above Halelena, on top of the hills of Haupu, on Kilohana Mountain;
[941] and it is one of the creeping vines of the wilds of Alakai,
Kauai, and is mentioned in the following song:
Gently floating is the fragrance,
The beauty of yon mountain,
Of the wilds of Alakai,
Towards the lehua in the mists.
It also grows plentifully on the sides of the steep ravines of Koolau,
and the high places of Halemano, up at Kukaniloko, [942] and it was in
those wilds that were visited by some ladies some days ago that maile
was found to grow abundantly. This was during the time we were at the
Ehukai. (Waialua is often referred to as the Ehukai of Puaena. [943])
2. The small-leaved maile. This maile does not grow abundantly in some
places, and does not grow at all in other parts of our mountains. This
also is a creeping maile, somewhat different from the maile ku honua;
this has narrow leaves like the bambu, small and somewhat like the
leaves of the willow, or something like the leaves of a young koa tree;
it grows profusely at Koiahi, the mountains of Waianae, Oahu, hence the
expression, “the small-leaved maile of Koiahi.” This maile is famous to
the people from Hawaii and Kauai. It also grows at the pali of Nuuanu.
I have seen maile there resembling this small-leaved maile. Some grow
at Kauai, though not exactly as fine-leaved as this, but because it
does not grow profusely there, the natives of the place call it the
small-leaved maile. This is found on the eastern side of the precipice
of Haupu in line with the water (spring) of Kemamo and the curly
bananas of Kanalehua.
ITS DESIRABLE QUALITIES.
The people of Hawaii nei are very fond of maile, and I think our
ancestors were also fond of it, and yet it may not be. Maile is used a
great deal during feasts, for greens and for decorative purposes. The
place is generally decorated with the greens of the mountains; the
inside as well as the outside is skilfully decorated; the living house
is also decorated; greens are secured for decorations for the inside to
make it attractive; maile is used for leis for the people; for men,
women and children; for the chiefs, the noted people, and the rich
people; for the farmer, the oppressed, the branded servant. The people
of Hawaii nei were very fond of this deep green leaf of the forest
because of its fragrance. And because it was so very much desired by
the people, therefore it was greatly used in the composition of songs,
hulas, chants, dirges, and various other compositions.
The fragrant sisters of Aiwohikupua, [944] one of the Kauai chiefs,
were named after the maile. These were the names: Mailehaiwale, [945]
Mailekaluhea, [946] Mailelaulii[940] and Mailepakaha. [947] Some of the
famous places also of that island were named after the maile: “the
leaping fire of Kamaile,” because maile grew abundantly on those
mountain ranges from Nualolo to the precipices of Kalalau, and even
unto the valley of the dwarf oopus, Hanakapiai, overlooking the
fire-hurling precipice of Makena, where Haena [948] inhales the wind.
This is the one plant familiar to these mountains, the maile.
There are other kinds of maile, but they are foreign mailes. I do not
know their names. There is one plant by Mr. Bishop’s gate. Some kinds
of maile also grow on the plains in weeds; it has fine hair. When
preparing the fishes known as palani [949] and maikoiko, [950] this
plant is used to do away with the strong smell, rubbing its leaves in
among the fish. Perhaps you know about this. This plant still grows on
the plains.
And if I have not properly explained about this plant of our country,
then let me alone be to blame, because I am not thoroughly familiar
with the various mailes of Hawaii nei; because this is not my home; I
am from the cold seas [951] of the Arctic.
Ed. K. Lilikalani.
HISTORY OF THE WILIWILI.
The wiliwili is one of the useful trees of Hawaii nei; but it is not
like other trees the stories of which were told us heretofore. It is
not like other trees which are growing now. This is what I have
gathered from inquiries of friends. They state that this tree is
indigenous to Hawaii nei, but I do not know of the place where it first
grew. This tree is rough in its kind. We have therefore the basis.
THE VALUE OF THE WILIWILI.
The wiliwili [952] is a wood which is prepared here in Hawaii for sale
to others: some of it is made into the longitudinal outrigger stick for
canoes. That is not all: it is also used as firewood for cooking food
by some people. This tree grows plentifully on hills and valleys
surrounding us. It is used by children for play boats, also by men; it
is also used by some to mend looking glasses. When a glass is broken a
piece of wiliwili wood is taken and shaped so that the broken piece of
looking glass is fitted in.
Nor is that all: it is also made into canoes, [953] provided a tree
large enough to be made into a canoe can be found; but it is not
suitable for two or three people, for it might sink in the sea. But it
must not be finished into a canoe while it is green; leave it for
finishing till it is seasoned, then use it. The outrigger float is made
like the wiliwili canoe. When the time comes that the fish auau [954]
moves in schools, the owner of this wiliwili canoe would go out,
followed by others in other kinds of canoes; and when they have caught
the fish, they would return, and the man in the wiliwili canoe would
divide the fish. That is not all: it is made by some people into tinder
to continue the fire, and is used by others for purposes of smoking.
This is what I have found out through inquiring among friends. They
have told me what they knew, and with what I know has increased it
somewhat; perhaps there are many other things, but I do not know what
they are. This is all I have found.
W. J. Kahopukahi.
THE VARIOUS OHIAS OF HAWAII.
The ohias I know about are the ohia kumakua, ohia puakea, ohia ulaula,
ohia lehua, ohia kuikawa, ohia ha and the ohia ahihi; therefore I will
explain these various kinds of ohias [955] and where they came from.
THE CHARACTERISTICS OF THE OHIA KUMAKUA. [956]
Its trunk is like that of the koa, but its bark is like that of the
kukui. Its trunk is soft when it is cut, and its bark is insipid to the
taste, though it is used as food in times of distress from hunger up in
the mountains. This wood is used in the construction of large and small
houses, though it quickly rots; it is used for fence posts, and for
guiding rods for the ends of fishing nets. Its flowers are of two
kinds, white flower and red. Such are the characteristics of this tree.
THE CHARACTERISTICS OF THE OHIA PUAKEA. [957]
This is a beautiful woman, and this ohia puakea was named after a
beautiful girl named Waiakea, for she lived there until she was old,
then she said like this: “Where art thou, Aulii?” Aulii answered: “Here
am I.” “Go and get my ohelo fruits and bring them back; Kealia (Oahu)
has them. Should he ask you, ‘What do you want here?’ then say to him,
‘I came to get the ohelo fruits of your daughter Waiakea, for she is
very fond of them.’” Then those fruits were given. And when Aulii
returned and arrived at the house of Waiakea, she asked: “Where are the
fruits?” “Here they are!” answered Aulii, and when Waiakea looked she
realized that they were not what she wanted; then the fruits were
called “puakea”; this tree has white flowers, and its fruit is also
white when it is ripe; it is palatable when eaten. It has one round
seed split in two parts; the birds are fond of the nectar of its
flowers. The bird snarers used the branches on which the flowers were
thick to put their gum on, and when a bird was caught the snarer would
call out, “Snared, snared is my bird,” etc. The bird must be secured as
quickly as possible. Its trunk, as also its branches, is used for
firewood.
ABOUT THE OHIA ULA [958] (RED).
This ohia has long leaves somewhat like the leaves of the ohia puakea;
it is a hard wood when used in the construction of houses. The cause of
the origin of this ohia was through Puaena and Ukoa. [959] At the time
they were living as husband and wife, they had a child called Laka,
named after a man Kukaohialaka. [960] After a while it occurred to Laka
to go and visit his female cousin, Waiakea; [961] and when he was ready
to go, Ukoa said to him: “You are now going to see your cousin, and you
will henceforth be called Kukaohialaka.” That is why this ohia is
called “ohia ula,” because this child was red, and because this child
was also called a red ohia (Kukaohiaula). Its value is like that stated
for the ohia puakea.
THE CHARACTERISTIC OF THE OHIA LEHUA. [962]
This ohia lehua is different; it is not like the other ohias mentioned
above. This ohia was named thus because of the anger of Poopapale;
because Akahi’s (a bird’s) nest with its eggs were continually falling
down. Poopapale conceived the idea of breaking off the branches (of the
ohia tree) until they came to naught. But when he commenced to break
them, Kalehua (the lehua) cried out on account of great pain; then
Poopapale said to Kalehua: “Behold here you are a person, and yet you
have been constantly harassing me!” Then Kalehua spoke up: “Let me
live.” Poopapale replied: “Of what benefit will it be to me to let you
live?” Kalehua answered Poopapale and said: “If you will spare me you
will be benefited.” Poopapale asked: “What benefit?” “I have food and
water. Should you go visiting and you get into trouble, let me furnish
the food and water; thus you and your friends would be revived to
continue your journey.” Thus came the name of this lehua, from Kalehua,
a beautiful woman. I do not know her parents; that is the story I have
gathered. This tree is also used by children for snaring birds. The
full name of Poopapale was O’upoopapale. [963]
CHARACTERISTIC OF THE OHIA KUIKAWA. [964]
This is a large ohia tree; its trunk is soft, like the puhala
(pandanus) tree when cut, and it rots very quickly, is not at all
durable. This wood is used for torches to light the wood cutters at
night. That is the use I have learned about this wood.
CHARACTERISTIC OF THE OHIA HA. [965]
This ohia has a large trunk. It is a hard wood. Other trees may grow on
its trunk; if a little soil gathers on this tree other trees would grow
thereon. The wood is hard like the aalii; [966] it can resist the
strong wind. That is all that I have gathered about this wood.
CHARACTERISTIC OF THE OHIA AHIHI. [967]
The ohia ahihi is like some other plants that we know of, such as the
maile entangled with the huehue; some people mistake it for maile, but
it is hard to lose its identity, because its bark is white, and it is
also tough. The place of its possible origin I do not know, but I
surmise it is from some people. That is, however, the characteristic of
this tree.
WHERE THE TREE CAME FROM.
Some people say that these trees are indigenous to Hawaii nei. [968]
Perhaps it is so, according to the ancient history of Hawaii nei; but
there are some who say that these trees came by the mouth of Ukeke; a
bird which came from Kahiki bringing them here to Hawaii. The bird,
however, belonged to Hawaii nei. Some say that these trees were
obtained by Koea from the throat of Waia; this tree, however, was
hidden by Waia in his throat, but because Koea was provoked on account
of the continual breaking of the wood that he would get, he turned to
Kawau the oldest man and said: “Say, what are the oldest trees that you
know of from your youth to your old age?” Kawau answered: “There is
still a tree, but you can not get it, because Waia is a strong man
though somewhat secretive.” “And how can it be obtained?” asked Koea.
“Here is how you may get it: should you go and he should ask you, then
you reply, ‘I came to get me some wood;’ that is how you must answer.”
Koea went until he came into the presence of Waia, and Waia asked, “Why
are you here?” Koea answered, “I came to get my wood, because I began
to cut down all the other wood, but they do not last; so I asked Kawau,
and he directed me to you, and that is why I came to you.” Waia said,
“There is some wood if you will consent to my desire.” Koea answered,
“I consent.” Waia then said to him, “Hold my throat. After you have
held it for some time, should some women appear, catch hold of them and
you will be benefited. If I should die, do you take care of my throat.”
So he went and held fast to the throat of Waia for quite a while. The
women appeared, so he grabbed them and held them fast; he also at the
same time still held the throat of Waia. That was one of the methods of
securing this plant: from the throat of Waia.
I do not know of anything further. This is all I have learned from some
of my friends.
W. B. Kaupena.
THE MAT.
The following is what I have gathered through questioning friends and
an old woman whose days are nearing the edge of the grave. You will
hear chips of sharp stones which will cause your ideas to expand.
NAMES OF MATS OF HAWAII NEI.
Here are the names [969] of the Maui mats: pawehe, [970] lauhala, [971]
makalii, [972] pueo, [973] launui,[972] puukaio, [974] makanui,[972]
hiialo, [975] ne-ki, [976] opuu, [977] kumukolu, [978] alolua, [979]
makoloa, [980] kumulua,[978] puahala. [981] Those are the names given
by Mauiites to mats. The Hawaii people have names somewhat similar to
those of Maui, except in some cases they are different. These are the
names: pawehe, lauhala, makalii, pueo, launui, ne-ki, makoloa. What I
know about the Oahu mats, they are like those of Hawaii. Kauai’s mats
are named like those of Maui. These names, however, must be added to
the Maui list: aneenee, [982] palaueka and pakea. Molokai’s list is
like Maui’s. The same is true of Kahoolawe, it is like Maui’s. Lanai’s
is also like Maui’s. Niihau’s is like Kauai’s.
PREPARING THE LAUHALA, THE BULRUSH AND THE MAKOLOA.
When preparing for the makalii mat the ripe lauhala is not used, for
then the mat would be red and coarse; the leaf shoot of the lauhala
must be used, the very tender part. The leaves are cut near where it
joins the trunk, and are brought home. A fire is lighted and these
young leaves are held over the fire until they are evenly wilted, when
they are dried in the sun until fit. Then they are rolled up in bundles
according to the taste of the worker preparing the same.
PREPARING FOR THE PUUKAIO MAT.
Any kind of lauhala is used for this mat; ripe lauhala or young lauhala
may be used; any kind that can be secured so long as it is lauhala, for
that is what it is made of. The ne-ki is made of the bulrush. But it
must be the young rush, because if it is matured it would be brittle
and become reddish in appearance. For the makoloa mat, a lot of makoloa
rush is cut or pulled up and dried.
BRAIDING.
The makalii mat is braided thus: rend into narrow strips [the lauhala]
according to the size [of the strand] wanted by the one preparing the
mat, then the same is braided on a board. This is what I have seen as I
remember it. The makoloa mat is braided, but not on a board. When you
lie on it, it is smooth. I know nothing about the lauhala mat. The
akaakai (rush) mat is braided like the lauhala. It is cold when you
first lie on it; it takes some time to warm it up. The alolua mat: in
the braiding of this two lauhala strands are placed back to back and
are braided in that way. Any kind of lauhala would do for this, old
lauhala or young lauhala. The puahala mat has a foundation like the
flower of the hala (pandanus) when cut; it has serrated edges. Any kind
of lauhala will do. I know nothing about the makanui mat. The pakea
mat: I am a little doubtful about this mat, but this is the explanation
offered by some: the pakea mat is a mat made of the midrib of the
lauhala; after the leafy parts are separated from it, this part is
taken and braided into a mat. Some say that it is a makoloa mat, and is
the whitest mat, not a spot either red or black or other color could be
seen on it. The pueo mat is a mat which has large braids. I have not
seen that mat. I have not seen the launui mat, either, nor the hiialo
mat. It is said that the kumukolu has three layers at the starting
point, and the kumulua has two; but I do not know what is meant by
that. The palau is an old and worn mat, generally small, used for
sitting by fireplaces, and used on the veranda outside or inside the
doorway. The palau and the aneenee are the same thing. The pawehe mat
is a makoloa mat. I do not know how it is made; no explanation has been
given.
WHERE MATS ARE FAMOUS.
In the olden time Niihau was famous for the pawehe mat, and even to
these days. Puna is noted for the makalii mat (small-stranded); that
land is also noted for the fact that it is permeated with the fragrance
of the hinano; that is what caused Hawaii to be famous. Maui is noted
for the puahala mat, so let us not seriously consider Maui. What mat
Molokai is famous for I do not know. It is only noted for ku’i laau:
“Canoe-poling Molokai, long may you live!” Oahu’s famous mat I do not
know either; Oahu is famous for being the center of the seas:
“Excelling is Oahu, long may you live!” Kauai’s famous mat is mixed up
with Niihau’s: “Broad-chested Kauai, long may you live!”
