oma’o 214

__A_TAG_PLACEHOLDER_0__ 214

A Pu’u-lena, i Wahine-kapu i pua, e: oli by Mana-mana-ia-kaluea 72

__A_TAG_PLACEHOLDER_0__ 72

A seething whirl of ocean-mist: song by Hiiaka 49

__A_TAG_PLACEHOLDER_0__ 49

As I journeyed above Wai-pi’o: battle-song by Hiiaka 50

__A_TAG_PLACEHOLDER_0__ 50

A standing wonder, Hilo cliffs: song by Hiiaka 29

__A_TAG_PLACEHOLDER_0__ 29

A storm and wild surf in the Pit: song by Hiiaka 203

__A_TAG_PLACEHOLDER_0__ 203

As trembles the plank at Wailuku: song by Hiiaka 74

__A_TAG_PLACEHOLDER_0__ 74

At last, my dear man, at last: song by Hiiaka 131

__A_TAG_PLACEHOLDER_0__ 131

Attend, O Uli; a prayer this for life: prayer by Hiiaka 145

__A_TAG_PLACEHOLDER_0__ 145

At Wai-akea, in Hilo: song by Hiiaka 27

__A_TAG_PLACEHOLDER_0__ 27

A roar as of surf on the hill Moe-awa: paean by Hiiaka 54

__A_TAG_PLACEHOLDER_0__ 54

Au ma ka hula-ana: oli by Hiiaka 48

__A_TAG_PLACEHOLDER_0__ 48

A Wai-akea, i ka Hilo-hana-kahi: oli by Hiiaka 27

__A_TAG_PLACEHOLDER_0__ 27

Awake now, awake, awake: song by Hiiaka 12

__A_TAG_PLACEHOLDER_0__ 12

A wind-squall drives the canoes in flight: song by Malae-ha ’a-koa 110

__A_TAG_PLACEHOLDER_0__ 110

Aye, lonely, man-empty, indeed: song by Hiiaka 179

__A_TAG_PLACEHOLDER_0__ 179

Bethink you, I come from Puna: song by Hiiaka 172

__A_TAG_PLACEHOLDER_0__ 172

Bristling, frumpy, sits Hilo: song by Pele 6

__A_TAG_PLACEHOLDER_0__ 6

Come, enter, possess and inspire me: prayer by Hiiaka 142

__A_TAG_PLACEHOLDER_0__ 142

Come to your land to Kauai, ye hosts: song by Hiiaka 137

__A_TAG_PLACEHOLDER_0__ 137

Content you now with your god-work: song by Hiiaka 12

__A_TAG_PLACEHOLDER_0__ 12

Cranky, cranky the bridge: song by Hiiaka 57

__A_TAG_PLACEHOLDER_0__ 57

Departments of the gods (note) 54

__A_TAG_PLACEHOLDER_0__ 54

Destruction and turmoil in the Pit: song by Paoa 226

__A_TAG_PLACEHOLDER_0__ 226

Down rushes the wind and sweeps along: song by Hiiaka 168

__A_TAG_PLACEHOLDER_0__ 168

E Aka, e Kilioe-i-ka-pua, e: oli by Hiiaka 136

__A_TAG_PLACEHOLDER_0__ 136

E ala, e ala, e ala: oli by Hiiaka 12

__A_TAG_PLACEHOLDER_0__ 12

E ala, e ala, e: oli by Paú-o-pala’e 46

__A_TAG_PLACEHOLDER_0__ 46

E Hiiaka-i-ka-poli-o-Pele, e: cry of the victims of the Mahiki 51

__A_TAG_PLACEHOLDER_0__ 51

Eia ana au, e Laká: pule by Hiiaka 142, 151

__A_TAG_PLACEHOLDER_0__ 142, 151

E Kaua-kahi-ma-hiku-lani ma, e: imprecation by Hiiaka 80

__A_TAG_PLACEHOLDER_0__ 80

E Kini, e hiki i Kauai, i kou aina: oli by Hiiaka 137 [243]

