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THIRTY-THIRD
ANNUAL REPORT OF THE

BUREAU OF
AMERICAN ETHNOLOGY

TO THESECRETARY OF THE
SMITHSONIAN INSTITUTION

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GOVERNMENT PRINTING OFFICE
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LETTER OF TRANSMITTAL

SMITHSONIAN INSTITUTION,
BurReEAU OF AMERICAN ETHNOLOGY,
Washington, D. C., August 4, 1912.
Sir: I have the honor to submit herewith the Thirty-
third Annual Report of the Bureau of American Eth-
nology, for the fiscal year ended June 30, 1912.
With appreciation of your aid in the work under my
charge, I am
Very respectfully, yours,
F. W. Hones,
Ethnologist-in-charge.
Dr. CHarLes D. WaLcort,
Secretary of the Smithsonian Institution.

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CONTENTS

REPORT OF THE ETHNOLOGIST-IN-CHARGE

ISSUE ah] Ch GSeaTG h Gs Senter eye eer ate nama ciete cto ex hsek cea lele
LEAT LOLI TOS es - cits Sate EEE 7d EOE ES ae aD Or ae Ie aecte SAE
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IRTOPelb yacee eee eters aye er eee cia soe Sel Se staan Bee CESS ee eeeS

ACCOMPANYING PAPERS

Uses of plants by the Indians of the Missouri River Region, by Melvin Ran-
olp hy Galnroren((pls el — GO) seme essere ta tay ec ene ae eer s ope rat pete elefelerer ere
Preliminary Account of the Antiquities of the Region between the Mancos
and La Plata Rivers in Southwestern Colorado, by Earl H. Morris (pls.
SEY a5 Se SS Ta ee ee ee Ne ee ee eee
Designs on Prehistoric Hopi Pottery, by Jesse Walter Fewkes (pls. 76-90:
Hi Seo ANN ep te yore at teense ciate ayela(einie ate nSSeo Cesc eee acne OaBeaoe
The Hawaiian Romance of Laieikawai, by Martha Warren Beckwith (pls.
Cie) ood arabs OGe nec OGee Se Se ora en Isat Sea eee B ec ae ic see nee eee erae
Warn xe ere eco Oe itl eee roe erage cin oie eisiolers occ/ainlondsicie:cisialeniaamshebienika ge

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REPORT OF THE
ETHNOLOGIST-IN-CHARGE

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THIRTY-THIRD ANNUAL REPORT

OF THE

BUREAU OF AMERICAN ETHNOLOGY
F. W. Hopnar, Ethnologist-in-Charge

The operations of the Bureau of American Ethnology
during the fiscal year ended June 30, 1912, were conducted
in accordance with the act of Congress approved March
4, 1911, making appropriations for sundry civil expenses
of the Government, which act contains the following item:

American ethnology : For continuing ethnological researches among
the American Indians and the natives of Hawaii, including the ex-
cavation and preservation of archzologic remains, under the direction
of the Smithsonian Institution, including salaries or compensation
of all necessary employees and the purchase of necessary books and
periodicals, including payment in advance for subscriptions, forty-
two thousand dollars.

SYSTEMATIC RESEARCHES

The systematic researches of the bureau were conducted
by the regular staff, consisting of eight ethnologists, and
with the aid of specialists not directly connected with the
bureau, but the results of whose studies were procured for
publication. These operations may be summarized as
follows:

Mr. F. W. Hodge, ethnologist-in-eharge, was occupied
with administrative affairs during the greater part of the
year, but from time to time, as opportunity afforded, he
was engaged in the preparation of an annotated Bibliog-
raphy of the Pueblo Indians, with the result that almost

9

10 BUREAU OF AMERICAN ETHNOLOGY

1,100 cards bearing titles, descriptions of contents, etc.,
of writings pertaining to the Pueblos were completed.
Knowledge of the Pueblo Indians commenced with the
year 1539, and these people have been the subject of so
much attention by early Spanish explorers and mission-
aries, as well as by ethnologists and others, in recent years,
that the literature has become voluminous and widely seat-
tered. The need of a guide to this array of material has
been greatly felt by students, and for this reason Mr.
Hodge has prepared notes on the subject for a number of
years with the view of their final elaboration in the form
of a bibliography.