This is what has been learned from investigating and inquiring among
friends. But this is better than nothing, because we are satisfied; for
when we look ahead the way is long.
G. S. Kahanai.
ABOUT THE KOA TREE.
Because I do not know where the koa tree came from, therefore I can not
explain fully the cause of its being received here in Hawaii; perhaps
it was brought from a foreign country, or maybe it is indigenous to
Hawaii. But let us investigate and examine one thing: the value of the
wood.
FIRST VALUE: AS FIREWOOD.
The koa [983] is a valuable wood should a person desire to seek riches
by producing firewood, and this is the way to do it: hew down plenty of
wood; cut it in short pieces, each one a fathom in length, and put them
in a pile, one fathom high and one fathom wide; pile up a full measure.
When there are one hundred piles made, sell them to those who desire
firewood, at [the rate of] eight dollars ($8.00) per pile. That is one
value. Here are some of its uses: yoke for oxen, poi boards, boards for
houses, posts for houses, shingles, coffins, trunks, and doors. Out of
koa lumber good trunks and coffins and doors are made. Out of koa
lumber also are made excellent bedsteads called koa bedsteads. These
bedsteads cost a great deal of money.
HERE IS ANOTHER GREAT VALUE: THE CANOE.
During the period when Hawaii was unenlightened, the people had already
acquired the art of constructing canoes. [984] They were able to
construct canoes which reached ten fathoms, [985] more or less, in
length, and smaller canoes which reached from four to six fathoms in
length. In depth, some of these canoes reached the armpit of a person
when he stood inside of one of them. However, a common man was seldom
seen in one of these large canoes, they were mostly used by the chiefs
in the olden times. The depth of the smaller canoes is like that we see
nowadays.
Concerning the adze: The adzes used for hewing canoes those days were
of hard stone, [986] seldom seen nowadays. These stones are different
[from common stones]; they were hard stones. Those were the adzes used
for cutting down the trees and hewing the inside; there were no regular
axes those days.
GOING UP TO CUT [THE TREE].
When the canoe-building priest goes up and comes to the tree desired
for a canoe, he looks first at the main branch, and where the main
branch extends, towards that side is the tree to be felled. If the
tree, in falling, lands on another tree, the omen is bad [it is not
right]; if it falls clear, it is good.
After the tree is felled, the elepaio bird, the god of the canoe
builders, flies and alights on the tree. If the bird runs back and
forth, without pecking here and there of the tree, and then flies away,
it is a good canoe. If it peck along one side from the front to the
back, then hew that side for the mouth of the canoe. If it peck on that
side and this side [on both sides] it indicates a rotten canoe; better
leave it alone. In cutting off the top there is a prayer for it, but I
have not obtained it.
HEWING.
In hewing a canoe the outside is hewn first, and when the outside is
finished, then work on the inside. At this time, however, no particular
way of hewing is observed; any way of dieting out [987] is allowed, so
that the canoe may be lightened for dragging down to the beach. The
canoe is nicely tapered in the front, and is large and full in the
rear. Some projections [988] are left in the canoe; as many as four,
five or perhaps six, according to the wishes of the priest and the size
of the canoe. These projections are used for parts to which are
fastened the outrigger, the mast, and on which are placed the seats.
When this hewing is done, then the canoe-building priest reports to the
owner that the work is completed. If the owner wishes to go up and view
the canoe, then he accompanies the priest; if he does not so wish, the
canoe is left alone until it is seasoned, when it is hauled down to the
shore.
DRAGGING.
Dragging the canoe is another important work. It can not be done if men
are few; there must be many, perhaps forty, sixty or eighty. According
to the size of the canoe so will be the number of men required; a small
canoe requires fewer men. The day set apart for dragging the canoe is a
day of much pomp; like the day of the funeral of a famous man, so is
the day for dragging the canoe, for there will go up men, women,
children, and sometimes chiefs. Food, pigs, chickens, turkeys and fish
enough to feed the multitude are taken up.
When the people arrive at the place where the canoe was left,
preparations are made for dragging it. A rope is tied to the crease
prepared for it, and when that is ready then the procession is set from
where the rope is tied to the canoe crease to the end of the rope far
ahead. Strong men are placed at the end of the rope, so that the rope
would be kept taut when being pulled, and would not slacken, tangle,
and hurt the men when the canoe slides down a precipice.
When the canoe is dragged until it is brought to a moderately steep
hill where it is impossible for many to pull together on account of the
steepness of the hill, a rearrangement of the people is made, and fewer
men are required to pull it down the hill; it is then that we realize
the skill of the man who guides the passage of the canoe, and it is
then also that he shows his great ability to the people. When the
preparations are complete, the man who will steer the canoe down the
hill rides it: those who were selected commence pulling and the canoe
moves along until the canoe attains a good speed, when the men who are
pulling desist and the canoe director takes charge from then on. A
canoe coasting down a hill is faster than a galloping horse.
If the road be rough, the canoe can be shifted to a smooth place; if a
large tree or a stone stand in the way, or the road be crooked, we
think the canoe would be broken, yet when it is coasting it is like
sliding down a smooth-surfaced hill; because it is the man guiding who
wrecks or saves the canoe. Arriving on the flat the multitude drags
again, and thus they go until the house is reached. But if it is a
half-witted man who directs the canoe, or a man with little ability,
this will surely occur: trouble will follow from the outset. I saw this
happen continually at my birthplace.
The man who guides the canoe rides in front by the crease; he holds on
to a short rope and a small stick made fast to the crease. As the
rudder of a ship is used, so is this used. If the canoe swerves from
the path selected, this would be used as a lever to head the canoe
properly. If it is desired to land the canoe at any chosen place, it
can be done. If [the director] wishes to step back into the canoe while
it is coasting, it can be done. If he wishes to restrain the canoe so
that those who are dragging it are unable to do so, it can be done.
RULES FOR THE FINISHING WORK.
If the priest is hewing a canoe in a house, then the rule is that an
aha cord be stretched across the door of the house from side to side,
so that some men would not enter to talk, thereby diverting the
attention of the canoe-building priest, and the canoe be broken by
careless hewing, thus causing trouble. Hence the aha cord is placed
across the door, so that a person would come and talk from the outside,
and be unable to enter the house. If that person has an important idea
the work is stopped and the conversation then held. This is a rule
strictly adhered to by some canoe-builders.
There are two methods of hewing the canoe for its finishing: from the
front and from the rear. If the commencement of the hewing of a side be
from the left, do not change and work from the right, for it would be
defective. If the commencement of the work be from the fore part,
continue in that direction until the stern is reached, then quit; do
not change the direction of the hewing from the stern. [989] It is the
same with the other side, commence hewing from the stern and when the
bow is reached, then quit. Do not hew from the bow and the stern of the
same side; else there would be a hole in the middle.
There are two kinds of adze used for building canoe: koi kupa, an adze
for digging out the inside, and any other rough work; and koi wili,
[990] a reversible adze, an adze used for finishing off. The koi kupa
[991] is used for digging out the inside and hewing the rough of the
outside [of the canoe] when it is thick; and when it is thinned then
the koi wili would be used to finish off. The koi wili could be used in
hewing at wide and narrow places.
When the canoe is finished, the wae [992] are placed in position; these
are the parts on top of the niao [993] worked in with carved pieces
[manu]. This is made of another wood, the aiea; [994] this is the
proper wood from which to make the wae. In fastening, the sennit is
used to tie these on to the canoe. When that is finished, the iako and
the ama [the outrigger] are placed in position; these are for the
purpose of steadying the canoe. The proper woods out of which to make
these parts are the hau and the wiliwili.
Three other kinds of wood were used in the olden time for building
canoes, the wiliwili, the kukui [candle-nut tree], and the ulu
[breadfruit tree]. The wiliwili is yet being used. The kukui is not
much seen at this time. The ulu is used for repairing a broken canoe;
great skill is required to do the patching well so as to make it blend
together.
The paint used to daub the canoe black is the amaumau, [995] the cane
leaves, the nanaku (rush) from the stream; burn these in the fire;
collect the ashes and place in a container; mix together with the hili
kukui. That will be the mixture to form the black paint to adhere to
the canoe.
[UNFINISHED.]
THE KAPA OF HAWAII NEI IN OLDEN TIME.
The clothes which we wear at this time are from the white people and
from the Chinese of China, also from Japan. These beautiful clothes are
made from various things which they used, because of their ability and
according to their ideas. But in the times of our ancestors long past,
the loin was the only part of the body of a person hidden; they girded
the malo around their waists; that does not conform, however, with the
gentlemanly usages of the present time.
NAMES OF PLANTS WHICH THEY OBTAINED FOR MAKING KAPA.
Akia, [996] wauke, [997] palaholo, [998] mamaki. [999] These plants
grow in the forests on hills, in valleys, on side hills, on ridges, and
in green meadows; also on the banks of taro patches. I think these
plants can be found growing on the eight inhabited islands and had
grown there plentifully; but on some of those islands they grow more
abundantly, and cover a large area of land, and on some they are
scarce.
PROCURING IT.
The method of getting wauke is the same for the various kapas which a
person desires; it is only during the process of beating out the kapa
that a person could make use of the pattern which she prefers.
The following is the way of procuring wauke: before Christianity was
brought here, and the goods of the foreigners were obtained, the things
which a person used in supplying his needs, he used to get a bambu and
split it. Then he would look for good bambu knives, sharp when used for
cutting. Or else, he looked for a sharp pahoa stone that could be used
for cutting. Then he went up to where the wauke grew and cut it with
the stone adze which he made or with the bambu, until he had enough, at
the same time stripping them. Because when cutting the lower part, the
part near the bottom, it is cut completely around through the bark to
the wood; the bark is easily pulled off; this is continued until
sufficient has been secured according to one’s desire. Then he stopped
cutting. He next trimmed off the outside bark, and when that was done
it was sorted in equal lengths and set properly in a pile. When
sufficient was piled for a bundle which could be carried on the back it
was securely fastened, and one would return home. On reaching the house
it [the wauke] was left in the water until soft; after six days, eight
days, ten days or perhaps twenty days, it was taken out of the water.
THE BEATING PROCESS.
For the process of beating the kapa these things are prepared: 1. The
block on which to do the beating; the proper wood from which to obtain
this block, kauwila, [1000] kawau, [1001] ohia, [1002] mamane; [1003]
those and other woods of a similar nature which are suitable for that
purpose. There is a kapu attached to the manner of getting them. The
manner of acquiring these trees enumerated above is like that of
obtaining the o-o: with prayer offerings to the gods of this industry.
We were told that before. This block [1004] is made broad and flat on
top and the two ends are made thus: the top one is lengthened and the
under one is shortened.
2. The i-e (club). [1005] The woods from which to obtain this club are
the ohia, koaie, kawau and other woods suitable for that purpose.
3. The water for sprinkling so that the wauke is kept wet continually.
The first club to use in beating is the one for hard pounding, a
coarse-figured club; after that is the iekike, the dividing club, a
smaller-figured club; then comes the printing club and the finishing
club. The kapa is then cut. It is next taken to soak in water; on
returning it is spread to dry at a place prepared for drying it, that
is the drying ground; there it is [spread out] and pressed down with
rocks placed here and there so that the pa-u [1006] would not wrinkle.
This is continued until the pa-u is dry. And this is done until there
are five kapa; they are then sewn together. That is called a set of
kapa.
4. If paiula [1007] is wanted, then some hili is obtained—that is the
bark of the kukui. On returning from the mountain it is pounded and is
left to soften. When the kapa has been prepared and is cut it is dyed
in the hili. That kapa is called “paiula,” a kapa used a great deal by
the chiefs in the olden times.
5. If the kapa be palaholo, [1008] first obtain the palaholo. This
thing grows on the plains. On returning pound it. First gather all the
torn kapa until plenty is secured, that is, the somewhat old kapa,
those which are ragged. These are beaten with the palaholo and a kapa
of good appearance is obtained. It is called “palaholo.”
6. If pala-a is the kapa desired by a person he would go up to the
mountain to get some pala-a; [1009] and when he has obtained it return
and do like this [as above mentioned]. The proper time in which a
person can make these desired changes in the kapa is when he beats out
the material.
7. If the kapa be kapala, [1010] charcoal is pulverized to a powder.
Then when being beaten the kapa is painted (daubed) with the black
water of the charcoal. This is continued until the kapa is cut, and so
on until there is enough for a set. But it is dried like those first
kapa. Because this kapa is daubed with charcoal, it is called “kapala.”
8. If olena [1011] be the kapa then sufficient olena is obtained. It is
prepared until soft, that is, pounded, and its juice is what the kapa
is wet with when being beaten. Keep on thus until a set is complete.
This kapa, however, is set aside for the ownership of the lizard, Kiha,
with the statement that the kapa is that god’s.
9. Relating to the mamaki. Going after this kind of a plant is like
going after the wauke. The method of preparation and making is the
same. The kapa, however, is greatly favored by the chiefs.
S. Kaha.
CONSTRUCTION OF HOUSES IN HAWAII NEI.
The houses of Hawaii nei were made of the bark of trees, grass, leaves
of trees and vines; such as pili, [1012] kalamalo, [1013] kukaelio,
[1014] ti [1015] leaves and lauhala. The first thing which the house
builder looks for is the place where the house shall stand. The proper
places to stand on are nicely elevated spots, plains and favored
valleys. Poorly selected grounds are those which are soft or full of
holes; and that which was used for papa kahuia. The papa kahuia is the
anaana ceremony of the priests in the olden times: those who prayed
others to death.
The second of these great things is the searching for the various parts
of the house, i.e., the side posts, the rafters, the ridge-pole, the
main posts, the plates, the battens, the sennit, and the lauhala or
pili grass. If the house should have five spaces, there are six posts
in the back and six in the front. The best wood to use for these posts
is the ohia; for the battens, use the opiko, [1016] bambu, olomea,
[1017] kawau, neneleau, [1018] akala, [1019] and the haukoii. [1020]
Prepare two kinds of battens, however; the large as well as the small
battens. The large battens are laid horizontally in the house, and the
smaller battens are laid vertically and are called ahu-i.
The main thing in the construction of a house is to use one kind of
wood, that is, one kind of wood for posts, and one kind for battens.
The cords are the i-e (Freycinetia arnotti), kowali [1021] and the
huehue (cocculus). This i-e and the kowali are prepared by cooking them
in the imu, then soaking them in the water until the skin peels off,
when they are ready for use; and the huehue, by simply placing it in
the sun until half dry.
REGARDING THE HEWING PROCESS.
In hewing the posts the lower part is left natural, not hewn; but the
upper part is hewn. The top ends are made tapering like a billiard cue.
The rafters have mortises at the ends known as male and female. The
plates are hewn flat, and the main posts are notched at the top to fit
the rafters. The battens are hewn only at the bottom, the larger end.
REGARDING CONSTRUCTION.
In constructing it is well first to dig the holes, as many holes as
there are posts. When digging, however, throw the dirt into the house;
do not throw it out like the digging of a grave. Then set the corner
posts of the back and the front. In placing the posts be sure the line
of posts is straight from the back to the front; because if these are
not in line the house would be defective; the posts must be correctly
placed. Be careful also that one does not stand higher than the other,
but are all on the same level. When these posts are set then erect the
main posts.