__A_TAG_PLACEHOLDER_0__ 137 [__A_TAG_PLACEHOLDER_1__]

E ku ana au e hele: oli by Hiiaka 16

__A_TAG_PLACEHOLDER_0__ 16

E ku’u kane, e: oli by Hiiaka 133

__A_TAG_PLACEHOLDER_0__ 133

E Lono, e Lono, e Lono-ku-lani: pule by Hiiaka 150

__A_TAG_PLACEHOLDER_0__ 150

E Maka-pu’u nui, kua ke au, e: oli by Maka-pu’u 87

__A_TAG_PLACEHOLDER_0__ 87

E nihi ka hele i ka uka o Puna: oli by Hiiaka 31

__A_TAG_PLACEHOLDER_0__ 31

E Pohaku o Kaua’i i kai, e: oli by Hiiaka 105

__A_TAG_PLACEHOLDER_0__ 105

E Puna-hoa i Kai-pala-oa: oli by Hiiaka 56

__A_TAG_PLACEHOLDER_0__ 56

E Wai-hinanano, wahine a ka po’ipo’i, e: oli by Hiiaka 75

__A_TAG_PLACEHOLDER_0__ 75

Failed, failed in my choicest ambition: song by Lohiau 176

__A_TAG_PLACEHOLDER_0__ 176

Famed Haupu, the mighty hill: song by Hiiaka 107

__A_TAG_PLACEHOLDER_0__ 107

Famous Ka-ula looms crystal clear: song by Hiiaka 136

__A_TAG_PLACEHOLDER_0__ 136

Farewell to thee, Maui, farewell!: travel song of Pele XV

__A_TAG_PLACEHOLDER_0__ 15

Farewell to thee, Oahu: travel song of Pele XIV

__A_TAG_PLACEHOLDER_0__ 14

Firm plant the pillar, seal of our love-pact: song by Hiiaka 16

__A_TAG_PLACEHOLDER_0__ 16

Fixed my intent for the lover-quest: song by Hiiaka 16

__A_TAG_PLACEHOLDER_0__ 16

Fly, Lani-loa, fly in the calm: song by Hiiaka 97

__A_TAG_PLACEHOLDER_0__ 97

From the crest of Tremble Hill: song by Hiiaka 20

__A_TAG_PLACEHOLDER_0__ 20

From the forest-tongue at Papa-lau-ahi: song by Hiiaka 10

__A_TAG_PLACEHOLDER_0__ 10

From the Pit, doubtless, breathes Pu’u-lena: song by Hiiaka 11

__A_TAG_PLACEHOLDER_0__ 11

Front, bright as the moon: exclamation by Pele’s women 192

__A_TAG_PLACEHOLDER_0__ 192

Give us of this water: song by Hiiaka 58

__A_TAG_PLACEHOLDER_0__ 58

Ha’a ka lau o ka i’a: oli by Mana-mana-ia-kaluea 70

__A_TAG_PLACEHOLDER_0__ 70

Have done with this fool-hardy swim: song by Hiiaka 48

__A_TAG_PLACEHOLDER_0__ 48

He ahui hala ko Kapo-ula-kina’u: oli by Hiiaka 67

__A_TAG_PLACEHOLDER_0__ 67

He ahui hala na ka makani: oli by Hiiaka 68

__A_TAG_PLACEHOLDER_0__ 68

Heed well your way in upland Puna: song by Hiiaka 31

__A_TAG_PLACEHOLDER_0__ 31

He makani holo uhá: oli by Hiiaka 187

__A_TAG_PLACEHOLDER_0__ 187

He makani Kai-a-ulu lalo o Waianae: oli by Hiiaka 161

__A_TAG_PLACEHOLDER_0__ 161

Here’s a blast shall posset the blood: song by Hiiaka 187

__A_TAG_PLACEHOLDER_0__ 187

Here’s food for me and mine: song by Pana-ewa 33

__A_TAG_PLACEHOLDER_0__ 33

Here stand I begirt for travel: song by Hiiaka 23

__A_TAG_PLACEHOLDER_0__ 23

Here stand I in stress, Laká: prayer by Hiiaka 143, 151

__A_TAG_PLACEHOLDER_0__ 143, 151

He uä kui lehua ko Pana-ewa: oli by Hiiaka 14

__A_TAG_PLACEHOLDER_0__ 14

His airy phantoms queer the eye: song by Hiiaka 135

__A_TAG_PLACEHOLDER_0__ 135

Ho, comrades from the sacred plateau: prayer by Hiiaka 141

__A_TAG_PLACEHOLDER_0__ 141

Holo Ka-ena, la: oli by Hiiaka 106

__A_TAG_PLACEHOLDER_0__ 106

Ho-mai, ho’i, ka wai, e: oli by Hiiaka 58

__A_TAG_PLACEHOLDER_0__ 58

Hookukú ka au-hula-ana o ka pali: oli by Hiiaka 48

__A_TAG_PLACEHOLDER_0__ 48

Hot breath from the sea-sand waste: song by Hiiaka 185 [244]

__A_TAG_PLACEHOLDER_0__ 185 [__A_TAG_PLACEHOLDER_1__]

How dear the cliff of Pi-na-na’i: song by Mana-mana-ia-kaluea 72

__A_TAG_PLACEHOLDER_0__ 72

How dear the torch-caught fish of my home land: song by Mana-mana-ia-kaluea 69

__A_TAG_PLACEHOLDER_0__ 69

How precious the fillet that binds: song by Lohiau 182

__A_TAG_PLACEHOLDER_0__ 182

Hui iho nei ka wa’a a Ka-moho-alii: travel song of Pele XI

__A_TAG_PLACEHOLDER_0__ XI

Hulihia ka Mauna: oli by Paoa 225

__A_TAG_PLACEHOLDER_0__ 225

Hulihia ka mauna, wela i ke ahi: war-song of the gods 43

__A_TAG_PLACEHOLDER_0__ 43

Hulihia ka mauna, wela i ke ahi: oli by Lohiau 204

__A_TAG_PLACEHOLDER_0__ 204

Hulihia ke au, ka papa honua o kona moku: oli by Paoa 228

__A_TAG_PLACEHOLDER_0__ 228

Hulihia ke au, pe’a ilalo i Akea: oli by Paoa 219

__A_TAG_PLACEHOLDER_0__ 219

Hulihia Kilauea, po i ka uahi: oli by Hiiaka 197

__A_TAG_PLACEHOLDER_0__ 197

Ia ho’uluulu ia mai au: pule by Hiiaka 141

__A_TAG_PLACEHOLDER_0__ 141

I Akani-hia: oli by Hiiaka 23

__A_TAG_PLACEHOLDER_0__ 23

Ia Ole-pau, ia ka Lani, ke Alii: oli by Waihinano, the sorceress 76

__A_TAG_PLACEHOLDER_0__ 76

I come from the land of Puna: song by Hiiaka 171

__A_TAG_PLACEHOLDER_0__ 171

I enter the land of Mahiki: incantation by Hiiaka 51

__A_TAG_PLACEHOLDER_0__ 51

I hail thee, Malae-ha’a-koa: song by Hiiaka 110

__A_TAG_PLACEHOLDER_0__ 110

I i au, e au ma kai o ka hula ana: oli by Hiiaka 61

__A_TAG_PLACEHOLDER_0__ 61

I lived, but ’twas only my soul: song by Lohiau 238

__A_TAG_PLACEHOLDER_0__ 238

I neighbor the land of the wreath: song by Lohiau 181

__A_TAG_PLACEHOLDER_0__ 181

Ino Koolau, e, ino Koolau: oli by Hiiaka 90

__A_TAG_PLACEHOLDER_0__ 90

In Puna’s famed thickets of hala: song by Lohiau 178

__A_TAG_PLACEHOLDER_0__ 178

In the heart of Pana-ewa: song by Hiiaka 25

__A_TAG_PLACEHOLDER_0__ 25

In the jungle of Mo’o-lau: rallying song by Hiiaka 53

__A_TAG_PLACEHOLDER_0__ 53

In the wilds of Mo’olau: rallying song by Hiiaka 52

__A_TAG_PLACEHOLDER_0__ 52

I ola no au i ku’u kino wailua: oli by Lohiau 237

__A_TAG_PLACEHOLDER_0__ 237

It sobs in the rain: song by Hiiaka 24

__A_TAG_PLACEHOLDER_0__ 24

I stand ahigh on Poha-kea: song by Hiiaka 165

__A_TAG_PLACEHOLDER_0__ 165

I uka kaua i Moe-awakea: oli by Hiiaka 176

__A_TAG_PLACEHOLDER_0__ 176

I venture the cliffs of Ka-lalau: song by Lohiau 174

__A_TAG_PLACEHOLDER_0__ 174

I walk your stormy capes, Koolau: song by Hiiaka 88

__A_TAG_PLACEHOLDER_0__ 88

Ka-ala, dewy and forest-clad: song by Hiiaka 100

__A_TAG_PLACEHOLDER_0__ 100

Kaena is darkened with sea-mist: song by Wahine-oma’o 215

__A_TAG_PLACEHOLDER_0__ 215

Ke-ena Point flies on its way: song by Hiiaka 102

__A_TAG_PLACEHOLDER_0__ 102

Ka-ena speeds along: song by Hiiaka 106

__A_TAG_PLACEHOLDER_0__ 106

Kaena’s profile fleets through the calm: song by Hiiaka 158

__A_TAG_PLACEHOLDER_0__ 158

Ka-ena, salty and barren: song by Hiiaka 104

__A_TAG_PLACEHOLDER_0__ 104

Kahuli-huli, e-e: oli by Hiiaka 57 [245]

