316 ' HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 88 
to-day the Hawiian editor with a nice sense of emotional values will 
not, in his obituary notice, speak of a man being missed in his native 
district, but will express the idea in some such way as this: “ Never 
more will the pleasant Awpuupuw (mist-bearing wind) dampen his 
brow.” The songs of the pleading sisters in the romance of 
Laieikawai illustrate this conventional usage. In /vualii, the poet 
wishes to express the idea that all the sea belongs to the god Ku. He 
therefore enumerates the different kinds of “sea,” with their local- 
ity—‘ the sea for surf riding,” “the sea for casting the net,” “the 
sea for going naked,” “ the sea for swimming,” “ the sea for surf rid- 
ing sideways,” “the sea for tossing up mullet,” “the sea for small 
crabs,” “the sea of many harbors,” ete. 
The most complete example of this kind of enumeration occurs in 
the chant of Kuapakaa, where the son of the disgraced chief chants 
to his lord the names of the winds and rains of all the districts about 
each island in succession, and then by means of his grandmother’s 
bones in a calabash in the bottom of the canoe (she is the Hawaiian 
wind-goddess) raises a storm and avenges his father’s honor. He 
sings: 
There they are! There they are!! 
There they are!!! 
The hard wind of Kohala, 
The short sharp wind of Kawaihae, 
The fine mist of Waimea, 
The wind playing in the cocoanut-leaves of Kekaha, 
The soft wind of Kiholo, 
The calm of Kona, 
The ghost-like wind of Kahaluu, 
The wind in the hala-tree of Kaawaloa, 
The moist wind of Kapalilua, 
The whirlwind of Kau, 
The mischievous wind of Hoolapa, 
The dust-driven wind of Maalehu, 
The smoke-laden wind of Kalauea. 
There is no doubt in this enumeration an assertion of power over 
the forces the reciter calls by name, as a descendant of her who has 
transmitted to him the magic formula. 
Just so the technician in fishing gear, bark-cloth making, or in 
canoe or house building, the two crafts specially practiced by chiefs, 
acquires a very minute nomenclature useful to the reciter in word 
debate or riddling. The classic example in Hawaiian song is the 
famous canoe-chant, which, in the legend of Aana, Uli uses in 
preparing the canoe for her grandsons’ war, expedition against the. 
ravisher of Hina (called the Polynesian Helen of Troy) and which 
is said to be still employed for exorcism by sorcerers (Kahuna), 
of whom Uli is the patron divinity. The enumeration begins thus: 