After the main posts are in position let two men climb these, one on
each, and place the ridge-pole. First see that it is level; then draw
it in (to make the roof small) so that the roof would have a neat
appearance. This is done so that the house would not appear topheavy
thus giving another expert a chance to ridicule it. But build the house
so that it would stand out; and such a house is called by the people a
“hale kukuohi.” [1022] When the posts are firmly planted place on them
the plates for the two sides, fitting them with the tenon at the top of
each post. After the plates are in position place and tie the rafters
on both sides; then fasten [1023] at the ridge and at the junction of
the rafter with the plates and the posts. When this is finished then
place the supplementary ridge-pole (kuaiole) [1024] on top of the
rafters, and tie on to the ridge-pole. The end posts are now placed in
position, if so desired, or else they can be left till later.
CONCERNING THE PLACING OF THE BATTENS.
Placing the battens on houses of Hawaii nei is done according to the
manner in which the house is to be covered; that is, if the house be
covered with lauhala, there are three of that kind of house: the pili,
the huamoa and the wai. If the house desired be pili, then the battens
are placed four fingers apart; if it be wai, then they are two fingers
apart; and if huamoa, then they are three fingers apart. These names,
however, apply to lauhala houses only, and not to other houses. These
houses are so designated according to the lauhala and is understood by
one thatching the house.
When placing the battens, however, care should be used to separate
them; first the larger battens (aho-pueo); those are the ones to hold
the posts together. Then the free running battens (aho holowala); those
are the ones tied to the vertical battens (ahu’i), the small sized
battens which I first mentioned. The end post is the ray—kukuna in
Hawaiian. These battens run between posts and between rafters,
extending about three inches beyond the corner posts and rafters. The
customary practice in placing battens is to put two smaller ones
between the pueo ahos. In placing the battens on the rear side of the
house, it is done all over from the bottom to the top excepting for a
distance of one hand [1025] from the supplementary ridge-pole. But when
doing the same to the front, leave one space for a door for the house,
and cover all other parts with battens, as was done in the rear side.
In placing battens on the ends, the larger ones are tied to all other
uprights except the main post (pou ha-na); that is the chief post and
is also kapu.
This, however, is how the battens are placed on houses thatched with
lauhala or dry ti-leaves; but on houses thatched with the pili grass
there is some difference. A double set of battens is placed, one inside
and one outside. The set inside is placed as is done for a house
thatched with lauhala, and the set outside is slightly different. The
placing of battens on other houses is done according to the idea of the
house builder.
CONCERNING THATCHING.
The way of thatching various houses differs, and is not the same, but
[here is the method employed] concerning the houses thatched with
lauhala and pili, not those thatched with dry ti-leaves, because that
is a house difficult in construction, and you would hardly understand
if I were to tell you. All the other houses are thatched in any way;
these are the difficult ones.
If the house is to be pili-thatched, that is with the space between the
battens equal to four fingers, then prepare a pointed stick having two
eyes, one at one end and one in the middle. This stick measures about
one and a half hands in length. If the house be huamoa or wai-thatched,
the pointed stick has only one eye. In commencing, first thatch on two
battens, then another two, and so keep agoing until sufficient have
been started. In piercing string holes they must alternate, and not run
in one line, lest the house leak. It is well to alternate the placing
of cords, so that they would appear irregular. In preparing the
lauhala, however, the thorny edges are stripped before thatching, or
else it is wet with water. When the thatching is completed except near
the top, two other battens are prepared and placed on either side of
the ridge; these battens are called the aho kopekope and we-o. When
these have been covered with thatching, again place two other battens,
one on each side; and in the middle, another batten called the aho
lolo, that is the one next to the supplementary ridge; these battens
thatched thus are called kauhuhu. [1026]
The thatching of the house made of pili is done in this same manner;
but the size of each bundle of pili to be placed on the batten is equal
to what one hand can grasp, so that the thatching would be even, and
the house would withstand the wind. The thatching of the dry ti-leaf
house is not like these houses; it is totally different. But it excels
in appearance these two.
CONCERNING THE TRIMMING.
After the house is thatched, hasten to trim it, else it would be
ridiculed as a hale ohule, [1027] when it is new. The trimming for a
house thatched with lauhala is the leaves of the ama’uma’u, [1028] and
this is the way to prepare it: a person goes mountainwards and brings
down the dry ama’uma’u leaves, obtaining a good supply before he
returns to the house; and then proceeds in this manner: break the ama’u
leaf in two in the middle, then bring the top point to join with the
lower point (thus laying the upper half of the leaf over the lower
half). Keep on in this way until the ama’uma’u is all joined. There are
two ways of preparing the trimming; one way is to fix it on the ground
on two long sticks, then placed against the corners and the ridge. The
second method is to do the trimming right on the parts to be trimmed
until the work is finished.
The trimming of a pili grass house is pili grass braided on the ridge
and the corners of the house. That of the ti-leaf house, however, is
the pili grass and the ama’uma’u, but prepared in a similar manner.
After the house is trimmed quickly secure the halakea (central) of the
house, that is, the upright in the middle. The proper halakea is one
that is red, and the wood from which to make it is ohia. After the
halakea is obtained, then level off the ground inside the house; that
is, shift the dirt around until the ground is level. On this spread old
potato vines, next on that some dry grass, that is, ma’u and pili, then
some old coarse mats, and then the fine mats suitable to sleep on.
When the house is trimmed erect the halakea, the upright in the middle
supporting the ridge. When the halakea is in place construct the door.
The proper woods generally used for a door frame are the ulu
(breadfruit) and ohia. When this is completed the woman braids a mat
for covering for the door, because that was the door of the houses of
Hawaii nei in the olden time. Sometimes, however, a door is constructed
like a net, and the place to which this door is attached is over the
passage way: when closing, lower it, and when opening, roll it up. When
the door frames are placed in position that is the time to cut the piko
[1029] of the house; that is, trim those ragged lauhala leaves which
hang over the doorway. During cutting, however, it is well to bring an
aholehole (fish) and some young sugar-cane and also cut them; at the
same time say: “Here I am a house-builder; I am cutting the piko of the
house; therefore, ward off the evil influences from the house. Amen.”
After the main things of the house have been finished it is proper to
bake a pig and food, and celebrate with a feast for the completed
labors; such a feast is called ahaaina komo hale (feast of house
entering).
This is what I have obtained concerning the construction of a house and
what to do. But I have heard of rules in regard to sleeping in the
house and the regulations by Hawaiians.
1. Fix a fireplace. The reason for doing this is to make the house
complete and warm, so that when one becomes cold he moves over to the
fireplace to sleep.
2. Always sleep in the middle [1030] of the house. The reason for this
is the fear of death should a murderer stab with a stick from the
outside. Then again, tie hogs outside of the house, so that if a robber
came, the hogs would be affrighted and grunt, thus causing the persons
inside the house to awaken. If there is a dog, it sleeps together [with
persons in the house]. The reason for this is so that if a robber came
into the house and choked the sleeper, then the dog would awaken and
bite the evil-doer. That is how the Hawaiians became accustomed to
sleeping together with dogs.
3. Concerning eating. There are many different times when the Hawaiian
eats, midnight, evening or morning. The place where the calabashes are
set aside is the side of the house, so that on awakening [one could]
eat if hungry. Hawaiians are not accustomed to eating together; this
one and that one eats as he is hungered; and that is being done at this
time.
4. Concerning sleeping. In sleeping, the father, mother and children
lie together. Sometimes the children sleep in the middle and sometimes
on the sides. All sleep under one kapa. Perhaps there are many other
things, but this is what I have obtained.
J. Hooili.
METHODS OF HOUSE CONSTRUCTION.
Varied and numerous were the houses constructed in Hawaii in the olden
time. Concerning houses of grass: Some houses of grass in the olden
time were good and were large, but the majority were not large nor were
they good. Most of the houses of that time were low and small.
If a person desired to construct a house it was done in this manner:
the owner of the house prepared the foundation by leveling the ground.
Holes were then dug for the four corner posts to the proper depth when
these posts were set in; small stones and dirt were tamped in until
they were firmly fixed. Stretch a line from one post to another, and
indicate along it the places for digging holes for the intervening
posts. Then dig there until all the holes are completed. In erecting
the posts, set them in line with the corner posts. Implant them as
firmly as the corner posts; those on the opposite side being erected in
like manner. When all the posts are in position, the plate is placed
from corner to corner. The line of posts on the rear side, however, is
the one erected first. Fasten the plate with rope on the two sides. In
the middle of the ends are dug the holes for the pou-hana. The pou-hana
are the tall posts erected at the ends, and at the top of which the
rafters of both sides meet. Plant these posts, tamping in small stones
and dirt to firmly secure them. Stretch a line from one pou-hana to the
other. Then lay the ridge-pole and fasten it [to the pou-hana] with
cord; when this is secure, then place the rafters of the rear and the
front sides so as to lie properly on the ridge-pole and fasten them;
keep on thus until all the rafters are fastened, placing their lower
ends of course on the plate so that the mortise of the rafters would
fit the tenon of the post. That is the way to do this until it is
completed. Then place the kuaiole (supplementary ridge-pole) on top,
and fasten it to the ridge-pole at the junction of the rafters; then
lash the lower end of the rafter and the plate to the post. Then erect
other posts on the two gable ends also fastening those firmly.
CONCERNING THE LASHING OF THE AHO (BATTENS).
First separate the larger battens for aho pueo. The aho pueo is the
batten set on the rafter farther apart. When these battens were made
fast, then smaller ones were placed between them; then the aho hui (the
joining batten) is placed over these between and parallel to the
rafters. Lash this batten to all the other battens; keep on thus until
all the battens are fastened together.
CONCERNING THATCHING.
In thatching, first place in position the cane leaves, if not cane
leaves bulrushes or else lauhala, fastening them with cords. In
cording, however, do not place intervals in line else the house would
leak, but place them alternately to avoid leaks. After cane leaves or
lauhala have been lashed on, then thatch with the grass. A handful when
grasping the grass is the measure to go by. Lash this on with the cord
with which the cane leaves were secured to the batten; work on in this
way until completed.
CONCERNING RIDGING.
In thatching the ridge, first tread down [the thatch] from one end to
the other, then lay on aho lolo [1031] and lash this to the kuaiole
(supplementary ridge-pole) or to the cord with which the grass was
fastened to the lower battens; thatch more grass on this batten on both
sides [of the ridge]; make the head of each bundle of grass even,
however. When this is finished, add another layer in the same manner as
the first aho lolo, but the grass on this layer is made thinner. On
this, place the aho owili; that is the batten on which to roll the
grass and thus hide the ends of the tufts of grass and the batten from
end to end; and when this twisting process is finished, braid [the
grass] so as not to be pried up by the wind.
CONCERNING THE TI-LEAF HOUSE.
This house is built for use in the mountains when [a person] goes up to
snare birds with lime, or to cultivate. When the person desires to
sleep in the mountain, then is the house thatched. It is quickly
thatched; is shady and also tight. The timber used is noni; [1032] it
is called “noni-a;” other woods are also proper; but this house has no
posts; only arched timbers [are used] from the bottom to the top and
from side to side.
PLACING BATTENS.
In placing the battens it is well not to put them too far apart, but
somewhat close together, because the ti-leaves are short; also it is
not well to use the green ti-leaves; use them dry so as to last, and
not rot quickly. In thatching, bend the ti-leaves around the battens
and then tie with cords, and keep on in this manner until the house is
completed. Not alone for living when catching birds or when cultivating
is this house constructed, but also for a regular living house. This
house lasts for two or more years; this is only a small house, conical
in shape, and it is called pupupu (temporary) house and a pepepe (low)
house.
CONCERNING HOUSE THATCHED WITH BANANA LEAVES.
Any kind of timber is used in the construction of this house, and it is
built in the same manner as a house thatched with ti-leaves, using
curved sticks so as to bring their tops together, and at the same time
allow plenty of room below for the place of habitation, but the way to
lay battens on this differs a little; while those on the house thatched
with ti-leaves are set closer together, the battens on the house
thatched with banana leaves are set further apart, because the banana
leaves are long. This house also is built for mountain residence; this
kind of a house is often constructed. Upon arrival at the mountain, the
construction is very rapid; this house could be occupied for a long
time without trouble. This house thatched with banana leaves is famous
for this story: Pumaia was the man, Kamakakehau was the woman. While
living together [as husband and wife] they went up to the mountain to
hew timber; Pumaia was deserted by the wife; she became Koae’s, a man
from another place. Pumaia was killed by Koae; the house was called
pumaia (banana tree); but because Pumaia was killed, this house was
named laumaia (banana leaves). Pumaia was the chief of a district. The
explanation concerning this famous story is lengthy, but it is proper
that I should shorten [it].
CONCERNING THE HOUSE MADE OF KOA.
In its construction this house is similar to the house thatched with
ti-leaves or banana leaves, but its thatch is the bark of the koa tree.
The bark of the koa is peeled and then thatched. This house is also
constructed for mountain residence during the process of hewing a
canoe, and for other purposes. Any kind of timber is used in its
construction. Because it is covered with the bark of the koa, therefore
it is called hale ilikoa. [1033]
CONCERNING THE FERN HOUSE.
The house thatched with ama’u has no real post, no battens, no ridge;
but in its construction, simply break the ama’u midrib and all, and
stick them in the ground on that side and this side, leaving a place in
between for occupation, then bring the tops [of the leaves] together,
and lash them with cords. In the construction of some, posts, rafters
and battens are used, similar to the construction of a grass thatched
house, and after the frame work is up, the ama’u is thatched and
fastened with cords.
CONCERNING HOUSE THATCHED WITH CANE LEAVES.
This house is constructed in any way which the house builder desires,
at the same time providing all the material necessary. It is covered
outside with cane leaves bent around the battens; at the four corners
of the house, ama’u is used; also the ridge. Because this house is
covered with cane leaves, it is called a hale ha-ko (cane leaf house).
CONCERNING THE HOUSE OF APE LEAVES.
This house is constructed when a person goes to the mountain to get
olona, and he desires to stay awhile. He erects some timber [for posts]
with some battens which are covered with ape leaves; it is named hale
ape (ape leaf house).
CONCERNING THE HOUSE THATCHED WITH PAINIU.
This house will last as the house thatched with ti-leaves; it lasts for
two years or more. This painiu does not grow on the ground; it grows on
the ohia or other trees. Its thatching is like the ha-ko, the leaves
being bent around the battens; and because the house is covered with
painiu it is called a “painiu house.”
CONCERNING THE HOUSE COVERED WITH DIRT.
The posts of the house are erected and the battens are placed in
position; then covered with banana leaves, on top of which set lumps of
dirt, so the dirt would not fall into [the house]. Because it is
covered with dirt it is called “he hale lepo.”
CONCERNING THE HOUSE THATCHED WITH EKAHA. [1034]
The construction of this house is similar to that of the house thatched
with ti-leaves; the leaves are bent over and placed on the battens;
this [kind of] house is often seen in cultivated places in the
wilderness.
CONCERNING THE HOUSE THATCHED WITH KALAMALO.
Its construction is similar to that of the house thatched with grass.
Thatch cane leaves or uki grass first, and on that place kalamalo. This
kind of a house is called “he hale kalamalo” (a kalamalo house). This
kalamalo is somewhat like the scented plant growing at Mr. Bishop’s
place, which is perhaps called wailukini [1035] (a species of lucerne).
CONCERNING THE HOUSE THATCHED WITH PANDANUS LEAVES.
The posts and the rafters of this house are erected, but the covering
of this is pandanus leaves. Soak the lauhala in water until it is
supple, then scrape off the sharp thorns and thatch. This is done like
the ti-leaves; the pandanus leaves are bent around the battens and
fastened with strings.
