BECKWITH] INTRODUCTION 329 
repetitive series in which the same act is attempted by a succession of 
actors, or the stages of an action are described in exactly the same 
form, or a repetition is planned in ascending scale; the singsong value 
of the antithesis; the suspense gained by the ejaculation 2—all these 
1 The following examples are taken from the Laieikawai, where antithesis is frequent: 
“Four children were mine, four are dead.” (P. 346.) 
“Masters inside and outside ’’ (to express masters over everything). (P. 358.) 
“T have seen great and small, men and women; low chiefs, men and women; high 
chiefs.” (P. 360.) 
“When you wish to go, go; if you wish to stay, this is Hana, stay here.” (P. 380.) 
“As you would do to me, so shall I to you.” (P. 380.) 
“T will not touch you, you must not touch me.” (P. 404.) 
“Until day becomes night and night day.’ (P. 412.) 
“Tf it seems good I will consent; if not, I will refuse.’ (P. 418.) 
“ Camped at some djstance from A’s party and A’s party from them.” (P. 426.) 
“Sounds cnly by night, . . . never by day.” (P. 436.) 
“Through us the consent, through us the refusal.” (P. 440.) 
“You aboye, our wife below.” (P. 492.) 
“Thunder pealed, this was Waka’s work; thunder pealed, this was Malio’s work.” 
(P. 504.) 
“Do not look back, face ahead.’ (P. 504.) 
‘“‘ Adversity to one is adversity to all;” “we will not forsake you, do not you forsake 
SRY (Gey aly) 
“Not to windward, go to leeward.” (P. 558.) 
“Never . . . any destruction before like this; never will any come hereafter.” 
(P. 574.) 
“Everyone has a god, none is without.’ (P. 590.) 
“There I stood, you were gone.”’ (P. 596.) 
““T have nothing to complain of you, you have nothing to complain of me.” (P. 602.) 
The balanced sentence structure is often handled with particular skill: 
“Tf . . . a daughter, let her die; however many daughters . . . let them die.” 
(P. 344.) : 
“The penalty is death, death to himself, death to his wife, death to all his friends.” 
(P. 408.) 
“Drive him away; if he should tell you his desire, force him away; if he is very 
persistent, force him still more.” (P. 462.) 
“Again they went up . . . again the chief waited . . . the chief again sent 
a band.” (P. 468.) 
“A crest arose; he finished his prayer to the amen; again a crest arose, the second 
this; not long after another wave swelled.” (P. 506.) 
“Tf she has given H. a kiss, if she has defiled herself with him, then we lose the wife, 
then take me to my grave without pity. But if she has hearkened .. . 
then she is a wife for you, if my grandchild has hearkened to my command.” 
(P. 534.) 
A series of synonyms is not uncommon, or the repetition of an idea in other words: 
“Do not fear, have no dread.” (P. 434.) 
“Linger not, delay not your going.” (P. 466.) 
“Exert your strength, all yur godlike might.” (P. 466.) 
* Lawless one, mischief maker, rogue of the sea.” (P. 466.) 
“Princess of broad Hawaii, Laicikawai, our mistress.” (P. 560.) 
“House of detention, prison-house.” (P. 548.) 
“Daughter, lord, preserver.’”’ (P. 552.) 
2In the course of the story of Laieikawai occur more than 50 ejaculatory phrases, 
more than half of these in the narrative, not the dialogue, portion: 
1. The most common is used to provide suspense for what is to follow and is printed 
without the point—aia hoi, literally, “then (or there) indeed,’ with the force of 
our lo! or behold! (p. 549). 
2. Another less common form, native to the Hawaiian manner of thought, is the con- 
tradiction of a plausible conjecture—aole ka! “not so!” (p. 845). Both these 
forms occur in narrative or in dialogue. The four following are found in dialogue 
alone : 
3. Auhea oe? “ where are you?” is used to introduce a vigorous address. (P. 347.) 
4. Auwwe! to express surprise (common in ordinary speech), is rare in this story. 