__A_TAG_PLACEHOLDER_0__ 57 [__A_TAG_PLACEHOLDER_1__]

Kaiko’o Pu’u-moe-awa, wawá ka laau: paean by Hiiaka 54

__A_TAG_PLACEHOLDER_0__ 54

Kalakú Hilo i ka ua nui: oli by Pele 6

__A_TAG_PLACEHOLDER_0__ 6

Ka-moho-alii turned his canoe: travel song by Pele XII

__A_TAG_PLACEHOLDER_0__ XII

Kane-hoa lifts to the sky: song by Hiiaka 91

__A_TAG_PLACEHOLDER_0__ 91

Kane-lau-apua—avatar of Kane (note) 194

__A_TAG_PLACEHOLDER_0__ 194

Kauhi, thou watch-tower of heaven: song by Hiiaka 93

__A_TAG_PLACEHOLDER_0__ 93

Ka-ula’s enwreathed by the ocean: song by Lohiau 177

__A_TAG_PLACEHOLDER_0__ 177

Kaumaha ka aï o Hilo i ka lehua: oli by Hiiaka 59

__A_TAG_PLACEHOLDER_0__ 59

Ka-uwiki, famous in story: song by Hiiaka 66

__A_TAG_PLACEHOLDER_0__ 66

Ka wai mukiki ale lehua a ka manu: oli by Hiiaka 30

__A_TAG_PLACEHOLDER_0__ 30

Ke ahi maka-pa i ka la, e: oli by Hiiaka 186

__A_TAG_PLACEHOLDER_0__ 186

Ke a’ina mai la e ka wai: oli by Hiiaka 98

__A_TAG_PLACEHOLDER_0__ 98

Ke ha’a la Puna i ka makani: oli by Hiiaka 1

__A_TAG_PLACEHOLDER_0__ 1

Ke hanai a’e la ka ua i ka lani: oli by Hiiaka 17

__A_TAG_PLACEHOLDER_0__ 17

Ke hele la ka au-hula-ana o Ka-lalau: oli by Lohiau 174

__A_TAG_PLACEHOLDER_0__ 174

Ke hooulu au, e Kane-kapolei, i mua: pule by Hiiaka 149

__A_TAG_PLACEHOLDER_0__ 149

Ke iho la ka makani: oli by Hiiaka 168

__A_TAG_PLACEHOLDER_0__ 168

Ke kahulihuli a ka papa o Wailuku: oli by Hiiaka 74

__A_TAG_PLACEHOLDER_0__ 74

Ke kau aloha wale mai la ka ua, e-e: oli by Hiiaka 18

__A_TAG_PLACEHOLDER_0__ 18

Ke ku nei au e hele: oli by Hiiaka 18

__A_TAG_PLACEHOLDER_0__ 18

Ke ku nei au e hele, a noho oe: oli by Hiiaka 22

__A_TAG_PLACEHOLDER_0__ 22

Ke ku nei makou e imi kahi e noho ai: travel song of Pele XII

__A_TAG_PLACEHOLDER_0__ XII

Kela pae opua i ka lani, e: oli by Hiiaka 36

__A_TAG_PLACEHOLDER_0__ 36

Ke lei mai la Ka-ula i ke kai, e: oli by Lohiau 177

__A_TAG_PLACEHOLDER_0__ 177

Ke uwá ia mai la e ka ua: oli by Hiiaka 24

__A_TAG_PLACEHOLDER_0__ 24

Ki’e-ki’e Kane-hoa-lani: oli by Hiiaka 91

__A_TAG_PLACEHOLDER_0__ 91

Kilauea breaks forth: smoke blurs the day: song by Hiiaka 199

__A_TAG_PLACEHOLDER_0__ 199

Kindly falls the rain from heaven: song by Hiiaka 18

__A_TAG_PLACEHOLDER_0__ 18

Kinsmen, allies, travel-mates: song by Hiiaka 65

__A_TAG_PLACEHOLDER_0__ 65

Komo i ka nahele ulu hinalo: oli by Hiiaka 97

__A_TAG_PLACEHOLDER_0__ 97

Kua loloa Keäau i ka nahele hala: oli by Hiiaka 34

__A_TAG_PLACEHOLDER_0__ 34

Kua-mú pays toll to the forest: song by Hiiaka 166

__A_TAG_PLACEHOLDER_0__ 166

Kui na apiki lei hele: oli by Hiiaka 84

__A_TAG_PLACEHOLDER_0__ 84

Kui na ohi’a hele i ke kaha, e: oli by Hiiaka 83

__A_TAG_PLACEHOLDER_0__ 83

Ku kila ke kaunu moe ipo: oli by Hiiaka 16

__A_TAG_PLACEHOLDER_0__ 16

Kukulu ka makia a ka huaka’i hele moe ipo: oli by Hiiaka 15

__A_TAG_PLACEHOLDER_0__ 15

Kuli’a, e Uli, ka pule kala ma ola: pule by Paú-o-pala’e 37

__A_TAG_PLACEHOLDER_0__ 37

Kulia, e Uli: pule by Hiiaka 144

__A_TAG_PLACEHOLDER_0__ 144

Kulia, e Uli, ka pule kanaenae ola: pule by Hiiaka 146

__A_TAG_PLACEHOLDER_0__ 146

Kuli ke kahuna i-mua: pule by Hiiaka 138

__A_TAG_PLACEHOLDER_0__ 138

Ku makou e hele me ku’u mau poki’i aloha: travel song of Pele X [246]