CONCERNING THE HOUSE THATCHED WITH LOULU.
The new leaf of the loulu [1036] is used for covering the house; not
the leaf-bud, however, but the new leaf which has opened up. This loulu
is like the coconut. The tools which the ancients used in hewing house
timber were sharp, hard rocks which had been brought to an edge.
Perhaps there are other kinds of houses, but because I am out of paper,
I herewith cease.
Josia Waolani.
STORY OF THE LAUHALA.
The name of the lauhala [1037] was Ohiohikupua; it sprouted from the
bottom of the ocean, and grew above the surface of the sea until it
proudly stood like the sharp-pointed clouds which appear in the
heavens. Some time after it had grown to quite a height, Pele set forth
on her journey here to Hawaii, thinking she would soon arrive here, but
it proved otherwise. On her way she struck the place where this
pandanus tree grew and she was strangled by the sharp thorns of this
lauhala, with us human beings, it seemed, helping from this side; Pele
struggled by using her divine powers, but she could not extricate
herself. Soon after, her brother, Paao by name, appeared, with a gourd
of sea-water. Said Pele, “I am in trouble indeed, brother.” Then he
climbed up and from on top poured out the sea-water; the young leaves
wilted and Pele was freed. Because she was full of anger Pele climbed
on top and pulling out the leaf-buds, threw them hither and thither.
Some landed here on Hawaii. That is the reason it grows here on Hawaii.
The place of its first growth was Kohala, Hawaii; therefore Pele was
the one who brought it here to Hawaii.
Also, at that time we did not have mats, but because it occurred to a
high prophetess at that time, whose name was Lauhiki, to convert this
lauhala into mats by having women braid it, it was so done. The first
woman who did the braiding was this same Lauhiki, and from her all
other women learned.
Here is another use of the lauhala: it was used as sail for canoes in
the olden times; it originated from a man named Lonoauhi. The ones who
braided it were this Lauhiki and her younger sister Haumea and their
five daughters Kamehaikaua, Meahanipaoa, Lohea, Kahuihuimalanai and
Kahoanohookaohu (that was the sail of the canoe of Kamehameha I). These
persons were goddesses. The shape of the sail was round like the sun;
while sailing on the ocean this was spread on the mast of the canoe
when it would really appear like the sun.
Here is another use: the drupes of its fruit were strung into wreaths
for people in the olden times. The women who first strung them were
Kahuihuimalanai and Kahoanohookaohu, and from them the custom has
spread to this time.
Here is another thing: when this wreath dries on the neck, then it is
preserved until a troublesome illness appears, such as a stomachache,
or other illness for which this medicine is properly used, then it is
obtained and fed [to the patient]; if it be for life, he lives; if it
be for death, he dies.
These are the fragments concerning the lauhala which I have obtained;
but I tell you they were not freely acquired, but were secured through
purchase from an old man, he having stated that if he were not paid,
then he would not divulge anything. Therefore I thought there was no
other way for me to quickly obtain them; so I consented. My expenditure
was a real half a dollar. If this is repeated, I will continually be in
need, my friends.
SOME THINGS IN THE BIBLE SIMILAR TO SOME THINGS DONE HERE IN HAWAII IN
THE OLDEN TIME.
There were guides which pointed out to me some of the things done in
Hawaii nei which were similar to those [mentioned] in the Bible. First:
the book known as the Moolelo Hawaii (Hawaiian History). Second: From
some old people who are still living. From these sources were obtained
material for comparison.
CONCERNING THE FIRST MAN.
We know that, according to the Bible, Adam was the first man; Gen.
1:27, and from him came all the peoples of the earth. According to the
Hawaiian version, Kahiko was the first man, and he begat Wakea, and the
rest of the people; and they have a genealogy of their ancestors, just
like Adam’s.
CONCERNING THE MAN WHO ASCENDED INTO HEAVEN.
It is shown in the Bible that Elijah was the one who ascended into
heaven by the power of God: 2 Kings 2:11; and Jesus Christ ascended
because of his divine attributes. Thus is it stated in Hawaii’s
history: Lonomuku [1038] ascended to heaven; she was a woman and
because her husband cut off her legs, therefore she was halted at the
moon. If her husband had not cut off her legs, she would have reached
the locality of the sun. Her place of ascent was at Hana, the place
called Hana-ua-lani-haahaa. [1039] That was the reason for so naming
the place, and there is more.
CONCERNING THE MAN IN THE BELLY OF THE FISH.
Jonah was the man who lived in the belly of the fish, according to the
Bible: Jonah 1:17. Kuikuipahu [1040] was Hawaii’s [celebrity] who lived
in the belly of the shark. He was a chief of Kohala. Once he went
surfing with a number of people; and while they were surfing,
Kuikuipahu was taken by a shark. The place where he landed was Hana, at
Kauiki hill; it was there he was discovered by some people. Eleio was
the chief living at that time, and Kipola and Kipalalaia were the
prophets; when Kuikuipahu was found, he was not dead; he was still
alive.
CONCERNING THE CRUEL KINGS.
Pharaoh and Herod were some of the cruel kings mentioned in the Bible;
Exodus 1:8–22, Matt. 2:16, and there were also some others. Hakau
[1041] was Hawaii’s cruel king. He was a chief of Waipio. This was the
chief who proclaimed that the breasts of all females were to be cut
off; and if he saw a man with well tattooed hands, or with good hair,
or a woman with good hair, he immediately gave orders to have the hand
or the head cut off. There were other cruel practices carried on by
this chief. Owaia [1042] was another cruel chief. It is said that his
time was a very bad period, full of debasing pleasures.
CONCERNING THE VOICE WHICH CRIED OUT FROM HEAVEN.
When Jesus was being baptized by John, there was heard a voice crying
out from heaven, saying, “Thou art my beloved son, in Thee I am well
pleased.” Luke 3:22. And there were other voices like this in the
Bible. So it was here in Hawaii. There was a voice from the heaven
enquiring, “Which of the chiefs down below lives righteously?” “It is
Kahiko,” [1043] was the answer.
CONCERNING THE DROUGHT.
When Ahab was king of the Israelites, because of the many sins he
committed, Elias, the prophet, said to him, “As the Lord God of the
Israelites liveth, before whom I stand, there shall not be dew nor rain
these years, but according to my word.” 1 Kings 17:1. Thus again: When
Hua [1044] was king here on Maui, Luahoomoe was the prophet at that
time. Because Hua wanted to bake Luahoomoe in the oven, therefore he
[Luahoomoe] told his sons where to go and live, because he was going to
take away the rain (deprive the land of the rain).
Thus there were many other little things here in Hawaii which can be
compared with some things in the Bible, but my illustrations thereon
are sufficient.
February 15, 1872.
G. Puuloa.
THE DAYS AND THE MONTHS.
During the month of Ikuwa [1045] occurs the rain called Pohakoeleele;
[1046] on the day called Hua [1047] at noon, a person goes to plant.
These are the names of the stalks to be propagated: hualani, hokeo,
lopa, likolehua and kawelo. [1048] This is the method of planting: he
takes three stalks, separating them one from the other with his
fingers, and plants them. He leaves them until two months have passed;
he goes to inspect them, and if he finds that they have grown well he
says this: “The future [living] is provided for, the growth is good.”
But if when he arrives, they are dead or drying up, he would feel
grieved because they did not do well. The farmers know there is a time
when plants do not grow well; that is the winter season when rains are
plentiful and the shoots will die. But if a planter waits until the
month of Ikiiki, [1049] of misty rain, that is when the rain is light
and is easily scattered by the wind, on the day of Mohalu [1050] in the
month of Ikiiki, [that] is the month for him to plant in the manner
described above. These are the names of the potatoes to be planted:
waipalupalu, kokoakeawe, kuapai, heauau and haole. He waits until the
months of Kaaona [1051] and Hinaiaeleele [1052] are past when he goes
again to look, and he finds that some are dead and some are growing.
This is what he says: “My wife and children are saved by the baldheaded
one.” He waits for some time longer until the grass grows, then he
weeds it; this [weeding] is sufficient until the time that the potato
is ripe. After weeding, leave it for many days; when the planter comes
again and hills up the soil. If any potato is found while hilling up
the dirt, that is, the fruit in between the plants growing on the vine,
he breaks off the first potato. He returns, lights a fire in the imu,
cooks the potato until done, and brings it to the house. He sits beside
the doorway and prays thus: “Ye large black cloud hanging below the eye
of the narrow pointed clouds, give shade, protecting shade; guard this
our garden, O Keaonui; [1053] do thou cast shade over this our garden,
O Keaonui; shade thou from that corner to this corner; shade thou from
that side to this side; shade not another’s garden lest you be scolded
for shutting out the sun and chilling the owner of that garden. O
Keaonui, shade thou this our field; shade thou the hills, shade thou
the leaves of our food, so that the plants would grow and the hills be
filled with potatoes. O ye Keaonui, shade our garden from the head to
the bottom, from the upper to the lower side; hallowed is the prayer;
it is free.”
This prayer is the request of the gods to come and partake of the first
fruit of their garden. He then waits until the first Mahoe [1054] is
past, and during the second Mahoe on the day of Lono, [1055] he goes to
get some potatoes for food, taking some of them to the heiau (temple).
Because on that night the god returns to partake of the food of his
planting devotee; thus the saying: “Lives he who has a god; dead is he
who has none.” After these months during which the children and the
parents have partaken of the food, these also being the last months of
the rainy season, the summer again approaches. Let us drop the
discussion about the winter season, and take up for consideration what
is done during the summer.
CONCERNING THE KAU; [1056] THAT IS, THE SUNNY SEASON.
This is the method of cultivating during the summer: The farmer goes to
select the mahakea, [1057] that is a place where weeds grow in
abundance; that is the best place for planting. This is how he knows:
he cuts the weeds and leaves them on the ground, and rain falls, the
leaves and the dirt become wet; that is why the stalks do not die when
planted in the summer season, because the weeds cover the ground and
retain the moisture in the soil. But when he cultivates, he does it
during the days of Laaukukahi, Laaukulua, Laaupau, Olekukahi, Olekulua,
Olepau, Kaloakukahi, Kaloakulua and Kaloapau; [1058] those are the best
days during which to plant, a practice handed down by our ancestors.
After he has cut down the weeds he waits for the rain to fall; during
the month of Welo, [1059] Pookole (short head) is the rain, that is the
rain which we style a cloud-burst; then the farmer proceeds to crop off
stalks. Here are the names of the different kinds of stalks which he
gathers: pae, apo, kapapa, mohihi, uli and paa. [1060] He wraps these
stalks in bundles and leaves them until the days when the Pleiades rise
in the morning, when he proceeds to plant them. He plants them thus: he
takes six stalks and keeps them separated as mentioned above; after
planting, he waits for a number of days; then during the month of Nana,
[1061] on the day of Kane, [1062] he goes to look at the potato field,
and finds it is injured; that is, the stalks are all eaten by cutworms,
some have come off and some are dead. During the month of Kaulua,
[1063] on the day called Lono, in the evening, he goes to crop off some
more stalks. These are the names of the stalks he gathers: hualani,
poni, loepaa, awapuhi, uahiapele, pikonui and kupa. [1064] He bundles
these and sets them aside as described above. He waits until the month
of Kaelo, [1065] on the day called Mauli [1066] in the evening when the
moon sets; that is the time to plant the stalks. He plants them in this
way: he first distributes the stalks among the hills, eight to each
hill; then he plants them. When this is done he waits until the stormy
months are over, and long after that, in the month of Kaaona, he goes
to throw up the earth on the hills of the potatoes; when he first
obtains potato, whether in between hills or from the running vine, he
returns with wood, lights the fire in the imu and cooks the potato
until it is done. He prays in this manner: “Keaonui, hanging below the
eye of the narrow pointed clouds, come to partake of the food.” When
the months of Welehu, [1067] Makalii [1068] and Hinaiaeleele are past,
and during the month of Nana on the day called Mauli, he shows off
before men and women, and placing a wreath of flowers on his head, he
would sally forth to dig potatoes in the presence of these men and
women. Then the improvidents would call out, “Say, this is my potato
hill;” [and another] “And this is mine;” they would forbid each other
by saying, “Don’t you come to get mine.” They would then dig and obtain
potatoes. But they are not of large size; they are small. There is one
way of keeping the family in food, [that is] to care for the leaves [of
the potato]; that is the food with which to feed the family if there be
no tubers. One would say thus: “Anyway, these are not the months when
potatoes bear plentifully; these are months when leaves grow rank and
the stalks swell large. This month is the time to plant in order to
bear.” On the day called Hilo the planter obtains some stalks, the ones
called kola, nika, pukeleawe, hiiaka, lapa, and huamoa. [1069] Prepare
them in the manner previously stated. When the day called Hoaka arrives
then is the time to plant; set them out in the manner explained above;
and when Ikiiki is past the planter would be relieved, for he realizes
that his family is saved; the days called Olekukahi, Olekulua and
Olekupau are the days during which to hill up potatoes; then he waits
until the days called Mohalu, Hua, Akua, Hoku, Mahealani and Kulu, and
the last day, Akua, he visits the potato field at the time that the
constellation called Taurus rises; arriving at the corner of his field,
he prays in this manner: “O Kanepuaa, [1070] root towards the mountain,
root towards the sea; root towards the wind, root towards the calm,
root in the middle of this our potato field! O Kanepuaa! do thou root
from that corner to this corner, from that border to this border, from
that side to this side, so fruit would appear at the end of the stalk,
along the stalk, and the roots which creep between hills.”
After he has finished this prayer he waits until Kaloakukahi,
Kaloakulua, and Kaloapau are past, and on the day called Kane, the
husband and the wife prepare ko-ko (nets) for the potatoes; on the day
called Lono, prepare for digging the potatoes. There are only three
potatoes in a hill; large indeed. (An old man showed me the measure,
and when I measured it, it was three feet in circumference; it made me
feel like cultivating potatoes on account of those big tubers.) The
husband and wife then return and cook a pig with the potatoes.
[UNFINISHED.]
CONCERNING THE TI-LEAF.
The ti-leaf is one of the plants growing in the mountains. It grows in
valleys, on hills, mountain ridges and side-hills. This ti-leaf plant
grows tall, but it is not large round like other trees. I think the
ti-leaf grows on all inhabited islands, but I am not sure. Where it
originated I do not know; it may have been brought from some place, or
it may have been indigenous. Let us consider the uses of the ti-leaf.
THE USES OF ITS LEAF.
The leaf of the ti is something that alleviates the trouble of man, in
that it is used in the construction of houses to be occupied by man;
such a house is called hale la-i [1071] (ti-leaf house). Just like a
chief who built a ti-leaf house for himself at Puulaina and because of
the fact that la-i was used, the hill was called Puula-i, [1072] as we
heard heretofore. It is also used by some people for wearing [apparel]
by braiding it, and, when done, wearing it.
It is used for lau [1073] fishing; when braided long it is used to
frighten and drive the fish into the net. It is used for covering the
imu to retain the steam and thus cook the food. It is used for covering
for fish to be roasted on coals. It is used for paiai [1074] covers. It
was also used as a boat by some people in the olden time. It is braided
into hula skirts and used by the dancers. It is used at feasts. It is
used as a broom to clean the dirt from the mat. The midrib is used for
braiding into hats. The leaf is made into pula-i (lai whistle) which
gives forth sound when blown upon.
