74: THE HAKO, A PAWNEK CEREMONY [eth. Ann. 22 



Trunsldlioii 



I 



23ij Wira nhaki, wlra uhaki. 



wii-a; wi, a (jualifyiiii;- word iiu-aiiiiig' tliat An object is long or 

 stretched out; ra, at a distance, yonder. 



iiliaki, somethinii' tliat is in a line, a strcti-li. 

 2;!7 Katuhaiu uhaki, wiia uliaki. 



katuharu, trees, timber, woods. 



uliaki, a hmy; line, a stretch. 



wira uhak'. See line 23i>. 

 238 Katuharu uhaki. See line 237. 



II 



23!i See line 236. 



240 Kichaharu uhaki, wira uhaki. 



kichaharu, a stream, a ri\-ii'. 

 uhaki, a long stretch. 

 wira uhaki. See line 23(1. 



241 Kichaharu uhaki. See line 24n. 



Ill 



242 Wira wihaku, wira wihaku. 



wira, something that is long seen at a distance, 

 wihaku, rippling. 



243 Kichaharu wihaku; wira wiliarn. 



kichaharu, a stream, a rivei-. 



wihaku, rippling. 



wira wihaku. See line 242. 



244 Kichaliaru wihaku. See line 243. 



K.rphi ii'iiioii In/ I III Kit' raJiua 



In this ceremony water is not used except foi- sacred purposes. We 

 mix the paint that we use upon the sacred ob.jects with running water. 

 When on our journey we come to a stream of running watei- we 

 can not step into it to cross it without asking permission of Kawas. 

 Kiiwas is the mother; she rei)rcsents the night and the moon, and she 

 can |)ermit us to enter and wade through the stream. So, whenever 

 we come to a river we call upon Kawas to protect us, that our act 

 of passing through the water may not bring puni.shnient, and nuiy not 

 eau.se the clouds to come between us and the blue dome, the dwelling 

 place of Tira'wa, or l>reak the continuity of life from one generation 

 to another. 



The following song is our appeal to Kawas. When we sing the 

 first stanza we enter the stream, the water touches our feet. 