Late in August Mr. Hodge proceeded to New Mexico,
and after a brief visit to the archeological sites in the
Rito de Los Frijoles, northwest of Santa Fe, where ex-
cavations were conducted in conjunction with the School
of American Archeology in 1911, continued to El Morro,
or Inscription Rock, about 35 miles east of Zuni, for the
purpose of making facsimile reproductions, or squeezes,
of the Spanish inscriptions there, which have such an im-
portant bearing on the early history of the Pueblo tribes.
El Morro is a picturesque eminence of sandstone rising
from the sandy valley, and by reason of the former exist-
ence of a spring at its base, which is now merely a seep,
it became an important camping place of the early
Spaniards on their journeys to and from the Rio Grande
and. the Zui and Hopi pueblos. The inscriptions of
these early explorers were carved near the base of the
rock, chiefly on the northern and southern sides of the
highest portion of the mesa, and in the main consist of
the names of the visitors with the dates of their visits,
but in a number of cases elaborated with a more or less
full statement of the object of the journey.

The earliest of the inscriptions is that of Juan de Ofnate,
the colonizer of New Mexico and founder of the city of
Santa Fe, who inscribed his name and the object of his
visit in 1606, on his return from a perilous journey to the
Gulf of California. Others who visited the rock and left

. ADMINISTRATIVE REPORT 11

a record are, in order of date: Gov. Francisco Manuel de
Silva Nieto, who escorted the first missionaries to Zuni in
1629; Juan Gonzales, probably a member of the small
military escort accompanying the same party, and bearing
the same date (1629) ; Lujan, who visited Zuni in 1632 to
avenge the murder of Fray Francisco Letrado, one of
the missionaries who accompanied Silva Nieto; Juan de
Archuleta, Diego Martin Barba, and Agustin de Ynojos,
1636; Gov. Diego de Vargas, 1692, the conquerer of the
Pueblos after their rebellion in 1680 which led to their
independence of Spanish authority during the succeeding
12 years; Juan de Uribarri, 1701; Ramon Paez Hurtado,
1709; Ju. Garcia de la Rivas, Feliz Martinez, and Fray
Antonio Camargo, 1716; Joseph de Payba Basconzelos,
1726; Juan Paez Hurtado and Joseph Truxillo, 1736;
Martin de Elizacochea (bishop of Durango) and Juan
Tgnacio de Arrasain, 1737; and others of the eighteenth
century. These inscriptions were all carefully photo-
graphed by Mr. Jesse L. Nusbaum, with whose aid Mr.
Hodge made paper squeezes which were brought to Wash-
ington and transferred to the National Museum, where
Mr. Nusbaum later made plaster casts of the paper nega-
tives, insuring the permanent preservation of the inserip-
tions in this manner. This work was accomplished none
too soon, since deterioration by weathering is progressing
in some parts of the cliff face bearing the inscriptions,
while vandalism is perhaps playing an even more serious
part in the destruction of these important historical
records, notwithstanding the fact that El Morro has been
created a national monument by Executive order.

Early in September Mr. Hodge joined Dr. Edgar L.
Hewett, director of the School of American Archeology,
and his assistants, in the Jemez Valley, about 65 miles
northwest of Albuquerque, for the purpose of conduct-
ing excavations, under the joint auspices of the bureau
and the school, in an extensive ruined pueblo on a mesa
1,800 feet in height, skirting the valley on the west. This
village was occupied within the historical period by the