__A_TAG_PLACEHOLDER_0__ X [__A_TAG_PLACEHOLDER_1__]

Ku-mauna, a rain god (note) 211

__A_TAG_PLACEHOLDER_0__ 211

Ku’u aikane i ke awa lau o Pu’uloa: oli by Hiiaka 167

__A_TAG_PLACEHOLDER_0__ 167

Ku’u akua i ka hale hau: oli by Hiiaka 96

__A_TAG_PLACEHOLDER_0__ 96

Ku’u hoa i ka ili hau o Maná: oli by Lohiau 180

__A_TAG_PLACEHOLDER_0__ 180

Ku’u hoa i ke kawelu oho o Malae-lua: oli by Lohiau 180

__A_TAG_PLACEHOLDER_0__ 180

Kunihi Kaena, holo i ka malie: oli by Hiiaka 157

__A_TAG_PLACEHOLDER_0__ 157

Kunihi ka mauna i ka la’i, e: oli by Hiiaka 109

__A_TAG_PLACEHOLDER_0__ 109

Kupu maikai a’e la: oli by Noho-a-mo’o 59

__A_TAG_PLACEHOLDER_0__ 59

Ku’u kane i ka makani hau alia: oli by Hiiaka 185

__A_TAG_PLACEHOLDER_0__ 185

Ku’u kane i ka pali kauhuhu: oli by Hiiaka 86

__A_TAG_PLACEHOLDER_0__ 86

Ku’u kane i ka makani Kilihau, Kiliopu: oli by Hiiaka 133

__A_TAG_PLACEHOLDER_0__ 133

Ku’u kane i ka pali o Haena: oli by Hiiaka 131

__A_TAG_PLACEHOLDER_0__ 131

Ku’u wahine, e: oli by Lohiau’s wraith 132

__A_TAG_PLACEHOLDER_0__ 132

Lele ana o Ka-ena: oli by Hiiaka 100

__A_TAG_PLACEHOLDER_0__ 100

Lele Lani-loa, ua malië: oli by Hiiaka 97

__A_TAG_PLACEHOLDER_0__ 97

Let the drum, tho torn, snarl out the law: inset to song 121

__A_TAG_PLACEHOLDER_0__ 121

Let us sound it aloud: song by Hiiaka 23

__A_TAG_PLACEHOLDER_0__ 23

Like a cloud you fleet by: song by Paú-o-pala’e 65

__A_TAG_PLACEHOLDER_0__ 65

Lilo i Puna, lilo i Puna: oli by Hiiaka 55

__A_TAG_PLACEHOLDER_0__ 55

Little fish with wicked eye: song by Mana-mana-ia-Kaluea 71

__A_TAG_PLACEHOLDER_0__ 71

Liu’a ke kaha o Ka-ena, wela i ka La: oli by Hiiaka 103

__A_TAG_PLACEHOLDER_0__ 103

Long is the reach of Keäau’s palms: song by Hiiaka 34

__A_TAG_PLACEHOLDER_0__ 34

Lu’ulu’u Hanalei i ka ua nui: oli by Pele 5

__A_TAG_PLACEHOLDER_0__ 5

Mahina ke alo: exclamation by Pele’s women 192

__A_TAG_PLACEHOLDER_0__ 192

Mai Puna au, e, mai Puna: oli by Hiiaka 171

__A_TAG_PLACEHOLDER_0__ 171

Mai Puna au, e, mai Puna au: oli by Hiiaka 172

__A_TAG_PLACEHOLDER_0__ 172

Makalii lua ka La ia Ka-wai-hoa: Hawaiian song 210

__A_TAG_PLACEHOLDER_0__ 210

Maka-pu’u dwells at the Cape: song by Hiiaka 87

__A_TAG_PLACEHOLDER_0__ 87

Malei, a female kupua (note) 88

__A_TAG_PLACEHOLDER_0__ 88

Maná, thou land of the godling host: song by Hiiaka 159

__A_TAG_PLACEHOLDER_0__ 159

Man faints if he travels till night-fall: song by Hiiaka 89

__A_TAG_PLACEHOLDER_0__ 89

Mate mine through grassy meads, awave: song by Lohiau 180

__A_TAG_PLACEHOLDER_0__ 180

Mau a’alina oe mauka o Ka-la-ke-ahi: oli by Paoa 217

__A_TAG_PLACEHOLDER_0__ 217

Mehameha, kanaka ole, ka ho’i: oli by Hiiaka 179

__A_TAG_PLACEHOLDER_0__ 179

Me he uahi mahu, la: oli by Hiiaka 49

__A_TAG_PLACEHOLDER_0__ 49

Moe e no Wai-alua ke Koolau: oli by Lohiau 182

__A_TAG_PLACEHOLDER_0__ 182

My fish are adance on the waves: song by Mana-mana-ia-kaluea 70

__A_TAG_PLACEHOLDER_0__ 70

My foot still shod for travel: song by Hiiaka 19

__A_TAG_PLACEHOLDER_0__ 19

My god of the chilly mansion: song by Hiiaka 96

__A_TAG_PLACEHOLDER_0__ 96

My heart beats high at your venture: song by Hiiaka 62 [247]