By the use of the pula-i were the sisters of Aiwohikupua befriended by
Laieikawai, and they lived together happily. It was the case when
Malio, the sister of Halaaniani, went to get Laielohelohe the younger
sister of Laieikawai. She used the pula-i when Halaaniani wished to get
Laielohelohe for wife; they did not succeed in their desire, however.
The leaf of the ti is also used to drive away illness from a sick
person. If the sickness be [in the nature of] sores, then ti-leaf is
obtained and placed on the body, so the sores would not touch the mat
and cause pain; if ti-leaf [is used] the sores do not adhere; they are
cooling; the skin is not heated. It is worn on the neck by some people
to prevent illness; the ti-leaf wards off and safeguards from sickness.
THE STALK OF THE TI-LEAF PLANT.
The stalk is used as a spear for fire-brand [1075] to be thrown from a
height when dry. The plant is propagated from this part; if a la-i
fence is desired, secure some, plant them around and after a while they
will grow.
[Here is] a story concerning its wood: At Waipio is a stream wherein
lived a man-eating shark; when one came to the place (there were no
bridges then) he stood on the bank of the stream and threw in a stalk
of ti-plant. If it disappeared quickly, go back, the shark was there,
and was not gone; to jump in was to be eaten. But, if when thrown in,
the stalk did not disappear, then there was no shark; it had gone to
another place; then jump in and swim across quickly, because the stream
is not wide; but if you tarried or were slow in swimming you would be
caught by the shark, the champion of the ocean, and he would secure a
morsel of food, and he would laugh for he had obtained something.
THE ROOT: THAT IS, THE PART UNDER THE SOIL.
The root was used a great deal by the Hawaiians for cooking in the imu
(underground oven). After two or three days it would be cooked, then it
was used as food during times of plenty and during famine; but it was
used mostly during times of famine. Again it was used for simply
eating; and then again it was made into a liquor called okolehao,
[1076] a drink for men, women and children; that was one cause of
famine when time was taken up with those kinds of pleasure. This same
root was used for oil to keep the hair together so that it would not be
blown by the wind. It is called ki.
This is all I have obtained by asking questions. The leaf is the most
useful part of this plant.
John Mana.
THE KUKUI TREE.
This tree, the kukui, [1077] we are familiar with; we know its kind and
what it looks like, and that is, it has a stocky, stout trunk with many
branches, and green leaves. This tree commonly grows on the mountains,
in the forests and hill tops. It grows also on all of the islands; but
there is no place where it came from; it is indigenous to Hawaii nei.
Here are the uses of the kukui:
THE USES OF THE LEAVES. [1078]
They are used for hastening the ripening of bananas, and are also used
in the roasting of fish; those are the uses of the leaves which I know
about.
CONCERNING THE NUT.
The nut is edible, after being roasted and the kernel pounded with
salt. [1079] It is used in the place of fish when sojourning in the
mountain, and the day when the eye bulges out for [want of] fish. This
is also used as medicine for rubbing on the body, if the disease be
sores on the body or on the head. This was also used for lamp light in
the olden times. It is prepared by cracking the shell, leaving the
kernel, which is strung together on the midrib of a coconut leaf
(segment). If a feast were held at night in a house this kind of lamp
was the light mostly used. It is prepared by stringing four or five
sticks, when they are bunched together and wrapped in ti-leaves so that
they would not burn out quickly. It is also made into oil by cooking
it. When done the shells are cracked and the kernel taken and thrown on
a stone or wooden board and a large block of wood is placed on top.
This block is rolled all over [the kernels] and the juice [obtained
therefrom] is the oil. [1080]
This is also used to obtain the hamauleo [1081] fish of Ewa; the shell
is broken off, leaving only the kernel; this is placed in the clothes,
or else in the container where said fish would be placed when caught,
or in any other thing. Proceed to where that fish is generally caught,
chew some of this kukui kernel, and blow it on the sea; the sea would
be smooth and oily, and that fish could be seen. So it is done when
fishing for squid; like catching clams. It is also used for torches at
night, when fishing for eels. These are the uses of the nut which I
know about.
CONCERNING THE SMOKE FROM THIS NUT.
The soot from the smoke was used in tatuing on the arms. Here is the
method of preparation: It is strung on sticks until each is full; one
is lighted, and is taken and placed in a hollowed stone in such a way
that the smoke would fill the hollow in said stone; after a while the
soot would adhere to the stone, when it is dug out and placed in a
container prepared for it; it is mixed with sugar-cane juice, and then
used for tatuing the arms. Those are the uses of the nut which I have
obtained.
CONCERNING THE SHELL.
That is, the part immediately outside of the kernel. This thing was
greatly valued by the old men and the old women in the olden times.
When matches had not come into use here in Hawaii, that is, the sulphur
match, the old men and women used to crack the nuts open, take out the
kernel, leaving only the shells, gather them by the fireside and burn
them; it burns for a long time; it does not disappear quickly. That is
all the use of the shell [1082] which I have obtained.
CONCERNING THE BARK.
That is, the part enveloping the trunk. This thing was used a great
deal by the canoe builders. It was gathered, prepared and pounded, and
its juice was mixed with the ashes of the bulrush or cane-tops. [1083]
It was also spread on the blackboard so that the writing would show. It
was also used for printing kapa.
CONCERNING THE TRUNK.
This was often used for fences to confine animals and to protect
plants; it was also used in the construction of houses, and as firewood
for imus.
CONCERNING THE GUM.
When we were young a great deal of this thing was eaten; when the
parents went up to the mountains to look for kukui fungus [1084]
(mushroom) they would also come across gum oozing from the tree, and
all of it would be eaten. It was also used for daubing on the hair; it
was placed in a bowl or a cup, with some water added, and left to stand
for a while, and when taken up the water has become lumpy; it was very
good when applied to the hair; it made it smooth, shiny and slippery.
Those are the uses of the kukui which I have been able to obtain.
THE FAMOUS KUKUI GROVES.—GROVE OF KAUKAWELI. [1085]
This grove was so named during the time when Mr. Pogue was teacher [at
Lahainaluna] and because of his sternness with the pupils. The pupils
were possessed with fear at his sternness, and also because they were
afraid of human skulls and other things, so they named it the Kukui
Grove of Kaukaweli. This grove of kukui is where visitors while away
the time during commencement days, and it was a good thing.
GROVE OF LANIKAULA.
This kukui grove is on Molokai; it was named in that way on account of
a prophet of Molokai named Lanikaula. When he died he was taken to and
buried at this kukui grove, and that is why its name is Ulukukui a
Lanikaula. [1086]
CONCERNING THE GROVE OF LILIKOI.
This kukui grove grows on this island of Maui, at Makawao. It was
famous because the chiefs went there in the olden times, and perhaps
even to this day; it was noted as a place often visited by strangers.
It was also the place where were procured the kukui nuts for the
chiefs, for the kernel of its nuts was fragrant and good to the taste.
This is all that I have learned.
John Moo.
WHERE THE KUKUI IS OBTAINED AND ITS USES.
Where it is obtained: The kukui is a large tree and is good to look
upon; it is obtained from its fruit. When the fruit of the kukui dries
and falls off, then some of them will grow into a distinct kukui tree;
that is where the kukui tree which we know now comes from. But the bark
of this tree is used for dyeing nets, printing kapa, and blackening
canoes; [but in the latter case] it is mixed with the ashes of
sugar-cane leaves; the leaves were burnt to produce the ashes.
Its flower is used for medicine for certain ailments such as
stomachache, weakness or ulcers of the mouth. Those kinds of diseases
can be cured by that medicine.
The use of its nut: Its nut was strung into candles; that is, when the
kukui nut is dried a person goes for it and gathers plenty, then he
returns to the house, cooks them and when done cracks them; then string
them on a coconut stem, and when that is done it becomes the kukui
candle with which to look at each other, but that is a new name; the
old name was kali kukui. [1087] Here is another thing: The nut of the
kukui is also used in place of fish; it is cooked and when it is done
that is the time to eat it. It is then called inamona, because it was
sweet to the taste when eaten. Still another thing: The nut is used in
fishing for uhu or in spying for squid; if it were not for the kukui,
these kinds of fishing could not be carried on; for the oil of the
kukui is the thing which enables one to see the dark places of the
ocean. That is one of its uses.
Here is still another use of the kukui fruit: It is made into oil. It
is first gathered, and when there is plenty it is cooked in the imu;
when cooked it is cracked and the shell separated from the kernel. The
kernel is made into oil by pounding it on a board until it is
pulverized; then a large smooth ala [1088] stone is rolled on this
pulverized kukui meat. The juice is then run into a container through a
strainer that would keep out the dregs. That is one use of the fruit of
the kukui—for oil; but perhaps there are more uses of the fruit of the
kukui, but these are what I have seen being done with my own eyes, and
that is why I have brought these things for your enlightenment, my
friends.
Timothy Lililea.
AN ACCOUNT OF THE BREADFRUIT.
There are two places where breadfruit is to be found. 1. At Kaawaloa,
Kona, Hawaii. Man was the origin of the breadfruit of that place.
Before his death he had said to his children: “If I die, both of you
watch the tree that may grow at the door of our house; its fruit shall
be your food; the hands and hairs are the roots of that breadfruit
tree, the legs are its branches, the testicle is the fruit thereon.” At
that time that was the food that saved this whole family. At the time
the forty thousand gods and the four hundred thousand gods saw the
fruit of this breadfruit tree, they went and plucked it and tried to
eat it green, but it was not palatable; they then tried cooking it on
hot coals and found it relishable. They spoke to Kane and Kanaloa
[1089] of the sweetness of this fruit; to which they replied that the
fruit was no other than the testes of a certain man who is now dead. At
this they vomited until they were exhausted; they started to vomit in
Kona and continued through the mountains till they reached Waipio. That
is why the breadfruit trees became so plentiful, at that time, because
the gods vomited on their way through the mountains, hence its wide
spread.
2. At Puuloa, Oahu. Its breadfruit plant came from Kanehunamoku, [1090]
brought by two men of Puuloa who were out fishing and were blown off by
a heavy wind and rain storm and landed at the uninhabited land, save
gods only. Therefore by them it was introduced at Puuloa and planted in
a large excavation where it grew and bore fruit, which they ate. Haumea
and others afterwards knew of this breadfruit tree having been brought
away secretly by these men, so she came to see it herself and made a
visit to these islands, but this variety of tree was not found. That is
the reason she scattered the breadfruit in all lands; hence its wide
distribution.
This land of Kanehunamoku is in Kahiki, a land not found by explorers
who are endeavoring to discover, because this is a mythical land; if
this land is seen by man it is then submerged in the ocean, it can
never be found, and so continues on. The good things of that land are
many; the living-water of Kane and Kanaloa is found there; those who
have died and their bodies turned into ashes can be brought back to
life by that water.
Its sap: The sap was very valuable in the olden time for the snaring of
birds; it was considered superior for such use by those persons who
snared birds in all the islands. The island of Hawaii was the most
prominent in this method of bird catching. The birds desired were the
soft feathered oo of the mountain, its valuable asset being the yellow
feathers under the wings, for the purpose of making feather wreaths;
the feathers were very expensive in price in the olden time. That was
the principal use of the breadfruit sap [or gum], and such like
purpose.
Concerning the body of the tree: It materially aids the necessities of
man. For instance: It can be made into poi-boards as well as door
casings of the houses in olden time; also as fuel for oven cooking, and
so on; it was also used for canoes in the olden time; for sleds for
racing on high sloping lands, and the people staked articles of value
on both sides, as in horse racing at the present time. Such were the
sleds of breadfruit wood. [1091]
Breadfruit was of three kinds. 1. The rat-eaten breadfruit; the reason
it was so called was on account of the holes made by the rats. 2. The
wind-stricken fruit; it was so called because of its exposure to the
wind at all times. 3. The soggy fruit; so called because the inside or
pulp was water-soaked, lumpy and tough when eaten.
Furthermore, the breadfruit blossom, I have heard, somewhat resembles
the male organ, and is the source of all the fruit of the tree. This
blossom drops off at all times; it does not remain on the tree very
long. Of the bark of the breadfruit tree: This has been made into kapa
in the olden time. The pulp bark of the young plant, which is flexible,
was beaten into kapa like the wauke of Hawaii nei.
W. S. Lokai.
CULTIVATION OF TARO: ANCIENT AND MODERN.
The subject of this paper assigned us at this time is in reference to
the method of planting taro at the time of our forefathers, and the
planting of the present time, and everything pertaining to their method
of cultivation. According to my own knowledge, as also from my
inquiries of an experienced cultivator, there were only two methods of
cultivating taro in the olden time: First, the cultivating of dry-land
is distinct: Second, the cultivating of wet-land, which is different.
But we must take the first division and consider it, and I will give
its account as far as possible, aided by what this expert has said;
that is, for the dry-land cultivation and implements used by the people
of that time.
It is said that in the olden time they had no oo, no axe or other
implement fit to do their work with, but they went in search and found
sharp-edged stones, called pahoa, [1092] and with these sharp-edged
stones they went into the woods and cut material for oo’s for
themselves. These are the woods that are fit to be made into oos: the
mamane, the ohia, the wind-swept aalii, and other hardwood trees.
Before they shaped them into oos this is what they first did: They
called on the “hewing” deities, because if they did not first invoke
the gods before they shaped their oos, then their implements would all
be broken; therefore they invoked the gods of the mountain, calling on
them thus:
“Kumokuhalii, Kupulupulu, Kualanawao, Kupaikee, cut the trunk, cut the
kalaau; [1093] cut the branches, observe and see the shaping of the oo;
the oo is made of the aalii. [1094] I cultivate the kula land; the yam
is the food, dry-taro is the food and all other food plants suitable
for planting on dry land.”
On commencing the cultivation the men first burn off a large field
selected for the purpose, then clear it nicely, throwing the stones
aside till the field is in good condition. Then the planter awaits the
fall of the first shower of rain. At the fall of the first shower the
spirit of the planter is gladdened, the eyes are gratified; he then
waits for one more shower that his field may be thoroughly soaked. When
the second rain comes on the evening of that day, the planter goes in
search of taro-tops [1095] (huli). These are the kinds of seed chosen,
which are planted in dry land: 1, elepaio, a species of taro with
spotted leaves; 2, apuwaipiialii; 3, lehua-ku-i-ka-wao; 4, kumu; 5,
manini and ape. Tie the seed plants into a bundle, and on the morning
of the next day proceed to the prepared field; dig as many holes
therein and plant out the taro-tops selected; when the field is planted
then the farmer watches the field for the growth of weeds, and at their
appearance he takes his wooden oo and clears the growing weeds or
grass. This method of cultivation is called “oloolohio.” This work must
be done regularly until the young leaves of the seed-plant make their
appearance; sometimes three or four leaves are seen, then the planter
separates the planted taro-tops (hulis). because if they are not
separated and the soil pressed down firmly, it was said by the people
of old, the bulb would become poor and slender instead of being full
and rounded. But, if the planter regularly and daily separates the
decaying leaf-stalk and presses the soil around the taro plants until
it nearly matures, whereby, they say, the taro is extra large, they are
full and round, not long and slim.