107 BUREAU OF AMERICAN ETHNOLOGY

Jemez people, by whom it is known as Kwasteyukwa. The
ruins cover an area approximately 850 by 600 feet, and
even on partial excavation exhibited distinct evidence of
occupancy at two different periods. The original pueblo
was considerably larger than the one later. inhabited,
although the latter was built on the ruins of the older
and of the same materials. The walls were of tufa
blocks, rudely shaped and set in adobe mortar; the rooms
were small, the masonry crude, and practically none of the
walls remain standing above ground. A large artificial
reservoir in a northwestern angle of the ruin furnished
the water supply, and various smaller depressions prob-
ably mark the sites of kivas. The later inhabitants—those
within the historical period, or about the first half of the
seventeenth century—buried their dead in and beneath
the debris of the older part of the pueblo. The mortuary
accompaniments were of the usual character, speaking in
general terms—pottery, traces of textiles, stone and bone
implements and other objects, and a few ornaments.
The finding of glass beads with the remains of a child,
and an iron nail in another grave, bear testimony of the
comparatively recent occupancy of the village by the
Jemez Indians. It was the custom of the inhabitants to
throw large stones into the graves, resulting in the break-
ing of almost all the pottery deposited with the dead.
The fragments were carefully preserved, however, and
will be repaired by the National Museum. <A noteworthy
specimen of pottery bears in its decoration a feather
design almost identical with feather symbols found on
ancient pottery of the Hopi, and therefore tending to
verify traditions of the latter people that some of their
ancestral clans came from the Jemez.

Dr. J. Walter Fewkes, ethnologist, was engaged in
field work from July to October, having especially in
view the determination of the western limits of the an-
cient Pueblo culture in Arizona. Outfitting at Jerome,
in that State, he proceeded to certain large ruins on the
upper Verde, on Oak Creek, and in Sycamore Canyon,

ADMINISTRATIVE REPORT 13

where some time was spent at each locality in photo-
graphing and in making plans of these and adjacent re-
mains, as well as in a study of the formerly occupied
caves near the mouth of Oak Creek. Crossing the rough
country separating the upper course of Oak Creek and
the great sandstone cliffs known as the Red Rocks, Doe-
tor Fewkes revisited and further studied the large cliff
dwellings, known as Honanki and Palatki, excavated by
him in 1895. Several hitherto undescribed ruins were
added to the list of ancient remains in this general
vicinity.

From the Red Rocks Doctor Fewkes returned to the
Verde and followed that stream upward to the Jordan
ranch, where cliff houses of an instructive character
were photographed and studied. He also investigated on
the hills back of Cornville certain large stone structures
of the type known to Spanish-speaking people as trin-
cheras, rude but massive fortifications that here begin to
assume importance. A number of ruins hitherto unre-
corded belonging to the cave or cliff-dwelling type were ob-
served in the walls of Sycamore Canyon, or Dragoon Fork,
and the outlines of stone houses were seen above the river
terrace near the junction of Sycamore Creek and Verde
River. A large aboriginal fort, with walls well preserved,
was found on a height overlooking the Verde, above the
mouth of Granite Creek, and others more nearly de-
stroved were seen at the Baker ranch and in Hell Canyon,
not far from Del Rio Station. Near the Baker ranch,
a mile or two down the Verde, are the remains of a cliff
dwelling, directly in the line ofa projected railroad,
which will probably be destroyed when the road is con-
structed. Doctor Fewkes also visited the ruins of several
fragile-walled habitations, consisting of low mounds, near
Jerome Junction and Del Rio. Although many evidences
of such ancient dwellings are here seen, most of the foun-
dation walls have been carried away by settlers and used
in their own house building.

14 BUREAU OF AMERICAN BTHNOLOGY

A large fort, with well-preserved walls, occupies a low
limestone ridge east of Williamson Valley, above the trail
from Del Rio westward, and commanding a view of the
valley west of Jerome. This fort is typical of the trin-
cheras that appear more and more frequently as one pro-
ceeds westward from the upper Verde. Several incon-
spicuous ruins, hitherto undescribed, were found in Wil-
liamson Valley, those situated on the hills belonging to the
fortification type, while those in the valleys consist merely
of low mounds of stone and other débris.

Proceeding westward from Chino Valley, many inter-
esting ruins were observed along the valley of Walnut
Creek, referred to in Lieut. A. W. Whipple’s report of
1853 as Pueblo Valley, once noted as the site of old Camp
Hualapai. This vale, from Aztec Pass to the point where
the creek is lost in the sands of Williamson Valley, was
extensively tilled in prehistoric times, as is attested by
the well-marked remains of ancient irrigation ditches.
Characteristic petroglyphs were also found in Walnut
Valley.

