44° 



Fornander Collection of Hawaiian Folk-lore. 



The canoe of the priestess of 



Laa ' that is here, 



Which now stands down at Hana, 



Standing below at Hana; ask, inquire of its 



name; 

 It is the double canoe of Kaumaielieli. 

 The Milo outline is the outrigger, 

 Halauloa, the body; 

 It pitched in the sea in its sailing. 

 Aukuuikalani, the bow, 

 The stern is carried up, 

 Kaualupe, Is the space between the iakos, 

 Piliaama is the long stick on the outside, 

 I^eleiamanu is the stick at the bow, 

 Kupakei the stick at the stern, 

 The outside sticks are like the rejected ones. 

 Peheu are the ears of the canoe, 

 Pukokee the oblique ends, 

 Makilihaohao in the heaven, the iron, 

 Kainakahi the bailing cup, 

 Kiai-i-ka-lani the leak, 

 Kuanuenue is the front iako, 

 Hauhiakaa the lashings, 

 Hoomaukoia occupies the center, 

 Uaua the lashings. 

 Hooipoakekolu the iako, 

 Luukia the lashings. 

 Hapa mounts up to heaven, 

 Uli is the woman that is famous, 

 Popoalaea the woman that is famous, 

 Mailelaulii the woman that is famous, 

 Haaneeiakake the proclaiming priest. 

 That is the way they carry things in Kona, 

 That is the way they lift things in Kona, 

 That is the way the sail is set. 

 The seat over which the cross stick hangs, 

 The sharp point of the cross sticks above. 

 Kauhikamakani is the cross stick above, 

 Kauhikalalea the cross sticks above. 

 Poa is the lower end of the stick, 

 Niula is the piece of kapa at the end of the pole, 

 Kailewaula the piece of kapa below the first. 

 Kaameaula the piece of kapa below that, 

 Kapuohuula is the piece of kapa below that, 

 Anuenueula ^ the piece of kapa below that, 

 Hoopio is the end of the sail in the middle, 



Alualu the bow stays, 



Kanaha the last of the pieces of red kapa, 



Huki the piece of red kapa in the open. 



The canoe sails in the ocean, 



Niheu is playing with the pebbles, 



Kapapaki his .seat, 



Kuaieloelo is his seagoing loin cloth, 



Oolapaku his paddle. 



Lealealai is to occupy the center. 



As a substitute does he sit. 



Kiheipua is his seagoing loin cloth, 



Laolapa his paddle. 



Niniole is to occupy the larger space, 



Kaauia his seating, 



Waialea his loin cloth, 



Mapunaiakea his paddle. 



Kapunaikila is on the inside, 



Kapunanui on the outside. 



Pahelehalalei is on the inside, 



Pahelekaumoku on the outside. 



Niuowaihiki is on the inside, 



Ninakapukapu on the outside. 



Kooluamahanakea 



Hoolaula the sailing master, 



Kapapaku his seat. 



The dead body of Koolaukani is his paddle. 



Hakamaka is the bow of that canoe, 



Kama is the outside paddle. 



Kanaloa^ is on the platform, 



Playing at cat's cradle with the dead. 



The towering waves of the ocean, 



The sleeping waves of the ocean. 



The drawing current of the ocean, 



The current that bears one away to the ocean, 



Sailing the ocean where the battle is to be fought. 



The lizard shall be on the surface, 



Niheu, the warrior, 



Wawakailani his war club. 



Kana is the chief warrior, 



Puhalakau his war club. 



Opuaanalu shall be routed, 



Niuli shall stand as a coconut tree, 



Moopuu shall be the priest, 



Hulahula^ the name of the prayer, 



Kanaloa shall be the god. 



Then shall the hill of Haupu be routed. 



I 



^ Laa, now known as Olaa, in Puna, Hawaii, identifies 

 the location of Uli'i? work. 



= It will be noticed with all these kapas that ula (red) 

 terminates the several names. There may have been 

 designed significance in these as signals in distinction 

 from other named kapas which are described such. 



^Kanaloa (referred to again later), one of the major 

 gods of ancient Hawaiian belief. 



* Hulahula was a prayer of great solemnity in a dedica- 

 tory service, and is not to be confused with the Hawai- 

 ian dance of same name. 



