[Footnote 13: The building of a _heiau_, or temple, was a common means
of propitiating a deity and winning his help for a cause. Ellis records
(1825) that on the 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."]
[Footnote 14: 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.]
[Footnote 15: By _kahoaka_ the Hawaiians designate "the spirit or soul
of a person still living," in distinction from the _uhane_, 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 difficulties 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.]
[Footnote 16: The feathers of the _oo_ 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.]
[Footnote 17: The reference to the temple of Pahauna is one of a number
of passages which concern themselves with antiquarian interest. In these
and the transition passages the hand of the writer is directly visible.]
[Footnote 18: 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. Given a widely sung hero like Kauakahialii, whose flute playing
is so popularly 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 can not escape the reader, and may
be compared with the advent of the Sun god later in the story. 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 returns to her husband through jealousy of her
rival's attractions. A special 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.]
[Footnote 19: 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 _oo_ (_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. But 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_ (_Eopsaltria sandvicensis_),
beloved of the canoe builder, is commonly to be heard. Of the birds
described in the Laielohelohe series the cluck of the _alae_ (_Gallinula
sandricensis_) I have heard only in low marshes by the sea, and the
_ewaewaiki_ I am unable to identify. Andrews calls it the cry of a spirit.]
[Footnote 20: _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 "grand, majestic, lofty, thatched with
the feathers of birds, battened with bird bones, timbered with _kauila_
wood." (See Fornander's _Kila_.)]