As elsewhere in this region, two types of ruins were ob-
served in Walnut Valley, namely, (1) extensive stone
fortifications with massive walls crowning the hilltops on
both sides of the valley and commanding a wide view, and
(2), on the low terraces bordering the stream, clusters
of small mounds constituting the remains of farm-
houses, upright posts supporting walls of wattling plas-
tered with mud like the jacales of the Mexicans and eyvi-
dently identical in their general character with the dwell-
ings of certain Yuman tribes. Among the best preserved
of the forts, called ‘‘ pueblos ’’? by Whipple, are those near
Aztee Pass and at Drew’s ranch, Shook’s ranch, and Peter
Marx’s ranch, while others are found farther down Wal-
nut Creek. No traces of terraced pueblo dwellings were
seen in this region.

In order to shed further light on the relations of the two
types of ruins described, Doctor Fewkes made an examina-
tion of the ancient remains along the Agua Fria and near

ADMINISTRATIVE REPORT 15

Prescott. At both places the ruins were found to be of the
same dual character. In a few instances, as at Frog Tanks,
near the mouth of the Agua Fria, the ruins suggest the
great houses or compounds of the Salt and Gila Valleys,
but here also trincheras and fragile-walled houses are the
more common.

The observations made by Doctor Fewkes during this
field season indicate that the ruins in the region referred
to are the remains of buildings so different in architecture
from that of true pueblos that it is probable the culture of
their occupants was also different. Doctor Fewkes reached
the conclusion that the ruins of the forts and small dwell-
ings referred to were constructed and used by a Yuman
people whose descendants, more or less mixed with Apache
and other nonrelated tribes, are represented to-day by the
Walapai, Yavapai, and Havasupai Indians. Although
the jacal domiciles of western Arizona were probably struc-
turally similar to certain ancient houses in the Pueblo re-
gion of New Mexico, the river-terrace houses of Walnut
Valley resembled certain habitations of the lower Gila
River more than they did the pueblos of the Rio Grande.

On returning to Washington, Doctor Fewkes prepared a
report on his observations in this interesting archeological
tield, which, with suitable illustrations, is now in press as
one of the accompanying papers of the Twenty-eighth
Annual Report.

Doctor Fewkes also gave considerable time to reading
the proofs and arranging the illustrations of his memoir
on Casa Grande, which likewise is to appear in the Twenty-
eighth Annual Report.

On the completion of the above work Doctor Fewkes
commenced the preparation of another paper relating to
‘“* Designs on, Prehistoric Hopi Pottery,’’ a subject to
which he devoted much attention in connection with his
studies of the Hopi Indians for 20 years. This memoir,
which was well advanced toward completion at the close
of the fiscal year, accompanied by numerous plates and
text figures, is designed as a key to the interpretation

16 BUREAU OF AMERICAN ETHNOLOGY

of the decoration of ancient Hopi earthenware. The
great multiplicity of life designs appearing on the pot-
tery of ancient Sikyatki is treated in the paper, in
which modifications in decorative devices derived from
feathers, birds and other animals, and conventional fig-
ures are likewise discussed. One object of Doctor
Fewkes’s treatise is to meet a growing desire of those
interested in primitive symbolism, and another is to de-
fine the peculiarities of one ceramic area of the Pueblos
as a basis for comparison with others, thus facilitating
the study of Pueblo culture origins and prehistoric migra-
tion routes.

As the construction of the Panama Canal has tended
to stimulate an interest in aboriginal remains in the
West Indies, and as many archeological specimens differ-
ing from those of ‘the Antilles previously known are now
being brought to light, the time for a scientific study of
them, as well as of the aboriginal sites of the West Indies,
has arrived. Much of the interest recently manifested
in early Indian life in the West Indies may be ascribed
to Doctor Fewkes’s memoir on ‘‘ The Aborigines of Porto
Rico and Neighboring Islands,’’ which appears in the
Twenty-fifth Annual Report. Since the publication of
this paper the new material has become so abundant that
plans have been made for Doctor Fewkes to resume. his
study of West Indian archeology. The most note-
worthy collection of aboriginal objects from this area in
recent years is that of George G. Heye, Esq., of New
York, who courteously has placed his material at the dis-
posal of the bureau as an aid to these investigations.
This collection has been studied by Doctor Fewkes, and
the most important objects contained therein are now be-
ing drawn for illustrative purposes.