__A_TAG_PLACEHOLDER_0__ 62 [__A_TAG_PLACEHOLDER_1__]

My lord shall succumb not to you: counter-charm by Waihinano 79

__A_TAG_PLACEHOLDER_0__ 79

My love to the homes made desolate: swan-song by Lohiau 212

__A_TAG_PLACEHOLDER_0__ 212

My love to thee, mate of the sifting rain: song by Hiiaka 213

__A_TAG_PLACEHOLDER_0__ 213

My man of the wind-driven mist: song by Hiiaka 133

__A_TAG_PLACEHOLDER_0__ 133

Nani ku a ka Hilo pali-ku: oli by Hiiaka 29

__A_TAG_PLACEHOLDER_0__ 29

Nectar for gods, honeyed lehua: song by Hiiaka 239

__A_TAG_PLACEHOLDER_0__ 239

Noho ana Maka-pu’u i ka lae: oli by Hiiaka 87

__A_TAG_PLACEHOLDER_0__ 87

No ka Lua paha ia makani, o ka Pu’u-lena: oli by Hiiaka 10

__A_TAG_PLACEHOLDER_0__ 10

No luna ka hala, e: oli by Mana-mana-ia-kaluea 71

__A_TAG_PLACEHOLDER_0__ 71

O bird that sips with delight: song by Hiiaka 14

__A_TAG_PLACEHOLDER_0__ 14

O Daughter of heaven: serenade by Paú-o-pala’e 47

__A_TAG_PLACEHOLDER_0__ 47

O fellow mine on the stair-like cliff: song by Hiiaka 87

__A_TAG_PLACEHOLDER_0__ 87

Off the coast of Lalau, off Ke-é: song by Hiiaka 107

__A_TAG_PLACEHOLDER_0__ 107

Of Pele, her warfare in Kahiki: song by Malae-ha’a-koa and wife 124

__A_TAG_PLACEHOLDER_0__ 124

O Haupu, mauna ki’eki’e: oli by Hiiaka 107

__A_TAG_PLACEHOLDER_0__ 107

O Haupu, mauna kilohana: oli by Lohiau 183

__A_TAG_PLACEHOLDER_0__ 183

O hele ana oe, e ka noe, e ka awa: oli by Paú-o-pala’e 65

__A_TAG_PLACEHOLDER_0__ 65

O Hiiaka ka wahine: oli by Hiiaka 191

__A_TAG_PLACEHOLDER_0__ 191

O Hiiaka-of-Pele’s-heart: cry of the victims of the Mahiki 51

__A_TAG_PLACEHOLDER_0__ 51

O honey-dew sipped by the bird: song by Hiiaka 31

__A_TAG_PLACEHOLDER_0__ 31

O hookó ia aku oe: oli by Hiiaka 11

__A_TAG_PLACEHOLDER_0__ 11

Oh Maka-pu’u, the famous: song about Maka-pu’u 88

__A_TAG_PLACEHOLDER_0__ 88

O Ka-ala, kuahiwi mauna kehau: oli by Hiiaka 100

__A_TAG_PLACEHOLDER_0__ 100

O ka eha a ke aloha ke lalawe nei: oli by Lohiau 178

__A_TAG_PLACEHOLDER_0__ 178

O ka i’a iki maka inoino: oli by Mana-mana-ia-kaluea 70

__A_TAG_PLACEHOLDER_0__ 70

O Ka-lalau, pali a’ala ho’i, e: oli by Hiiaka 159

__A_TAG_PLACEHOLDER_0__ 159

O ka leo o ke kanáka hookahi, mailuna mai: oli by Pele 42

__A_TAG_PLACEHOLDER_0__ 42

O ka manu múkimukí: oli by Hiiaka 14

__A_TAG_PLACEHOLDER_0__ 14

O kaua a Pele i haká i Kahiki: oli by Malae-ha’a-koa and wife 112

__A_TAG_PLACEHOLDER_0__ 112

O Kau-akahi-ma-hiku-lani: imprecation by Hiiaka 81

__A_TAG_PLACEHOLDER_0__ 81

O Kauhi ke i-maka-o-ka-lani: oli by Hiiaka 92

__A_TAG_PLACEHOLDER_0__ 92

O Ka-ula nui ka i akaka: oli by Hiiaka 135

__A_TAG_PLACEHOLDER_0__ 135

O Ka-uwiki, mauna ki’eki’e: oli by Hiiaka 66

__A_TAG_PLACEHOLDER_0__ 66

O ka wai mukiki a’ala lehua o ka manu: oli by Hiiaka 238

__A_TAG_PLACEHOLDER_0__ 238

O kukulu ka pahu a ka leo hokiki kanawai: inset to oli 121

__A_TAG_PLACEHOLDER_0__ 121

O ku, o ka o Wahine-oma’o: oli by Wahine-oma’o 184

__A_TAG_PLACEHOLDER_0__ 184

O ku’u manawa na’e ka i hei i ka moe: oli by Hiiaka 175 [248]

