618 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 33 
journey from Kailua to Kealakekua he passed at least one heiau to every half 
mile. The classic instance in Hawaiian history is the building of the great 
temple of Puukohala at Kawaihae by Kamehamaha, in order to propitiate his 
war god, and the tolling thither of his rival, Keoua, to present as the first 
victim upon the altar, a treachery which practically concluded the conquest 
of Hawaii. Malo (p. 210) describes the ‘days of consecration of the temple.” 
“The nights of Kane and of Lono follow each other on the 27th and 28th 
of the month and constitute the days of taboo for the god Kane. Four such 
taboo seasons occur during the month, each lasting from two to three days 
and dedicated to the gods Ku, Kanaloa, and Kane, and to Hua at the time of 
full moon. The night Kukahi names the first night of the taboo for Ku, the 
highest god of Hawaii. 
* By kahoaka the Hawaiians designate “the spirit or soul of a person still 
living,” in distinction from the whane, which may be the spirit of the dead. 
Aka means shadow, likeness; akaku, that kind of reflection in the mists which 
we call the “specter in the brocken.” Hoakaku means “to have a vision,” 
a power which seers possess. Since the spirit may go abroad independently 
of the body, such romantic shifts as the vision of a dream lover, so magically 
introduced into more sophisticated romance, are attended with no difficul- 
ties of plausibility to a Polynesian mind. It is in a dream that Halemano 
first sees the beauty of Puna. In a Samoan story (Taylor, I, 98) the sisters 
catch the image of their brother in a bottle and throw it upon the princess's 
bathing pool. When the youth turns over at home, the image turns in the 
water. j 
*The feathers of the 00 bird (Moho nobilis), with which the princess’s house 
is thatched, are the precious yellow feathers used for the manufacture of 
cloaks for chiefs of rank. The mamo (Drepanis pacifica) yields feathers of a 
richer color, but so distributed that they can not be plucked from the living 
bird. This bird is therefore almost extinct in Hawaiian forests, while 
the oo is fast recovering itself under the present strict hunting laws. Among 
all the royal capes preserved in the Bishop Museum, only one is made of the 
mamo feathers. 
“The reference to the temple of Pahauna is one of a number of passages 
which concern themselves with antiquarian interest. In these and the transi- 
tion passages the hand of the writer is directly visible. 
% The whole treatment of the Kauakahialii episode suggests an inthrust. 
The flute, whose playing won for the chief his first bride, plays no part at all 
in the wooing of Laieikawai and hence is inconsistently emphasized (p. 492). 
Given a widely sung hero like Kauakahialii, whose flute playing is so popu- 
larly connected with his love making, and a celebrated heroine like the beauty 
who dwelt among the birds of-Paliuli, and the story-tellers are almost certain 
to couple their names in a tale, confused as regards the flute, to be sure, but 
whose classic character is perhaps attested by the grace of the description. 
The Hebraic form in which the story of the approach of the divine beauty is 
couched (p. 370) can not escape the reader, and may be compared with the 
advent of the Sun god later in the story (p. 578). There is nothing in the 
content of this story to justify the idea that the chief had lost his first wife, 
Kailiokalauokekoa, unless it be the fact that he is searching Hawaii for 
another beauty. Perhaps, like the heroine of Halemano, the truant wife re- 
turns to her husband through jealousy of her rival’s attractions. A special 