When the taro is matured, the fainting spirit of hunger passes away
from the planter. The wife and children, accustomed to pulling the taro
for food, take the matured ones and sufficient young ones (oha),
leaving the rest of young ohas in the hole. The remaining young ones
are called by them the aae, [1096] which means a field or patch of
young taro. When the first taro is taken out then the invoking of the
god is indulged in, thus:
“That large black cloud [1097] in the path of the rain-cloud below,
cast a shadow. Shadow, watch! watch this our field. Say, large cloud,
cast your shadow from that corner to this corner; cast your shadow from
that side to this side; do not cast your shadow on the field of others,
you will be censured for obscuring the sun; the owner of the field
might be chilled. Say, large cloud! Cast your shadow on this our field;
shade the holes, shade the leaves of our food to give it growth, that
the hole be filled with taro. Say, large cloud, shade our field from
mountainward to seaward, from the upland to the lowland.”
At the conclusion of this prayer the man returns with the food to the
house, cuts his wood, cooks his pig with a few of the new fresh taro;
when cooked the planter again makes another supplication, a short
prayer, [1098] as follows:
“O Keukulia, the food is cooked; a fresh taro, the pig is cooked; here
is the food; here is the fish; return and partake of my food, the great
farmer, saved by me and my family. Amen, it is done.” All then partake
of the food of the farmer. This ends the account concerning dry-land
farming.
Now let us take up the second division of this subject and consider it
at this time, which is: the planting of wet-land taro. It is different
both in the method of its cultivation and its treatment.
This was the way they cultivated wet-land taro in the olden time. The
first duty of the farmer to perform was to clear the weeds; when that
is done, then the banks must be made solid to prevent leakage. When a
taro patch is dried, then the farmer digs the patch in blocks (eka) and
turns it over, places the blocks against or along the banks, and the
remaining dirt, or earth for the patch; because if stones only were
placed along the banks the water would all flow through it. Therefore,
the earth will help it. After the patch is all dug and in good order,
nothing lacking, then the farmer waits a few days, allowing time to
soften the earth; when he knows that the time for planting is at hand,
he procures the bundle of taro tops and carries them to the patch. The
planter then begins to make large [1099] mounds of earth and five men
cannot encircle with their hands. After this is done, the taro-tops are
then planted. Here are the names of those of the olden time: Apuwai,
apowale, aweu, awapuhi, ipuolono, ieie, owene, oopukai, ohe, uwalehua,
uwia, umauma, ulaula, uwahiapele, hapuupuu, hokeo, kai-kea, kai-eleele,
kai-koi-o-Ewa, kumu, lauloa, lehua, lihilihi-keokeo, lola, manaulu,
maunakea, moi, makohi, mahaha, mamauwea, mokulehua, manini, naioea,
piko, piko-kea, poni, elepaio, apuwaipiialii, kalehua-ku-i-ka-wao,
palili, pala, pipika, palakea, pueo, palai’e, wa’e and wewehiwa.
When the taro-tops are set out and the patch is planted uniformly, the
farmer then waits awhile. As the weeds spring up the planter proceeds
with weeding, that method of cultivation being known as “he au loi,”
burying the weeds under the surface. When three open leaves are seen on
the taro-tops the taro is on a fair way. The man then plucks as many
leaves as he can which he makes into a neat bundle, and lighting a fire
he roasts that bundle of luau, [1100] and when cooked separates the
part that may be burnt and throws it away. Uncovering the calabash he
prays to the god thus: “Say, Kane of the water of life, here is the
luau, the first leaves of our food. Say, Kane, return and eat; save me,
thy offspring, your cultivator, to live to an old age in the
everlasting world; the life is from you, my god. Amen, it is done; it
flies.” When the prayer is ended then eat of the food till satisfied.
The farmer then waits for the taro to ripen; when it is matured he
proceeds to his taro patches and stands on the bank, calling to the god
of husbandry, praying [1101] thus: “O Kukeolowalu, the taro is
luxuriant; like the banana stem are the stalks of the taro; the leaves
of our taro are as large as the bananas. Say, Kukeolowalu, when man is
among our taro he is lost from sight. Say, Kukeolowalu, my god to the
maturing of the taro. Say, Kukeolowalu, our foodstuff must be rooted.
Say, Kukeolowalu, I carry the taro and the oha and the kamau; the mound
remains as a means of existence for the farmer, some taro tops for an
empty patch. Say, Kukeolowalu, bunch our foodstuff, carry it on the
shoulder; light the oven for our foodstuff, bake our food; when cooked,
pound it till our poi is mixed. Say, Kukeolowalu, put it in the
calabash, mix our food till it is soft and smooth. Say, Kukeolowalu,
split the wood, light the oven, choke the pig, place it on the hot
stones, remove its hair with the heat of stones; take its insides out,
bake our pig in the oven. I say, Kukeolowalu, when the pig is cooked
cut it until the platter is full; let the husband partake, the wife
partake, the child partake of our pig and taro. I say, Kukeolowalu, ye
small board, ye large board, stir up your kapu; stir up your freedom;
let earth proclaim it is free; the kapu is done away; it is freed.”
After the conclusion of the prayer this and that person are at liberty
to go and get some taro, for it is freed, released.
This concludes the methods and treatment concerning the cultivation of
taro in the olden time, both of dry-land and wet-land; there are
perhaps other ways which have escaped my mind touching this subject,
though this may suffice.
Now let us take the second subject given for our consideration, and
that is: the way of cultivating taro at the present time, both of the
dry-land and that of the wet-land methods.
Regarding this subject, perhaps there is not a boy that is without
observing what his parents had done in both dry and wet-land
cultivation. Therefore, let me relate what I have seen my grandparents
do as their regular method of working. Perhaps it is best for me to
first explain the planting of taro on the uplands at the present time
and the methods of its cultivation.
These two subject matters are quite different in their recount, while
alike in their divisions, but to be able to explain the difference of
the recount and the division are similar.
Our grandparents these days are enjoying a period of enlightenment and
advancement; also the receipt of proper implements for performing the
work. The dry-land planting of taro at this time is similar to what our
grandparents did in the past, for the first thing to do is to burn off
the field; that being done well, the stones are all thrown aside along
the borders of the field; the act of digging holes for the plants is
then begun; taro-tops are planted; the taro-tops that are to be set out
at this day are the same as planted by the ancients; there are no other
seed plants, and the way of cultivating is similar to that of the olden
time in the treatment and care of the taro-tops, loosening the soil and
pressing it down, that the bulb may be plump are identical with that of
that time. Here is where it differs, in their manner of praying. At
that time they prayed when the food matured: at this time, no. Perhaps
there is where it varies slightly, providing the people of that time
observed its practice.
I have seen my grandparents carry their taro-tops and plant them among
the ohia grove. The first thing they did was to remove the akolea
[1102] fern till it was well cleared, after which the taro tops were
planted and the fern leaves were then spread all over the planted
field, that the dampness may be retained and the whole field be kept
moist. Weeds will not make their appearance until the taro is almost
matured; at the same time adhere to the practice of the old people in
constantly loosening the soil, and when you see the taro at maturity it
is extra large, exceeding in size that planted on the open plain. A
number of residents of my locality moved to the ohia grove to take up
taro culture at that time, and the crops were large. This concludes my
observations of my grandparents’ practice concerning their method of
taro cultivation.
In conclusion, concerning the planting of taro in wet-land and things
relating to its method. Respecting this subject, in my opinion it is
needless for me to reiterate my remarks concerning the present method
of preparing the patch, also of planting, for the reason that each and
everyone of us are familiar with our every day duties, and it is
unnecessary for me to relate it at this time, for the old-time method
is that being observed and practiced by us, such as the loosening of
the taro tops, pressing them down in the soil, and things relating
thereto. Therefore, it is clear to us that though the recount shows a
difference in the methods of culture it agrees in its divisions.
This is the result of what I have gathered upon the subject assigned
for my investigation.
January 25, 1872. Samuel K. Kainoa.
A STORY OF KAMEHAMEHA.
It was thought that the father of Kamehameha was either Kahekili,
Haalou [1103] or Kaleiopuu, because at that time [the people] lived
promiscuously, and no attention was paid [to the fact] of a man having
for his wife one woman. Therefore it was thought that out of these
three was Kamehameha begotten. Another thing, I was not told who his
mother was.
He was born at Kailua, [1104] on the western side of Hawaii, and what
he did from his early youth until he became a man has not been spoken
of much.
CONCERNING HIS SAILING FOR MOLOKAI.
When he became a man he sailed with a great many people on one hundred
canoes; the kind of sails used was mats braided round and flat. They
landed at Kaunakahakai and lived there. The reason for this coming was
because the king was fond of maika, that is, rolling a stone which was
made round with flat sides.
While Kamehameha lived at Kaunakahakai he had nothing with which to
amuse himself. He sent his friend Kikane to get stones from Kahekili
who was living on Oahu. When he sailed he went alone. Arriving in the
presence of Kahekili, they wailed together, after which Kahekili
inquired: “What does the chief desire that he sent you to me?” Kikane
answered: “I came to get the stone for a plaything for your child; we
came together and he is now residing at Kaunakahakai, Molokai; he sent
me to come to you.”
Kahekili again inquired: “What stone does he desire?” He replied: “The
stone at the flap of the malo.” The meaning of this is that it was a
peerless stone, and was carefully guarded. Do not mistake, my friends,
this kind of a stone; it is made in the way above stated and called
ulu. Kahekili handed over the stones saying: “This, the stone called
Hiupa, is not to be cast on the windy side, lest it be struck by the
force of the wind and be unsteady in its rolling, for it is a light
stone; it is to be cast on the calm side; but this, Kaikimakua, is to
be cast on the windward side for it is a heavy stone. The names of
these stones are Hiupa and Kaikimakua.”
Kamehameha had sent Kahekili a present of a calabash full of feathers.
After the chief was through giving instructions to this man, he reached
for the calabash of feathers and opened it, and when he saw what was
inside he wept loud and long, saying these words in a chant:
Lihau, mountain in the mist;
Kalae, clear and calm.
Like a flying arrow which has been shot forth
Is the shadow of the smoke carried by the wind.
My wind, the kilioopu [1105]
Of my four [1106] waters
[Which] when joined by that youngster,
The kaahaaha, turns [the smoke] to blackness.
When he finished chanting, he said to Kikane: “You go back to the chief
and tell him to return to Hawaii; then wait until he sees that the
black kapa has covered me, and the blackness has crept up to my lips,
then come to get the land.” (These words, it seems, were uttered in a
contemptuous way, meaning that he [Kamehameha] should await Kahekili’s
death before attempting to conquer the country.) Kikane returned to
Kamehameha. The chief asked: “Did Kahekili give you no message?” “There
is a message,” replied his friend. “What is it?” He then repeated what
was given to him.
THE RETURN OF THE CHIEF TO HAWAII.
When the chief heard these words, he surmised that it was Kahekili’s
intention to wage war against him. So he did not cast these maika discs
on account of the home-going. The canoes were prepared and when all was
ready, the men as well as the chief embarked, and sailed until they
reached Kawaihae. This place is at Kohala, on the northwestern part of
Hawaii. The chief lived there, and commenced the construction of the
large canoes called the peleleu. [1107] At the same time the king
proclaimed his law the mamalahoa, [1108] which meant that no chief or
commoner should undertake anything of his own initiative; he who
disobeyed was killed; it was only by doing the chief’s [Kamehameha’s]
work [that he was saved]. One of the chiefs, named Keoua, did not heed
this; he went of his own volition and slaughtered the people of Waimea.
Kamehameha, however, did not immediately visit the penalty of the law
on him.
In the work of hewing and making the canoes, it took three years to
build six forty canoes; that is equal to two hundred and forty. When he
finished this he went and resided at Hilo where he built another six
forty canoes in three years, which added to those already built made
480 canoes in six years. When this was finished, the chief returned to
Kawaihae where he again built six forty canoes in another three years,
which added to the former made 720 canoes in nine years. After which he
again went to Hilo where he built six more forty canoes in another
three years, and together with what had been already built, gave him
960 canoes constructed in twelve years; and that satisfied the chief.
When he finished the construction of the peleleu canoes, the chief sent
two messengers, Kameeiamoku and Kamanawa to go and bring Keoua. When
they came to Keoua’s presence he asked: “Why did you two come to me?”
They answered: “The chief sent us to come and get you.” Keoua said: “If
the chief contemplates death for me, this is the proper time for you to
say it.” Kamanawa and the other replied: “Your nephew does not desire
your death; your nephew loves you; that was why we were sent.” Keoua’s
advisers said to him, “O ye chief! those words which have been spoken
are false; they are lies—no truth in them; but this is our advice: let
us go overland: if we go overland, then Kamehameha has death, and so
have we.”
But because Kameeiamoku was persistent and cunning in his conversation
the chief was deceived, and he consented to sail on the canoes. When
they arrived at Kawaihae, they saw that the place was covered with a
multitude of people. The chief Keoua then realized that he would be
killed, so he reached for a cord and tied around his person. The men
whom Kamehameha sent to him said: “It is high time for you to be
girding up your loins; you will be killed for being cruel to others,
for rebelling, for disobeying the laws of the chief.” Then Keoua and
his retinue wailed with loud voices. Kamanawa and Kameeiamoku seized
Keoua and held his head under the water until he died, whence he was
taken and baked in the imu. After Keoua died, one of his attendants,
Kaoleioku, [1109] begged Kamehameha, “O ye chief! grant me protection
that would save me.” Kamehameha gave him the papa [1110] as such; he
rejected it, saying that could not save him. Kamehameha next gave the
water of Ahukini (perhaps this water is still at Kawaihae at this
time). He persisted in his refusal, saying that could not save him. So
Kamehameha granted him the mamalahoa, saying at the same time, “No
subject and no chief shall take your life; you may live!” The other
chiefs objected to this [gift] and said that mamalalaau should be given
instead, meaning by this a law which would allow of his being killed;
but Kamehameha would not concede, for he had already spoken. Then one
of Keoua’s attendants, Wailama, cried as follows:
My lord of the driving rain,
The rain flying in the upland of Auaulele:
The rain flies, flying with the wind,
Flying to the headwater [the spring] to give it life.
My lord from [the land of] the waterfall.
After this Kamehameha sent some canoes to sail ahead to Oahu. These
canoes touched at Haneoo, Hana. Kahekili had arrived from Oahu, and it
was made known that it was his intention to wage war on Kamehameha.
Kamehameha was sent for. He came from Hawaii, and on arriving the
fighting began, and was kept up until Kahekili was defeated. Kahekili
returned to Oahu while Kamehameha returned to Hawaii. Kamehameha,
however, set up the image called Kawalakii, [1111] clothing it with
ahuula and with mahiole for a hat; a spear and a war club of Kona were
placed by it, and it was consecrated to Malio. Because Kahekili’s
famous soldier, Keawepuahiki, saw that it did not move he went and
struck at it with a club and broke it into small pieces. Kahekili sent
another famous soldier, Kapakahili by name, to battle with Kamehameha,
and they fought here on Maui until Kapakahili was defeated. Then
Kamehameha returned to Hawaii, and when he heard of Kahekili’s death he
went after his kingdom. Then Kaiana rebelled, but was not victorious
over Kamehameha.
That was when Kamehameha commenced the cultivation at Ualakaa; [1112]
the chief was three years on Oahu; then he came to Lahaina. That was
the time of the sounding reed, [1113] that is, a thinned stem of
coconut leaf placed on a flat piece of wood which fitted in the mouth;
or it may be fibrous lauhala, and so forth. After three years here, he
returned to Hawaii.
[Keakaloloa.]
NA MOOLELO MAI NA KUPUNA MAI.
NO NA KUPAPAU I KA WA KAHIKO.