Doctor Fewkes’s researches thus far indicate that the so-
called Tainan culture of Porto Rico and Santo Domingo
was represented in the Lesser Antilles by an agricultural
people, probably Arawak, who were conquered and ab-
sorbed by themarauding Carib. Study of the collections be-

ADMINISTRATIVE REPORT ive

fore noted tends to show that several of the Lesser Antilles
were marked by characteristic types of pottery, indicating
their occupancy by a people superior in culture to the
Carib and to those found there at the time of the discovery
by Columbus. New light has been shed on the relations
of these early Antillean people and the Orinoco tribes,
which, although generally called Carib, were probably an
antecedent people of higher culture.

Mr. James Mooney, ethnologist, spent the first three
months of the fiscal year in continuing investigations
among the East Cherokee of western North Carolina, and
in locating and investigating mixed-blood remnant bands
in the eastern part of that State. The Cherokee work
consisted chiefly of a continuation and extension of the
study of the aboriginal sacred formulas of the priests and
doctors of the tribe, with the accompanying ceremonies
and prescriptions. Although the former dances and tribal
gatherings have fallen into disuse, the family rites and
medical ceremonies still hold sway among the full bloods.

The so-called ‘‘ Croatan Indians ”’ of southeastern North
Carolina were found to be an important and prosperous
community numbering about 8,000, evidently of Indian
stock with admixture of negro and white blood and closely
resembling the Pamunkey Indian remnant tribe in Vir-
ginia, but with no survival of Indian language or custom
and with almost no knowledge of their own history. After
years of effort they have secured definite State recogni-
tion as an Indian people. There is no foundation in fact
for the name ‘‘ Croatan Indians,’’ which they themselves
now repudiate, and in all probability they represent the
mixed-blood descendants of the aboriginal tribes of the
region which they now occupy. The existence was also
established, and the location ascertained, of several smaller
bands of similar mixed-blood stock, but without official
recognition, in the eastern section of the two Carolinas.

The remainder of the year was devoted by Mr. Mooney
to the compilation of material in connection with his pend-
ing study of Indian population. By reason of the shift-

74936°—19—33 ETH 2

18 BUREAU OF AMERICAN ETHNOLOGY

ing, disintegration, and new combinations of tribes, no
one section can be treated separately or finally as apart
from others. Considering the difficulties met in a study
of this kind, the work is making satisfactory progress.

Dr. John R. Swanton, ethnologist, devoted most of the
year to field researches among the Creek Indians in Okla-
homa. These investigations continued from the middle of
September, 1911, to the middle of May, 1912, during which
period excursions were made into Texas to visit the
Alibamu Indians and for the purpose of endeavoring to
trace remnants of other Texas tribes, and to the Caddo
Indians of southwestern Oklahoma. No remains of Texas
tribes of ethnologic value, other than the Alibamu, were
located, but a considerable mass of material was obtained
from the latter. Doctor Swanton’s visit to the Caddo
was with the view of learning how many of the old Caddo
dialects were still spoken, and some valuable documentary
material was obtained in Natchitoches, Louisiana. No
words of Haiish, supposed to be quite distinct from the
other Caddo dialects, could be gathered, but evidence was
obtained that it resembled Adai. In the course of his
Creek investigations Doctor Swanton visited and made
photographs of every busk ground of the Creeks and
Seminole still maintained, and information was gathered
regarding the organization of the ‘‘ big house ’’ in each,
as well as in those that have been abandoned. Doctor
Swanton devoted July and August, 1911, mainly to the
study of the Hitchiti and Natchez languages, and the
period subsequent to his return to Washington in May,
1912, was occupied in copying his field notes and in inci-
dental work on the Timucua language of ancient Florida,
as preserved in Father Pareja’s writings, with the view
of determining whether Timucua bears any relation to
the languages of the Muskhogean stock.

