628 HAWAIIAN ROMANCE OF LAIEIKAWAT [ETH. ANN. 22 
CHAPTER XXIV 
* More than 470 species of land snails of a single genus, Achatinella, are to 
be found in the mountains of Hawaii, a fact of marked interest to science in 
observing environmental effect upon the differentiation of species One of 
these the natives call pupu kani oi or “shrill voiced snail,” averring that a 
certain cricketlike chirp that rings through the stillness of the almost insect- 
less valleys is the voice of this particular species. Emerson says that the name 
kahuli is applied to the land snail to describe the peculiar tilting motion as the 
snail crawls first to one side and then to the other of the leaf. He quotes a 
little song that runs: 
Kahuli aku, kahuli mai, Tilting this way and that. 
Kahuli lei ula, lei akolea, Tilts the red fern-plume. 
Kolea, kolea, e kii ka wai, Plover, plover, bring me dew. 
Wai akolea. Dew from the fern-plume. 
“This incident is unsatisfactorily treated. We never know how Waka cir- 
cumvented Malio and restored her grandchild to the husband designed for her. 
The whole thing sounds like a dramatic innovation with farcical import, which 
appeared in the tale without motivation for the reason that it had none in its 
inception. The oral narrator is rather an actor than a composer; he may have 
introduced this episode as a surprise, and its success as farce perpetuated it as 
romance, 
CHAPTER XXVI 
"This episode of the storm is another inconsistency in the story. The storm 
signs belong to the gods of Aiwohikupua and his brother, the Sun god, not to 
Laieikawai, and were certainly not hers when Waka deserted her. If they 
were given her for protection by Kahalaomapuana or through the influence 
of the seer with the Kauai family, the story-teller does not inform us of the fact. 
"The pa-u is a woman’s main garment, and consists of five thicknesses of 
bark cloth 4 yards long and 3 or 4 feet wide, the outer printed in colors, and 
worn wrapped about the loins, reaching the knees. 
CuHartrer XXVIII 
%In mythical quest stories the hero or heroine seeks, by proving his rela- 
tionship, generally on the mother’s side, to gain the favor of the supernatural 
guardian of whatever treasure he seeks. By breaking down the taboo he 
proclaims his rank, and by forcing the attention of the relative before the 
angry god (or chief) has a chance to kill him (compare the story of AKalania- 
manuia where the father recognizes too late the son whom he has slain), he 
gains time to reveal himself. In this episode the father’s beard is, like the 
locks of Dionysus in Huripides’ line, dedicated to the god, hence to seize it 
was a supreme act of lawlessness 
@ According to the old Polynesian system of age groups, the ‘“ mother’s 
brother ” bears the relation to the child of makua equally with his real parents. 
Kahalaomapuana says to her father: 
“T am your child (kama), 
The child of Laukieleula, 
The child of Mokukelekabiki, 
The child of Kaeloikamalama.” 