I ka wa kaa mai ana a kokoke e make, he oeoe mamua aku o ka make ana o
kekahi mea o na makamaka, a me na mea e ae o mea nei, ina he poe ua
make a ina he poe ola, a penei ka ka mea mai e olelo ai: “Eia ae o mea
ke kii mai nei ia’u e hele.” A pela ia e olelo pinepine ai a hiki i
kona wa e make ai. Aia hoi o kona poe makamaka a pau, uwe no lakou, a
ina he mea ia i aloha nuiia, unuhi lakou i kekahi mea o ua mea make
nei, ina he maiao, a ina he niho, a ina he lauoho paha. Eia no hoi, ina
ua ike ia kekahi mea mai kona waha mai, a me kona maka, he mea keokeo,
a me ka waimaka, he aloha io no ua kupapau nei i kona poe makamaka, a
loihi no ka waiho ana o kekahi iluna, eha, elima la, a nui aku no ko
lakou aloha.
Ina e waiho ke kupapau maloko o ka pahu, e waiho ai me ka ike ole mai o
ka lehulehu. Penei ka hana ana: E hookulou iho i ke poo o ke kupapau a
komo ke poo ma ke kowa o ka uha, a pupuu mai na uha e puka ana na kuli
maluna o na poohiwi, a hookomo i ke kaula ma ke ami o na kuli, a nakii
a paa loa; he poepoe ke kupapau ke nana aku ia manawa. Ina he mea na ua
kupapau nei, he kala paha, he lole paha a he mea e ae no paha, ua kanu
pu ia lakou me ia, a waiho pu ia i ai, i ia i paka paha, i kapa paha
kekahi, i ole ka e anu, a pololi ka i ka ai, wahi a ko’u lohe.
I ka lawe ana e huna i ke kupapau, elua, a ekolu o kana poe makamaka
aole lehulehu. I ka po nae e lawe ai e kanu, aole i ke ao. I ka eli ana
i ka lua, he lua poepoe no, ano like me ka lua maia. O ka hohonu kupono
o ka lua, i ka humemalo, oia hoi ka puhaka o ke kanaka, he pahee ka
inoa o keia lua i ka wa kahiko; i ka eli ana, e lawe ka lepo o ka lua i
kahi e iloko o ka ahu, ipu, o ike ia ka meheu. Ina he hale hou, eli mai
no ka poe nana ke kupapau mawaho mai, a komo iloko o ka hale, me ka ike
ole mai o ka mea nona kela hale. Manao na kanaka, ina e ike ia kahi i
waiho ai, kii ia na iwi i mea makau; o ka io hoi i mea kupalu mano. He
mau lua huna kekahi ma ka pali, ma kahi papu kekahi. Aia no kekahi lua
huna ma Haleakala, o ka lua o Kaawa ka inoa, mauka pono o Nuu ma Maui
nei. Penei ka hana ana i ke kupapau mamua o ka hoolei ana iloko oia
lua. I ka lawe ana o na mea nona ke kupapau, me na mea ono a kela mea i
make e lawe pu ai, oia hoi he puni; ina he puaa ka puni, maia, ko paha,
me ia mea aku ia mea aku, e lawe no e like me ia, a hiki i ka lua,
kahea aku ka mea nana kela kupapau i ke kupuna i make mua iloko o ua
lua nei, penei e kahea ai: “E mea e, eia mai kau keiki.” A ina e haule
loa ke kupapau iloko o ka wai, a pio ke anuenue, alaila aole ona
makamaka e pili ana ia ia, aka o ka mea makamaka, hopu mai no lakou ia
ia ke hoolei ia aku, o ka ili mai la no ia i ka pali, aole e haule
iloko o ka wai. A mahope iho o ka nalo ana, alaila, hoi mai a ka hale,
alaila, uwe nui a kanikau. Eia no hoi, ina e amo ia ana ua kupapau nei
mamua a o kana mea i aloha ai mahope loa, aole e hiki ana, e hoololohe
ana ke kupapau, aia no o kana mea i aloha mahope iho o ka kupapau
alaila, aole e hoololohe. Eia ka olelo a ka mea nana ke kupapau: “Kaino
paha he aloha kou ia’u, aole ka, ina penei kau hana haihai ia kou mau
wahi iwi.” A pau kana olelo ana pela, a alualu mai ka ke kupapau, a o
ka mama no ia a hiki i kahi e kanu ia ai. Haliilii ia ka lua a maikai,
a waiho ia no hoi ke kupapau, o ke poo ma ka hikina, o ka wawae ma ke
komohana. Eia ka hewa, o ka mea waiho ia ke poo ma ke komohana, o ka
hele mai e lapu. A pau ia, eia ka olelo a ka mea nana ke kupapau: “Mai
hele i kauhale, noho maile no, he ai no he ia no, he kapa no.”
Eia kekahi. O kekahi poe, ike lakou ua make ke kanaka, holehole ia na
iwi a pau ka io, hana no ka i pahi, i makau, a i ole ia kau malie no
iloko o ka hale i noho no ke aloha, hele aku no e nana. A o kekahi
kupapau, ua lawe ia ma ke kai e kiola ia ai, a ma ka wai paha, i akua
mano a me ka moo lakou.
Eia no hoi na lua huna i kanu ia ai na alii o Nuu; o Makaopalena,
Kealaohia, o Puukelea, aia ma ke alo o Haleakala, ma Maui Hikina lakou
apau. O Hanohano ame Alalakeiki kekahi, a ma Alalakeiki kahi i make ai
o na kanaka mai Hawaii mai i lawe mai i ke kupapau e huna ai, a pau
kela poe kanaka no Hawaii mai i ke komo iloko o ka lua, hiki mai kekahi
kanaka kamaaina, o Niuaawaa ka inoa, a pani i ka waha o ka lua i ka
pohaku, malaila lakou i noho ai a pau i ka make. Aole kanaka e ola ana
i ike i kekahi o keia mau lua huna, ua nalo loa.
NO KA UHANE MAHOPE IHO O KA MAKE ANA O KE KANAKA.
Aneane kulike ole ka manao o na kanaka Hawaii nei no ka uhane mahope
iho o ka make ana o ke kino. Ekolu wahi e noho ai ka uhane, wahi a
lakou, oia hoi: o ka lua Pele, oloko o na wai, a me na aina maloo, e
like me ke kula o Kamaomao, a me Kekaa.
Ina i make ke kino o na ’lii, a o kona mau kanaka ponoi paha, a me na
kahu Pele, alaila, e hoi ko lakou uhane i ka lua o Pele, a e lawelawe
mai na kahu Pele, a me na kanaka, e like me ka noho ana ma keia ao. A o
na kahu Pele, o lakou kona poe puuku, a he mau luna hoi maluna o na
kanaka ai puupuu, a i ole ia, o kona poe kahu ponoi no. I ka noho ana o
ka uhane malaila, ina makemake kekahi e ike ia lakou, alaila, penei e
ike ai, e hele pu me ke kahu Pele, a na ke kahu Pele e kahea aku; me ka
mele o kela alii e hea aku ai.
Olelo mai kekahi poe, ina i make kekahi kanaka a kanu ia ma ke kae o ka
muliwai, a o ka punawai, a o ka auwai paha, alaila, e komo ana ka uhane
iloko o kekahi mea kino e ae, i ka mano paha, ka puhi paha, a me na mea
e ae o ka moana; aka, o na mea ma ka lihiwai, e komo lakou iloko o ka
muliwai, a lilo i Okuhekuhe nui, a i mau moo huelo, a ina ma ka aina
maloo, alaila, e komo ana iloko o ka pueo, a me na mea ano like. O keia
mau mea i komo ia e ka uhane o na kanaka, ua lilo lakou i mau mea e
alakai ana i ko lakou poe e ola ana. Penei ka hana ana a keia uhane i
komo iloko o keia mau mea kino. Hele hou aku no ia, a komo iloko o kona
makamaka, a no kona noho ana iluna ona, a ai mai keia uhane i ka ai
maoli a maona, alaila, hoi aku, a pela mau ka hana ana. A o keia poe
makamaka, ina he pilikia ko lakou ma ka aina, no ke kaua ia mai,
alaila, na ka pueo e alakai ia lakou ma kahi e pakele ai. A ina ma ka
muliwai, na ka moo, a me na mea ano like e malama ia lakou. A ina ma ka
moana ka pilikia, na ka mano e malama, a me na mea ano like. No keia
mau mea ka hookapu ana o na kanaka i kekahi mau mea ai he nui wale.
Eia kekahi: Aia ma ka aina maloo kahi e noho ai ka uhane mahope iho o
ka make ana o ke kino, a ua kapaia keia mau wahi o ka leina a ka uhane.
Ua lawa keia inoa ma na wahi a pau o Hawaii nei kahi i noho ai ke
kanaka. O kahi e noho ai ka uhane o ko Niihau poe, Kapapakiikii, o ka
lua, Mauloku, ma Lehua, ko Kauai aia ma Hanapepe, ko Oahu o Kaimalolo,
ko Molokai aia ma ka palena o Koolau a me Kona, o Wainene ka aina nui.
Ko Lanai, Hokunui, ko Maui elua wahi e noho ai, o Kekaa a me ke kula o
Kamaomao, a ko Hawaii ekolu wahi e noho ai, o Hilo, Waipio a me ka
Palilua. O keia mau wahi a pau, ua kapaia o ka leina a ka uhane. Ina e
hiki ka uhane ma keia mau wahi aole hiki ke hoi hou mai.
Eia no kekahi: Ina make ke kino, hele no ka uhane me ke ano o ke kino,
pela no ka uhane e hele ai, aole no hoi he po, he ao wale no. Okoa ko
na ’lii wahi e noho ai, okoa ko na koa. Malaila na hana a pau e like me
ka wa e ola ana, oo ihe, puhenehene, heeholua, heenalu, moku, lua, he
nui ka ai, he ai ulu wale no; uala, kalo, ape, ia mea aku ia mea aku, a
no keia manao o lakou, a i make ke kino, e kanu pu ia ka ai, ia, paka,
wai, kila ahi, o-o, ihe, koi, pahi, manao lakou e hana ka uhane me keia
mau mea ma ia wahi.
Eia kekahi: Manao kekahi poe, he hele wale no ka uhane, a hoi, a noho
iluna o ke kanaka e ola ana. Kapaia kela uhane he Makani, a he
Unihipili. Oia na manao o kanaka kahiko.
S. Kamaka.
HE MOOLELO NO KA OHELO.
O na hana a ka ohelo, aole au i ike, o ka’u mea no nae i ike, he mea
ai. Hookahi no nae a’u ohelo i ike, oia ka ohelo neepapa, o ka ohelo ku
i luna, aole au i ike. He elua wahi i manao ia’i kahi i loaa mai ai ka
ohelo: 1, No Kahiki mai; 2, No Hawaii nei iho no.
Nolaila, maanei kakou e ike iho ai o kona loaa ana mai mai Kahiki mai.
O Kaohelo, he wahine u-i a maikai kona helehelena i ka nana’ku, a o
kona mau hanau mua, o Pele, o Hiiaka, a me Malulani. O ko lakou nei
aina hanau i noho ai hoi a kupa, o Nuumealani, aia no ia wahi
Kukuluokahiki. Ia lakou nei hoi e noho ana, me ka oluolu a me ke aloha
kekahi i kekahi, a ma i hope iho, holo aku la kekahi kanaka o Hawaii
nei, o Aukelenuiaiku kona inoa, a i kona hiki ana ’ku ilaila, o ke kaua
iho ’la no ia a lilo ka aina ia Aukelenuiaiku; oia ke kumu o ko Kaohelo
ma hele ana mai i Hawaii nei, a haalele aku i ke one hanau.
I ko lakou nei hele ana mai, ma Lanai kahi i noho ai o Malulani, o Pele
hoi a me na pokii iho i koe ma Hawaii. O Pele nae a me Hiiaka ma ka lua
o Pele i Kilauea ko laua wahi i noho ai, o ko Kaohelo wahi i noho ai ma
Hawaii, aole i maopopo. I ko ia nei noho ana nae, ua hanau no kana
keiki o Kiha ka inoa. Ia laua nei e noho ana a kokoke e make o Kaohelo,
kauoha ’ku ia i kana keiki: “I noho kaua a i make au, mai kanu oe ia’u
ma kahi-e, e lawe oe i kuu kino a ka piko ponoi o ko kupunawahine iluna
pono o Kilauea, malaila au e waiho ai.” Ia noho ana o laua nei a make
iho ’la o ua o Kaohelo, lawe aku la ke keiki i na kino kupapau o ka
makuahine, oia hoi ka ohelopapa a me ka ohelo laau; o ka ohelopapa nae
ka ia, o ka ohelo laau oia na iwi. O ke poo nae o Kaohelo ka Pele mea i
malama’i, a oia ka Pele e a nei, a o ka nui o ke kino, kiola ia ma
Haleakala, i Maui, a ma Kealia paakai, i Oahu, a ma Kauai kekahi, a ma
Hawaii iho no hoi. I ka noho ana hoi o Malulani ma Lanai a lohe i ka
make o ko lakou pokii, o ke kii no ia me ka manao, aole i malama ia e
Pele, i ka hiki ana’ku, aole nae i loaa okoa kona kino, oiai, ua lele
liilii a nalowale iloko o ka lepo, a e kupu ae ana e ulu mai ka lepo
ae; o ko ia nei ohi no ia a puolo me ka manao ua pau loa, a lawe la hoi
e malama. Aka, i ko ia nei hoi ana a Lanai, noho keia a mahope, ike aku
keia i ke kino o Kaohelo, ua kui ia mai e na kanaka i lei a no ka nui
loa mai o ke aloha i kona hanau muli, o ke kaawe no ia a make.
O Kaohelo no hoi, oia kekahi akua o Pele a hiki i keia wa. Make iho ’la
hoi o Malulani laua me Kaohelo, koe ihola o Pele me Hiiaka. I ka noho
ana o laua nei, a no ka ho-a mau o Pele i ke ahi, aole hoi he ana o ka
hiamoe o Hiiaka, olelo aku ia i kona hanau mua: “Heaha hoi keia ho-a au
i ke ahi, aole ka e ana ka hiamoe i ka ka mea o ka wela o ke kua i ke
ahi, e aho e hookuu ae i ka pokii o kaua, a nana no hoi e imi aku kona
wahi e noho ai.” Ia wa o ka hookuu aku la no ia o Pele ia Kaohelo, o ko
ianei hele a ku la no ia a hiki ma Koolau i Oahu, a o Heeia hoi kekahi
kanaka u-i oia kau e noho ana malaila, ua make nae hoi. A ike mai la
hoi ko iala uhane i ko ianei uhane, aloha malihini iho la laua nei, a
hookipa no hoi ma ka hale, luana ihola hoi laua nei no kekahi mau
minute, a mahope, ninau mai o Heeia ia Kaohelo: “E hele ana i hea kau
huakai, a mai hea mai hoi oe i hele mai ai?” Olelo aku keia: “Ka, o
Hawaii ko makou wahi noho me ko’u mau kaikuaana, ua make nae hoi au, a
no ka wela loa o ke kua o kuu kaikuaana opio, oia o Hiiaka i ke ahi,
olelo kela i ka hanau mua o maua e hookuke ia’u, a oia kela hele a’u e
imi i wahi no’u e noho ai.” A lohe o Heeia i keia mau olelo a Kaohelo i
ku i ke aloha mokumokuahua a ka manao e hookaulike iho ai, he mea-e ka
lele kupilikii o kona kino holo okoa i ke aloha i keia wahine. O kona
olelo koke aku la noia: “E aho hoi ha i wahine oe na’u a i kane hoi au
nau.” Ua maikai ia manao i mua o ke queen oi kelakela o Kukuluokahiki,
a noho a kane a wahine ihola laua nei.