On his way from Oklahoma to Washington, Doctor
Swanton stopped at Bloomington, Indiana, for the purpose
of representing the bureau at the fifth annual meeting of
the Mississippi Valley Historical Association, before

ADMINISTRATIVE REPORT 19

which he read a paper on ‘‘ De Soto’s line of march, from
the point of view of an ethnologist.’’

Mrs. M. C. Stevenson, ethnologist, continued her field re-
searches of the Tewa tribes of New Mexico throughout the
fiscal year, devoting attention particularly to those of San
Ildefonso and Santa Clara, and incidentally to the Tewa
of Nambe and San Juan. The pueblo of Pojoaque is now
practically extinct as an Indian settlement, only about six
Tewa remaining in that village. Special attention was
devoted to the religious, political, and social organizations
of these people, which, owing to their extreme conserva-
tism, are difficult to determine. The Tewa are divided not
only into clans with patrilineal descent, but each tribe con-
sists of a Sun people and an Ice people, each with its
own kiva, or ceremonial chamber. At San Ildefonso the
kiva for the Sun people is known as Po‘tée, ‘‘ Squash
kiva,’’ and that of the Ice people is Kun‘iya"tée, ‘‘ Tur-
quoise kiva.’’ The element /ée signifies ‘‘ round,’’ hence
indicating that originally the Tewa kivas were circular. A
third kiva of San Ildefonso is called Téepoa"’te, meaning
‘Round gathering or sitting place,’’ and symbolizes a
lake. Although from its trim condition this kiva appears
to be modern, it is in reality very old, and within the
memory of the older men of San Ildefonso it was used
whenever the Sun and Ice people met together, because of
its large size. Large councils are still held in the Tée-
poa*’te, and it is used also as a dressing room for the
dancers participating in ceremonies. The kivas are also
the meeting places of the sacred fraternities. The Squash,
Summer Bear, and Fire organizations of San Ildefonso
hold their ceremonies in the kiva of the Sun people. The
Fire fraternity was adopted in the ancient past from a
people in the north who lived in skin tipis, wore clothing
of dressed deerskin, and spoke a strange tongue. This
fraternity finally became extinct, and wishing to reestab-
lish it, the San Ildefonso people sent four men to the Sun
people of Zuni (whose Fire fraternity, according to tradi-
tion, had a similar origin), who initiated them into their

20 BUREAU OF AMERICAN ETHNOLOGY

order, thus enabling them to revive the fraternity at San
Ildefonso. The Galaxy and Turquoise fraternities meet
in the Turquoise kiva. The members of the former or-
ganization have a fraternity chamber adjoining this kiva,
and at the great Buffalo festival its members fr equent the
chamber as well as the kiva.

Hach fraternity at San Ildefonso has a tablet aitar,
which is erected on the western side of the kiva, while
the participants in the ceremonies sit facing eastward.
These people have interesting animal fetishes and many
human images of stone representing their anthropic gods.
They appeal to their zooic deities to heal diseases inflicted
by sorcery, and all ceremonies connected with these sup-
plications are dramatic in character. Anthropic gods,
principally ancestral, are invoked for rain and the fruc-
tification of the earth. The present priest of the Sun
people is director of the Summer Bear fraternity, and
he is also the keeper of the calendar. He must observe
the daily rising and setting of the sun and must watch the
rising and setting of the moon. Elaborate solstice cere-
monies are performed. Those for the summer solstice are
held in the kiva of the Sun people. The Ice people join
the Sun people in the summer ceremonies, and the Sun
people join the Ice people in the ceremonies of winter.
In each kiva the two rain priests sit side by side, the
priest of the Ice people always at the right of the priest
of the Sun people, while officers associated with each
priest sit in line with him. The prayers of.the priest of
the Sun people are for the purpose of bringing rain, and
in order that they may be answered he must live an exem-
plary life. The same beliefs control the functions of the
priest of the Ice people, who, through the ceremonies
which he directs, is expected to induce cold rains and
snow that the earth may not become hot and destroy the
vegetation. All male children are initiated, either volun-
tarily or involuntarily, into the kiva of the Sun or of the
Ice people. When a husband and his wife belong to dif-
ferent sides, the kiva to which the child shall belong is