__A_TAG_PLACEHOLDER_0__ 175 [__A_TAG_PLACEHOLDER_1__]

Ola ia kini! ke a mai la ke ahi, e-e: oli by Pana-ewa 32

__A_TAG_PLACEHOLDER_0__ 32

O Lono, O Lono, God Lono on high: prayer by Hiiaka 150

__A_TAG_PLACEHOLDER_0__ 150

O Malae-ha’a-koa, lawaia o ka pali: oli by Hiiaka 110

__A_TAG_PLACEHOLDER_0__ 110

O Mana, aina a ke Akua, e-e: oli by Hiiaka 159

__A_TAG_PLACEHOLDER_0__ 159

O mau a’alina oe: oli by Paoa 218

__A_TAG_PLACEHOLDER_0__ 218

One’s strength is exhausted, climbing, climbing: song by Hiiaka 32

__A_TAG_PLACEHOLDER_0__ 32

On the heights about Kilauea: prayer by Hiiaka 148

__A_TAG_PLACEHOLDER_0__ 148

On the heights of Poha-kea: song by Hiiaka 163

__A_TAG_PLACEHOLDER_0__ 163

Ooe ia, e ka wahine ai laau o Puna: oli by Malae-ha’a-koa 111

__A_TAG_PLACEHOLDER_0__ 111

O Pana-ewa, ohi’a loloa: oli by Hiiaka 33

__A_TAG_PLACEHOLDER_0__ 33

O Pele la ko’u akua: oli by Kauhi ke i-maka-o-ka-lani 93

__A_TAG_PLACEHOLDER_0__ 93

O Puna-hoa and Kai-pala-oa: song by Hiiaka 56

__A_TAG_PLACEHOLDER_0__ 56

O Puna kai kuwá i ka hala: oli by Hiiaka 2

__A_TAG_PLACEHOLDER_0__ 2

O Puna, lehua ula i ka papa: oli by Lohiau 239

__A_TAG_PLACEHOLDER_0__ 239

O Puna nahele ulu hala o Kalukalu: oli by Lohiau 178

__A_TAG_PLACEHOLDER_0__ 178

O sea-planted Rock of Kaua’i: song by Hiiaka 105

__A_TAG_PLACEHOLDER_0__ 105

O Waialua, kai leo nui: oli by Hiiaka 99

__A_TAG_PLACEHOLDER_0__ 99

O Wai-alua, la’i eha, e: oli by Hiiaka 99

__A_TAG_PLACEHOLDER_0__ 99

O Waihinano, thou soul-grabber: song by Hiiaka 76

__A_TAG_PLACEHOLDER_0__ 76

Owau e hele i na lae ino o Koolau: oli by Hiiaka 88

__A_TAG_PLACEHOLDER_0__ 88

Pa mai ka makani o ka lele wa’a, e: oli by Malae-ha’a-koa 110

__A_TAG_PLACEHOLDER_0__ 110

Pana-ewa, a tall ohi’a: song by Hiiaka 33

__A_TAG_PLACEHOLDER_0__ 33

Pana-ewa’s rain beats down the lehuas: song by Hiiaka 14

__A_TAG_PLACEHOLDER_0__ 14

Pau ke aho i ke kahawai lau o Hilo: oli by Hiiaka 32

__A_TAG_PLACEHOLDER_0__ 32

Pau Puna, ua koele ka papa: pule by Lohiau 208

__A_TAG_PLACEHOLDER_0__ 208

Pele, indeed, is my god: song by Kauhi ke i-maka-o-ka-lani 95

__A_TAG_PLACEHOLDER_0__ 95

Pohaku o Kaua’i (note) 104

__A_TAG_PLACEHOLDER_0__ 104

Popo’i, haki kaiko’o ka lua: oli by Hiiaka 202

__A_TAG_PLACEHOLDER_0__ 202

Popo ke kapa o ka wahine: oli of the ghost-god Hina-hina-ku-i-ka-pali 61

__A_TAG_PLACEHOLDER_0__ 61

Po Puna i ka uwahi ku’i maka lehua: oli by Hiiaka 170

__A_TAG_PLACEHOLDER_0__ 170

Provide you a bundle of wreaths: song by Hiiaka 84

__A_TAG_PLACEHOLDER_0__ 84

Provide you wreaths of ohi’a: song by Hiiaka 83

__A_TAG_PLACEHOLDER_0__ 83

Puanaiea ke kanaka: oli by Hiiaka 89

__A_TAG_PLACEHOLDER_0__ 89

Puka mai ka Wahine mai loko mai o ka Lua: oli by Hiiaka 194

__A_TAG_PLACEHOLDER_0__ 194

Puna is ravaged, its levels fire-baked: prayer by Lohiau 209

__A_TAG_PLACEHOLDER_0__ 209

Puna’s a-dance in the breeze: song by Hiiaka 2

__A_TAG_PLACEHOLDER_0__ 2

Puna’s day is turned into night: song by Hiiaka 171

__A_TAG_PLACEHOLDER_0__ 171

Puna’s plain takes the color of scarlet: song by Lohiau 239

__A_TAG_PLACEHOLDER_0__ 239

Punohounohu i ka lani: oli by Hiiaka 21 [249]

__A_TAG_PLACEHOLDER_0__ 21 [__A_TAG_PLACEHOLDER_1__]

Pu’u-lena breathes a furnace blast: prayer by Lohiau 193

__A_TAG_PLACEHOLDER_0__ 193

Rough weather at Hono-kohau: song by Mana-mana-ia-kaluea 70

__A_TAG_PLACEHOLDER_0__ 70

Scattered through Puna, scattered through Puna: song by Hiiaka 55

__A_TAG_PLACEHOLDER_0__ 55

See the cape that’s a funeral pyre: song by Hiiaka 190

__A_TAG_PLACEHOLDER_0__ 190

She has grown a fine figure: song by Noho-a-mo’o 60

__A_TAG_PLACEHOLDER_0__ 60

Speed, O Uli, this prayer for health: prayer by Hiiaka 147

__A_TAG_PLACEHOLDER_0__ 147

Stand in the breach, O Uli: prayer by Paú-o-pala’e 40

__A_TAG_PLACEHOLDER_0__ 40

Stand to the fore, O Priest; shrink not: prayer by Hiiaka 139

__A_TAG_PLACEHOLDER_0__ 139

The clustered hala is Kapo’s shield: song by Hiiaka 67

__A_TAG_PLACEHOLDER_0__ 67

The deed this of Lima-loa: song of Hiiaka 134

__A_TAG_PLACEHOLDER_0__ 134

The flim and the flam: song by Wahine-oma’o 184

__A_TAG_PLACEHOLDER_0__ 184

The fire-split rocks bombard the sun: song by Hiiaka 186

__A_TAG_PLACEHOLDER_0__ 186

The god is at work in the hills: song by Hiiaka 166

__A_TAG_PLACEHOLDER_0__ 166

The hala, tossed down from the cliff: song by Mana-mana-ia-kaluea 71

__A_TAG_PLACEHOLDER_0__ 71

The land of Wahine-kapu: song by Mana-mana-ia-kaluea 72

__A_TAG_PLACEHOLDER_0__ 72

The lily tufts of Ihu-koko: song by Hiiaka 98

__A_TAG_PLACEHOLDER_0__ 98

The mountain turns the cold shoulder: song by Hiiaka 109

__A_TAG_PLACEHOLDER_0__ 109

The mount is convulsed, it belches flame: war-song of the gods 44

__A_TAG_PLACEHOLDER_0__ 44

The Mount is convulsed; the surging fire: song by Lohiau 206

__A_TAG_PLACEHOLDER_0__ 206

The neck of Hilo is heavy: song by Hiiaka 59

__A_TAG_PLACEHOLDER_0__ 59

The pit-smoke blankets the heavens: song by Hiiaka 21

__A_TAG_PLACEHOLDER_0__ 21

The rain doth replenish the heavens: song by Hiiaka 17

__A_TAG_PLACEHOLDER_0__ 17

There’s turmoil and heaving of strata: song by Paoa 231

__A_TAG_PLACEHOLDER_0__ 231

The sentence of death is affirmed: song by Hiiaka 77

__A_TAG_PLACEHOLDER_0__ 77

The smart of love o’erwhelms me: song by Lohiau 178

__A_TAG_PLACEHOLDER_0__ 178

The stars are on fire, and the moon: song by Lohiau 211

__A_TAG_PLACEHOLDER_0__ 211

The upland lehua is clinker-heaped: song by Hiiaka 108

__A_TAG_PLACEHOLDER_0__ 108

The voice from above of a man supreme: song by Pele 43

__A_TAG_PLACEHOLDER_0__ 43

The voice of Puna’s sea resounds: song by Hiiaka 2

__A_TAG_PLACEHOLDER_0__ 2

The volant breath of the maile: song by Lohiau 176

__A_TAG_PLACEHOLDER_0__ 176

The world is convulsed; the earth-plates sink 223

__A_TAG_PLACEHOLDER_0__ 223

The Woman comes forth from the Pit: song by Hiiaka 196

__A_TAG_PLACEHOLDER_0__ 196

The women bundle their garments: song by the ghost-god 61

__A_TAG_PLACEHOLDER_0__ 61

This, surely, is not the lover: song by Hiiaka 132

__A_TAG_PLACEHOLDER_0__ 132

Thou art she, O tree-eater of Puna: song by Malae-ha’a-koa 111 [250]