Ia noho ana hoi o laua nei a mahope mai, hanau ihola ka laua
kaikamahine oia o Waialani, he wahine u-i a maikai keia, ua oi ae no
hoi kona maikai mamua o kona makuahine. Noho iho la hoi lakou nei a
hala na makahiki ekolu, olelo aku keia i na makua e kii ia Malulani ma
Lanai. Ua maikai no hoi ia mea i mua o na makua. O ko ianei hele no ia
a hiki i Hawaii, olelo mai o Hiiaka ia Pele: “E, ei ae ke kaikamahine a
kaua ke hele mai nei.” Olelo aku o Pele: “Nawai auanei ia kaikamahine,
aole paha wau e ike aku iaia?” a ua lilo loa ia mea hoopaapaa loa
mawaena o laua. I ka hele ana ’ku o ke kaikamahine a ma ka waha o ka
lua, o Akanikolea ka inoa oia wahi, i alawa iho ka hana, e hoopaapaa
ana na makuahine. A no ka nui ukiuki loa o Pele, e ho-a ae ana kela i
ke ahi, o ka hele ia a piha ka lua, manao hoi o Hiiaka o make ke
kaikamahine, o ke kii no ia i ke kaikunane ia Ahuimaiapakanaloa e noho
ana i Nuumealani, oia wale no ka mea e oluolu ai o Pele. I ka hiki ana
mai o ua kaikunane nei, o ka emi aku la no ia o ke ahi, a iho aku la ua
kaikamahine nei, a ike keia i ka pala o ka maia, lalau aku la no keia
ai. Pela ka laua nei iho ana a hiki ilalo. O ka emi loa aku la no hoi
ia o ke ahi a nalowale iloko o ka waha o Pele. A ike o Pele i ka lakou
kaikamahine, olelo aku la ia: “Ua manao au e make ana oe no kuu
hoohewahewa ana ku nei, eia ka ua pololei ka ko makuahine opio i olelo
mai nei ia’u, he kaikamahine oe na makou.”
Ia wa, olelo aku o Pele i ke kaikamahine: “E i ae no ka mea ai i luna.”
Ninau mai ke kaikamahine: “Heaha ia mea ai?” Olelo aku la ka makuahine:
“He ohelo, ua hele akula ia a pala, o ka makou no hoi ia e ai nei.” Ia
lohe ana o ua kaikamahine nei, o ka pii aku la no ia a ike i ka pala o
ka ohelo, lalau aku la keia a hahai mai la. I ka hai ana mai, o ke kahe
mai la no ia o ke koko e like me ko ke kanaka; honi ae la keia, aole o
kana mai o ka pilau, o ko ia nei haalele no ia a hoi ilalo. Olelo aku
la keia ia Pele: “Kai no hoi he mea maikai kau i olelo mai nei ia’u, i
hahai aku nei kuu hana o ke kahe mai no ia o ke koko, i honi ae hoi,
aole o kana mai o ka pilau.” Olelo mai hoi o Pele: “Ka, o ka makou no
hoi ia e ai nei, ia oe aku nei hoi ano-e.” A lohe o Hiiaka no ka laua
nei mau olelo, pane mai la hoi ia: “Ka, mai ai oe i kela mea, oiai, o
ke kino no ia o ko makuahine, o ka ohelo e ku la i luna oia na iwi, o
ka ohelo nenee hoi oia ka i-o.”
A lohe o Waialani i keia mea, he mea-e kona kaumaha a me ka luuluu no
kona ai ana i ke kino o kona mama aloha, olelo aku la keia ia Pele: “Ke
hoohiki nei au ia oe, aole au e ike ana ia oe a hiki i ka lua
kupapa’u.” Oia ka hookaawale ana o ko Hawaii nei, aole e kamailio
kekahi i kekahi a hiki i ka wa e make ai, aia wale no a kalua ia ka
puaa, a hana ia a pau, alaila ike i ka wa e ola ana, ina aole e hana ia
kela mau mea, aia wale no ka palena he make, a he mea keia i maa ia
Hawaii nei mai ka wa kahiko mai a hiki paha i keia wa. A mahope iho, o
ko laua nei hele mai la no ia me Hiiaka a hiki i Lanai, o ko ia nei kii
no ia a ke kino kupapau o Malulani, ua hele a popopo, o ko laua nei hoi
no ia a hiki i kahi o na makua, uwe iho la lakou nei a pau, noho ihola
lakou nei na wahine, ke kane a me ke kaikamahine.
A hala kekahi mau la, o ka puolo liilii no ia o ua o Waialani i ke kino
o Malulani a paa, hoolei liilii keia mawaho aku o Heeia, ku aku ana he
puu, ku aku ana he puu a kinikini loa lakou e ku la a hiki i keia wa. A
no ka hiki ana mai hoi o ke kai a Kahinalii, uhi paa ia iho la ua mau
puu liilii nei a ano mokumoku i ka nana’ku, a nolaila i kapaia’i o ko-a
mokumoku o Heeia a hiki mai i keia la, a ua ike ka hapa nui o kakou i
ka hele ana ma ia wahi.
Noho ihola hoi lakou nei, a no ka lanakila loa o ka manao o Heeia i ka
ike aku ia Hiiaka i ka wahine oi kelakela o ka maikai, ua noho wale
kela i ka lua o Kilauea a nohenohea pua i ka wao, o ka pii mai la no ia
o ka manao kuko ino iloko ona e launa kino me Hiiaka, a ua hooko ia no
nae kona manao. A noho a kane a wahine ihola laua nei me he wai la e
lana malie ana i Hauola. O Kaohelo hoi, aole o kana mai ka lauwili pono
ole o ka manao, oiai, ua hala ka puulena aia i Hilo, ua imi aku la i
hoa kakele nona e la-i ai ma ia kahua loa, ua keku kahi ia iho nae e ke
keiki o na pali hauliuli o Koolau. No ka nui loa o ke aloha o Kaohelo i
ke kane, kaawe ihola ia a make, a o ka make loa ana ia o Kaohelo ma
keia moolelo. Oia ihola na mea a pau e pili ana no ko Kaohelo hele ana
mai mai Kahiki mai a laha’i ma Hawaii nei.
O KONA LOAA ANA NO MA HAWAII NEI.
No Kauai na makua, o Manuakepa ka makuakane, o Hooleia ka makuahine.
Noho ihola hoi laua nei a hanau mai la ka laua nei kaikamahine, kapa’ku
la laua i kona inoa o Kaoheloula. O ka inoa nae o ka makuakane, he inoa
kaulana loa ia a hiki i keia wa, a ua paa no hoi i ka haku ia i ke
mele, nona hoi keia:
Ka limu kaha kanaka o Manuakepa,
Kapekupeku i luna ka ua o Hanalei, a pela ku.
Noho iho la lakou nei, a loohia ua kaikamahine nei i ka ma-i, huli hele
aku la na makua i kahuna nana e lapaau ka ma-i, loaa iho la hoi ia laua
nei keia wahi kahuna o Kumakaohuohu, nonoi aku la laua nei i laau. “E,
e oluolu paha oe e haawi mai i laau no ke kaikamahine a maua, oiai, ke
waiho la ia i ka ma-i,” olelo mai hoi ua wahi kahuna nei: “Aole e loaa
kuu laau ia olua, aia a haawi mai olua i kekahi mea e mohai ai i kuu
laau kapu, alaila, ola ke kaikamahine a olua.” O ke kii ia’ku la no ia
ua kaikamahine nei a hoomoe ia i ua laau nei, me ka manao hoi o na
makua e ola ’na, eia ka aole, ua hana ia e kela wahi kahuna hoopunipuni
a make. I ka make ana oua kaikamahine nei, o ka ulu ae la no ia iluna o
ua laau nei, a kiola liilii ia ma kela a me keia wahi a laha ma Hawaii
nei a puni. Oia ihola ke kumu i loaa mai ai ka ohelo, mai Kauai kahi i
hoomaka ia ai.
O kekahi hoi, he mau wahine ka keia, he wahine makole kekahi, a he
wahine haneenee kekahi, no ka hailiili mau ia, hilahila ihola laua, a
pepehi laua ia laua iho a make. O ka hana a keia mau wahine, o ka
hooleilei pohaku, elua pohaku, ekolu a pela ’ku, he mea hana ia hoi me
ke mele, aia i ka wa e kiola ’i i ka pohaku i luna, oia ka wa e puana
’i i ka mele penei:
Puili puili ohelo ai a ka manu,
Ke ai holoholo la i ka uka o Puna, a pela ku.
A make laua nei, lilo ae la ka wahine makole i ohelo ula, o ka wahine
haneenee hoi, lilo iho la i ohelo papa. Oia ihola kahi mea i hahai ia
mai ia’u, malia he mana okoa ’ku ka kekahi e pili ana no keia mea he
ohelo.
Jos. K. Kahele Jr.
NO NA KO KAHIKO O HAWAII NEI.
Iloko o ka wa kahiko, na ko he ano okoa, aole i like me na ko a kakou e
ike nei i keia manawa. Nolaila, ke ninau ia nei ma ka kakou kumumanao,
no na ko kahiko o Hawaii nei.
E pono ia kakou e nana pu mai i na inoa o keia mau ko; na kumu i kapa
ponoia ai na inoa o kela ko keia ko, a me ko lakou wehewehe ana. Eia na
inoa o na ko kahiko o Hawaii nei.
Ko Mua: Ka inoa o keia ko, he Laukona. He mau kanaka elua, o Piikea
kekahi a o Aulii kekahi. Ua ninau aku o Piikea ia Aulii: “Heaha la ka
inoa o keia ko?” Hai mai o Aulii i kana inoa: “O ka inoa o keia ko he
ko Laukona; o kona lau he lau kahakaha loloa keokeo; oia ka mea i
kapaia ai he Laukona.” Ua hoole mai o Piikea ia inoa. Ua olelo mai ia i
kana inoa: “He ko pumaia,” a ua nui ko laua hoopaapaa ana no ka inoa
oia ko, a ua ko ko Aulii manao.
Ko Alua: Ka inoa o keia ko, he Papaa, mamuli o ke kapaia ana o kekahi
aina o Kopapaa ka inoa; no ka hoopaapaa ka mea i kapaia ai o ia inoa. O
keia ko, he ano eleele i ka wa opiopio; a hiki i kona wa e oo loa ai,
alaila lilo ae ia eleele i ulaula; he oolea nae kona apuupuu ke ai aku.
Ko Akolu: Ka inoa o keia ko, he Manulele; ke ano o keia ko, he onionio
keokeo, he loloa koi nei aina ke ai ia; ke kumu i kapaia ai kona inoa
he Manulele no kekahi kane me kekahi wahine. I ko laua wa e noho pu
ana, he kane a he wahine, a mahope o ko laua noho ana me ka maluhia,
ulu mai la iloko o kekahi o laua ka hana kolohe, a loaa ia laua ke
kuee, a lilo aku la ke kane, a i ole ia, o ka wahine paha i ka mea e,
ke noho ala kekahi me ke aloha, ke au la io ia nei, me ka manao o ka
pau koke ae la o keia mea he aloha; eia ka, aole e pau ana; a mahope,
lohe ia aku la kekahi mea akamai i ka hana aloha, kii ia aku la a hiki
mai la, ninau mai la ua kahuna nei: “Heaha kou mai?” Hai aku la ua
kanaka nei: “He aloha wahine, oia ko’u mea e mai nei, aohe o’u ono aku
i ka ai; ka mea ono keia o ka ai a me ka ia i ka wa e noho a kane a
wahine ana, aka iloko o keia wa a kaua e kuka pu nei, pau mai ka ono o
ka ai ia’u.” Pane mai ke kahuna: “He mai ola wale no kena la, ina na’u
oe e hana.” Olelo aku ua kanaka nei: “E hana mai hoi ha oe ia’u.” “Ae,”
wahi a ke kahuna. Alaila kii ia aku la ua ko nei, oia hoi, he Manulele,
a wehewehe iho la ua kahuna nei penei: “Ke ano o keia ko he Manulele; e
lele mai ana kona aloha a pili me oe, aliala, pau kona lalau a hiki i
ko olua wa e make ai.” Oia iho la ka inoa o keia ko, he Manulele.
Ko Aha: Ka inoa o keia ko he Honuaula, ua ane like no ko i nei wehewehe
ana me ko ka Manulele; he ko hana aloha no keia. O ko i nei ai ana he
uaua ka aina.
Ko Elima: He Akoki ka inoa o keia ko; he ko eleele keia, he ulaula kona
lau, he hukahukai ka ai ana, aole i like me ka ai ana o kela mau ko i
hoikeia ae la maluna; o ka wehewehe ana nae o keia ko, aole i loaa
ia’u, nokamea he pohihihi waleia i ko’u noonoo.
Ko Eono: He Opukea ka inoa o keia ko; ua loaa keia ko i kekahi kanaka
kaulana o ka wa kahiko, ma o kona imi nui ana a loaa iaia ma
Laupahoehoe; a i kona nana ana, ua ike oia he ko Opukea. Mahope, hele
oia e ninau ia Liliha i ka inoa o keia ko, a haiia mai no e like me
kana ike mua. O ka ai ana o keia ko, he pakepake koi nei aina, he
keokeo nae koi nei ano.
Ko Ehiku: He Uleohiu ka inoa o keia ko; ua loaa keia ko ia Kulua laua o
Paiaalani. Iloko o ko Kulua wa e noho ana iloko o ka mai nui, he lia
kona ili, he puupuu kona kino, hele mai o Paiaalani a ninau mai: “Heaha
keia au e pue nei i keia mau la aohe oili hale?” Hai aku o Kulua iaia:
“He mai hoi paha ko’u.” Olelo mai kela: “Heaha kou mai?” “He puupuu, he
lia ka ili,” wahi a ke kanaka mai. “He mai ola wale no kena la, ina e
loaa ana ia oe kela ko he Uleohiu; hoi mai kupa i ka wai wela, a inu,
alaila, hamo i ko ili, o ko ola ae no ia.” O ka ai ana o keia ko, he
hukahukai a he oweowe.
Ko Ewalu: He Palaniula, oia hoi, he Palani hao ka inoa, ke ole au e
kuhihewa. Aole i loaa ia’u ka wehewehe ana o na kumu i loaa mai ai ka
inoa o keia ko. Aka, o kona ano, he ulaula; he pakepake koi nei ai ana,
ua ano like me ko ka Opukea ai ana.
Ko Eiwa: He Ainakea; o na mea nana keia ko o Kuula ma laua o Kane; no
ko laua ai hamu ana i na kanaka o Honuaula, a kuakea ae la ka iwi i ka
la. Oia ka mea i kapaia ai ka inoa o keia ko Ainakea, mamuli o ka hana
a kela mau kanaka kolohe. O ke ano nae o keia ko, he ulaula kahakaha
loloa keokeo, oloko nae o kona aina, ua like me ka ai ana o ka Opukea
ke keokeo, oia iho la ke ano o keia ko.
Ko Umi: He Iliopua ka inoa o keia ko; koi nei wehewehe ana i na kumu i
loaa mai ai kona inoa i kapa pono ia ai, aole i maopopo loa ia’u,
nokamea, aole au i ike i ke ano oia ko.