BECKWITH] NOTES ON THE TEXT 619 
relation seems to exist in Hawaiian story between Kauai and the distant Puna 
on Hawaii, at the two extremes of the island group: it is here that Halemano 
from Kauai weds the beauty of his dream, and it is a Kauai boy who runs the 
sled race with Pele in the famous myth of Kalewalo. With the Kauakahialii tale 
(found in Hawaiian Annual, 1907, and Paradise of the Pacific, 1911) compare 
Grey’s New Zealand story (p. 235) of Tu Tanekai and Tiki playing the horn 
and the pipe to attract Hinemoa, the maiden of Rotorua. In Malo, p. 117, one 
of the popular stories of this chief is recorded, a tale that resembles Gill’s of 
the spirit meeting of Watea and Papa. 
* These are all wood birds, in which form Gill tells us (Myths and Songs, 
p. 35) the gods spoke to man in former times. Henshaw tells us that the 00 
(Moho nobilis) has ‘a long shaking note with ventriloquial powers.” The alala 
is the Hawaiian crow (Corvus hawaiiensis), whose note is higher than in our 
species. If, as Henshaw says, its range is limited to the dry Kona and Kau 
sections, the chief could hardly hear its note in the rainy uplands of Puna. 
Rut among the forest trees of Puna the crimson apapane (Himatione sanguinea) 
still sounds its “sweet monotonous note; the bright vermillion iiwipolena 
(Vectiaria coccinea) hunts insects and trills its ‘sweet continual song;’ the 
“four liquid notes” of the little rufous-patched elepaio (Hopsaltria sandvi- 
censis), beloved of the canoe builder, is commonly to be heard. Of the birds 
described in the Laielohelohe series (p. 530) the cluck of the alae (Gallinula 
sandvicensis) I have heard only in low marshes by the sea, and the ewaewaiki 
J am unable to identify. Andrews calls it the cry of a spirit. 
” Moaulanuiakea means literally “ Great-broad-red-cock,” and is the name of 
Moikeka’s house in Tahiti, where he built the temple Lanikeha near a mountain 
Kapaahu. His son Kila journeys thither to fetch his older brother, and finds it 
“ crand, majestic, lofty, thatched with the feathers of birds, battened with bird 
bones, timbered with kawila wood.” (See Fornander’s Kila.) 
” 
CHAPTER IV 
** Compare Gill’s story of the first god, Watea, who dreams of a lovely 
woman and finds that she is Papa, of the underworld, who visits him in dreams 
to win him as her lover. (Myths and Songs, p. 8.) 
™Tn the song the girl is likened to the lovely lehua blossom, so common to 
the Puna forests, and the lover’s longing to the fiery crater, Kilauea, that lies 
upon their edge. The wind is the carrier of the vision as it blows over the 
blossoming forest and scorches its wing across the flaming pit. In the Hale- 
mano story the chief describes his vision as follows: “She is very beautiful. 
Her eyes and form are perfect. She has long, straight, black hair and she seems 
to be of high rank, like a princess. Her garment seems scented with the pele 
and mahuna of Kauai, her skirt is made of some very light material dyed red. 
She wears a hala wreath on her head and a lehua wreath around her neck.” 
* No other intoxicating liquor save awa was known to the early Hawaiians, 
and this was sacred to the use of chiefs. So high is the percentage of free 
alcohol in this root that it has become an article of export to Germany for use 
in drug making. Vancouver, describing the famous Maui chief, Kahekili, says: 
“His age I suppose must have exceeded 60. He was greatly debilitated and 
emaciated, and from the coler of his skin I judged his feebleness to have been 
brought on by excessive use of awa.” 
*Tn the Hawaiian form of checkers, called konane, the board, papamu, is 
a flat surface of stone or wood, of irregular shape, marked with depressions 
if of stone, often by bone set in if of wood; these depressions of no definite 
number, but arranged ordinarily at right angles. The pieces are beach pebbles, 