__A_TAG_PLACEHOLDER_0__ 111 [__A_TAG_PLACEHOLDER_1__]

Thou bundle of scars from a fiery clay: song by Paoa 217

__A_TAG_PLACEHOLDER_0__ 217

Thou mount of enchantment, Haupu: song by Lohiau 183

__A_TAG_PLACEHOLDER_0__ 183

Tight-pressed is Hanalei’s throng: song by Pele 5

__A_TAG_PLACEHOLDER_0__ 5

To Ole-pau, the heavenly, the King: song by Waihinano, the sorceress 77

__A_TAG_PLACEHOLDER_0__ 77

To swim this tossing sea: song by Hiiaka 48

__A_TAG_PLACEHOLDER_0__ 48

To the temple, its healing rite: prayer by Hiiaka 150

__A_TAG_PLACEHOLDER_0__ 150

Two rivers that chafe their banks: song by Lohiau 183

__A_TAG_PLACEHOLDER_0__ 183

’Twas maid Hiiaka plucked the bloom: song by Hiiaka 191

__A_TAG_PLACEHOLDER_0__ 191

Ua ino Hono-kohau; he Ulu-au nui ka makani: oli by Mana-mana-ia-kaluea 69

__A_TAG_PLACEHOLDER_0__ 69

Ua make ia: oli by Hiiaka 77

__A_TAG_PLACEHOLDER_0__ 77

Ua pu’e ia e ke one ka lehua o uka: oli by Hiiaka 108

__A_TAG_PLACEHOLDER_0__ 108

Ua wela Pu’-lena i ke ahi: pule by Lohiau 193

__A_TAG_PLACEHOLDER_0__ 193

Unstable the bridge: song by Hiiaka 58

__A_TAG_PLACEHOLDER_0__ 58

Vile, vile is this Koolau weather: song by Hiiaka 90

__A_TAG_PLACEHOLDER_0__ 90

Wai-alua has a fourfold charm: song by Hiiaka 99

__A_TAG_PLACEHOLDER_0__ 99

Wai-alua, land of the sounding sea: song by Hiiaka 99

__A_TAG_PLACEHOLDER_0__ 99

We enter the fragrant groves: song by Hiiaka 98

__A_TAG_PLACEHOLDER_0__ 98

Wehe’a iho nei loko o ka moe: oli by Lohiau 176

__A_TAG_PLACEHOLDER_0__ 176

Wela ka hoku, ka Maláma: oli by Lohiau 210

__A_TAG_PLACEHOLDER_0__ 210

We meet at Ewa’s leaf-shaped lagoon, friend: song by Hiiaka 167

__A_TAG_PLACEHOLDER_0__ 167

We stood to sail with my kindred beloved: travel song of Pele XI

__A_TAG_PLACEHOLDER_0__ XI

We went to seek for a biding place: travel song of Pele XIII

__A_TAG_PLACEHOLDER_0__ XIII

While I stand ready for travel: song by Hiiaka 17

__A_TAG_PLACEHOLDER_0__ 17

Will the orphan now hang his head: song by Hiiaka 179

__A_TAG_PLACEHOLDER_0__ 179

With pillowed neck I lay, face to heaven: song by Hiiaka 64

__A_TAG_PLACEHOLDER_0__ 64

Wondrous small looks the Sun o’er Waihoa 210

__A_TAG_PLACEHOLDER_0__ 210

Yoke-fellow in toil at Maná: song by Lohiau 180

__A_TAG_PLACEHOLDER_0__ 180

Yon group of god-forms, that float: song by Hiiaka 36

__A_TAG_PLACEHOLDER_0__ 36

Your verdant mountain walls, Lalau: song by Hiiaka 159

__A_TAG_PLACEHOLDER_0__ 159

You shall bed with me in open day: song by Hiiaka 176

__A_TAG_PLACEHOLDER_0__ 176

You’ve encased him tight in a lava shell: song by Paoa 219 [251]

__A_TAG_PLACEHOLDER_0__ 219 [__A_TAG_PLACEHOLDER_1__]

[__A_TAG_PLACEHOLDER_0__]

ILLUSTRATIONS

Page
N. B. EMERSON Cover page
THE CRATER OF KILAUEA By R. K. Bonine 1
HALEMAUMAU—THE LAKE OF FIRE By R. W. Perkins 97
THE CLIFFS OF KALALAU By R. J. Baker 144
THE DESCENT FROM THE CLIFFS By J. M. Fraser 160
THE GOD IS AT WORK IN THE HILLS By A. W. Emerson 176

	PREFACE	V
	INTRODUCTION	IX
I.	PELE IN THE BOSOM OF HER FAMILY	1
II.	PELE MEETS AND FASCINATES LOHIAU	5
III.	CHAPTER III LOHIAU COMES TO HIMSELF—HIS DEATH—THE THREAT OF PAOA	8
IV.	PELE AWAKES FROM HER SLEEP	9
V.	PELE MAKES A PROPOSITION TO HER SISTERS	12
VI.	HIIAKA CONSENTS TO PELE’S PROPOSITION	15
VII.	HIIAKA STARTS ON HER JOURNEY	22
VIII.	THE GIRL PA-PULEHU—THE FEAST	27
IX.	HIIAKA CHOOSES THE ROUTE THROUGH PANA-EWA	30
X.	HIIAKA’S BATTLE WITH PANA-EWA	36
XI.	HIIAKA HAS VARIOUS ADVENTURES—THE SHARK MAKAU-KIU	46
XII.	THE ROUT OF THE MAHIKI	49
XIII.	HIIAKA LOOPS BACK IN HER JOURNEY	55
XIV.	HIIAKA MEETS MOTHER-GRUNDY	60
XV.	THE VOYAGE TO MAUI	63
XVI.	KAPO-ULA-KINA’U, A RELATIVE OF HIIAKA—THE MAIMED GIRL MANA-MANA-IA-KALU-EA	67
XVII.	HIIAKA RESTORES TO LIFE MANA-MANA-IA-KALU-EA	73
XVIII.	HIIAKA EMPLOYS THE ART OF MAGIC AS A MEANS OF DISGUISING HERSELF—SHE VOYAGES TO MOLOKA’I—MEETS THE MO’O KIKI-PUA	82
XIX.	HIIAKA FINDS A RELATIVE IN MAKA-PU’U—KO’OLAU WEATHER—MALEI	86
XX.	HIIAKA EXPERIENCES KOOLAU WEATHER	90
XXI.	CHAPTER XXI HIIAKA DESCRIBES THE SCENE BEFORE HER	97
XXII.	HIIAKA ADDRESSES POHAKU-O-KAUA’I—THE TWO WOMEN RIG UP A CANOE—SHE SALUTES KAENA—SALUTE TO HAUPU—SEES LOHIAU’S SPIRIT FORM	105
XXIII.	THE LAME FISHERMAN—HIS EPIC RECITAL CELEBRATING PELE	109
XXIV.	HIIAKA LEARNS OF THE DEATH OF LOHIAU	131
XXV.	HIIAKA UTTERS MANY PRAYERS TO RESTORE LOHIAU TO LIFE	138
XXVI.	HIIAKA CONTINUES HER PRAYERS	144
XXVII.	THEY DESCEND FROM THE CLIFF BY RAINBOW BRIDGES—LOHIAU, RESTORED, GOES A-SURFING	152
XXVIII.	THE GODS COME TO LOHIAU’S FEAST	155
XXIX.	HIIAKA’S ADDRESS TO CAPE KAENA	156
XXX.	WHAT HIIAKA SAW FROM THE HEIGHT OF POHA-KEA	162
XXXI.	HIIAKA VISITS PELE-ULA AT KOU—THE HULA KILU	168
XXXII.	HIIAKA EXTRICATES HER CHARGE FROM THE DANGEROUS FASCINATIONS OF THE KILU	185
XXXIII.	HIIAKA ALONE WITH LOHIAU	191
XXXIV.	PELE’S BRIGADE IS SENT TO THE ATTACK OF LOHIAU	197
XXXV.	THE DEATH OF LOHIAU	212
XXXVI.	PAOA SEEKS OUT THE BODY OF HIS DEAD FRIEND LOHIAU	217
XXXVII.	PAOA COMES BEFORE PELE	225
XXXVIII.	HIIAKA AND LOHIAU ... A REUNION	235
	INDEX OF FIRST LINES.	241
	ILLUSTRATIONS	251

Colophon

Availability

Metadata

Title:	Pele and Hiiaka: A Myth from Hawaii
Author:	Nathaniel Bright Emerson (1839–1915)	Info
Illustrator:	R. J. Baker
Illustrator:	R. K. Bonine
Illustrator:	A. W. Emerson
Illustrator:	J. M. Fraser
Illustrator:	R. W. Perkins
Language:	English
Original publication date:	1915

Encoding

margin-left: 4em;margin-left: 8em;

margin-left: 4em; margin-left: 8em;

Revision History

2019-09-03 Started.

External References

Corrections

The following corrections have been applied to the text:

Page	Source	Correction	Edit distance
XI	Kamohoalii	Ka-moho-alii	2
XIII	Kamoho-alii	Ka-moho-alii	1
XIV	Na-maka-o-kaha’i	Na-maka-o-ka-ha’i	1
2	somthing	something	1
13	promonition	premonition	1
17, 140	,	[Deleted]	1
26	Wahine’oma’o	Wahine-oma’o	1
28	xeclaimed	exclaimed	2
32	reconnoisance	reconnaissance	2
33	Pena-ewa	Pana-ewa	1
33	Terriffic	Terrific	1
33	terriffic	terrific	1
34, 34, 40	:	;	1
34	blue-back	blue-black	1
35, 203	Panaewa	Pana-ewa	1
35	Ka-moho alii	Ka-moho-alii	1
36	reenforce	reinforce	1
36	PANAEWA	PANA-EWA	1
37	Muller	Müller	1 / 0
42	Kumo-lipo	Kumu-lipo	1
42	dreived	derived	2
42, 73	..	.	1
43	,	,	2
44	Ale ula	Ale ula	0
44	intrenched	entrenched	1
45	rousedfrom	roused from	1
46	Pan-ewa	Pana-ewa	1
48	Maka’u’kiu	Maka’u-kiu	1
49	Waipi’o	Wai-pi’o	1
49, 121, 133, 165, 175, 216, 234	[Not in source]	.	1
51	insiginficant	insignificant	2
56	Kai-pala-oä	Kai-pala-oa	1 / 0
56	[Not in source]	”	1
58, 106, 106, 214	Hiaaka	Hiiaka	1
60	Honolii	Honoli’i	1
62	Maka’u—kiu	Maka’u-kiu	1
70	! !	!!	1
74	somethnig	something	2
75	Wai-hinano	Wai-hinanano	2
75, 170, 203	,	.	1
75	vlaim	claim	1
82, 97, 178, 241, 241	[Not in source]	,	1
83, 137	Molokai	Moloka’i	1
84	Molokai’s	Moloka’i’s	1
87	Molo-ka’i	Moloka’i	1
88	ailment	aliment	2
89	Waimanalo	Wai-manalo	1
90	house.	[Deleted]	7
92	Makali’i	Maka-li’i	1
95	Hau-mea	Haumea	1
104	.	,	1
105	Pohaku o Kaua’i	Pohaku-o-Kaua’i	2
106	wihch	which	2
113	).	.)	2
114	ball	bail	1
114	canote	canoe	1
117	Wai-a-kahala-lea	Wai-a-kahala-loa	1
120	(54)	[Deleted]	4
121	, geoffrey	geoffroy	2
131	Hiaaka’s	Hiiaka’s	1
131	the the	the	4
131	Ha-ena	Haena	1
137	Ku-kaili,-moku	Ku-kaili-moku	1
138	simples	samples	1
140	kukuinut	kukui nut	1
143	, ,	[Deleted]	10
144	Uhu	Ulu	1
147	Hi’iaka	Hiiaka	1
154	,	?	1
155	unparalled	unparalleled	2
160	plead	pleaded	2
161	Saekkingen	Säckingen	3 / 2
161	litterally	literally	1
161	also also	also	5
162	POHAKEA	POHA-KEA	1
162	Pohakea	Poha-kea	1
163	[Not in source]		1
163	-	:	1
164	thought	though	1
166, 245	Kua-mu	Kua-mú	1 / 0
166	[Not in source]	104.)	5
167	Moe-wa’a	Mo-ewa’a	2
169	where	[Deleted]	6
170	Pau	Paü	1 / 0
172	O’olu-ea	O’olu-eä	1 / 0
173	targe	target	1
177	Nii-hau	Niihau	1
177	Loahiau’s	Lohiau’s	1
182	”	[Deleted]	1
185	hospitaliay	hospitality	1
187	holo-uha	holo ulá	3 / 2
189, 230	[Not in source]	)	1
194	ovean	ocean	1
194	’	”	1
195	[Not in source]	(	1
195	(	[Deleted]	1
199	[Not in source]	;	1
203	(h)	[Deleted]	4
205	ataxic,	, ataxic	2
208	Uwe-kahuna	Uwé-kahuna	1 / 0
211	uwe	uwé	1 / 0
211	Kilaueä	Kilauea	1 / 0
214	of of	of	3
219	.)	).	2
222	)	[Deleted]	1
225	meet	ment	1
228	[Not in source]	:	1
236	thing thing	thing	6
241	Ká-lalau	Ka-lalau	1 / 0
241	Mana mana-ia-kaluea	Mana-mana-ia-kaluea	1
241	:	,	1
242	Mo’olau	Mo’o-lau	1
242	Ay	Aye	1
242	inprecation	imprecation	1
243	forest tongue	forest-tongue	1
243	fantoms	phantoms	2
244	I no	Ino	1
244	Kaena	Ke-ena	2
245, 247	Kauwiki	Ka-uwiki	1
245	Ki’eki’e	Ki’e-ki’e	1
245	Paú-o-pala’s	Paú-o-pala’e	1
245	Kulia	Kuli	1
246	Mana-mana-ia kaluea	Mana-mana-ia-kaluea	1
247	múkimukï	múkimukí	1 / 0
248	;	:	1
248	indeed is	, indeed, is	2
248	good	god	1
250	the	this	2
250	look	seek	3
250	[Not in source]	mountain	9

Abbreviations

Overview of abbreviations used.

List of abbreviations used.

Abbreviation	Expansion
N.B.	Nota Bene

Download ePUB

If you like this ebook, consider a donation!