ADMINISTRATIVE REPORT 21

selected by mutual agreement, and a representative of that
kiva is chosen as his ceremonial father immediately after
the birth of the child. From birth to death the lives of the
Tewa are almost a continuous ceremony. The ceremonial
father ties native cotton yarn around the wrists and ankles
of the new-born child, that its life may be made complete.
The initiation ceremonies of the young men are very elabo-
rate, and many miles are traveled on foot to the summit
of a high mountain where the final ceremonies are per-
formed. Although the Tewa are professed Christians, they
adhere tenaciously to their native religion and rituals; and
while the church performs marriage and burial services, -
the Indians still cling to their native marriage feasts and
mortuary ceremonies.

The cosmogony of the Tewa is elaborate and compli-
cated and bears closer resemblance to that of the Taos
Indians than to that of the Zuni. The original sun and
moon are believed always to have existed, but the present
sun and moon were born of woman after the world and
all the people were destroyed by a great flood. The myth
associated with the creation of these deities and with their
exploits is of great interest.

The masks of the anthropic gods are never seen outside
of the kivas of San Ildefonso. There is a great variety
of these masks, many of them similar to those of the
Zuni. They are held in great secrecy.

Rattlesnakes, sacred to the fraternities, are captured
when young and are reared in rooms adjoining the kivas,
A fluffy eagle feather is attached to the head of the snake
when caught, and the snake is held captive with a string
sufficiently long to allow it considerable freedom until
it becomes accustomed to its new surroundings, when the
string is removed. Small openings in the chamber allow
the snakes to pass in and out. In one ceremony, which
takes place at daylight, the snakes are handled outdoors,
but on such occasions the pueblo is so patrolled that spying
by outsiders is impossible, although Mexicans live almost
in the heart of the village. The Santa Clara people like-

PD BUREAU OF AMERICAN ETHNOLOGY

wise make use of live snakes in certain ceremonies, and
they also have a large owl which they keep secreted as care-
fully as are the snakes.

The government of the Tewa differs somewhat from that
of the Zuni. While the governor of the Zuni has to do
with civic matters only, a Tewa governor has absolute
power over all matters concerning his tribe except those
controlled exclusively by the rain priests and the war
priests. Mrs. Stevenson’s studies of the natal rites of
the Tewa indicate that they are more like those of the
Sia than of the Zuni, while the religious ceremonies con-
nected therewith more closely resemble those observed by
the Taos people. The child is baptized in accordance
with aboriginal custom before the baptismal rite of the
church is performed. At the present time the infant is
usually carried in the arms instead of on the back of the
mother, but the small, flat cradle, with top, and headrest
with turquoise setting, is made as it was centuries ago.

The material culture of the Tewa is in many respects
similar to that of the Zuni. They were adept in the
textile art in the early days when cotton, milkweed, yucca,
and the hair of native animals were employed in weaving,
but this industry became lost after the introduction of
sheep by the Spaniards, for the Tewa, like the Taos people,
came to depend upon the Zuni and Hopi traders for
woven garments, and also for textile paraphernalia for
use in ceremonies. One or two Tewa have revived the
weaving industry to some extent—a San Ildefonso man
learned the process from Santo Domingo, and a man of
Santa Clara acquired it from the Navaho. The dainty
baby moecasins are now seldom seen, but the women still
wear moccasins with heavy leg wrappings during cere-
monies, while at other times a well-dressed sheepskin
boot tied below the knee is worn, for deerskin has be-
come rare. Native beads are now very seldom seen.
Mrs. Stevenson’s study of Tewa ceramics has convinced
her that those who decorate their pottery apply their de-
signs, especially the conventional patterns, with little un-

ADMINISTRATIVE REPORT 23

derstanding of their svmbolism, the significance of which
has become extinct. When questioned the potters always
have a ready answer, hence students are often deceived.
With the exception of the black ware of Santa Clara, the
pottery of the Tewa has greatly deteriorated.

Mrs. Stevenson has been enabled to record the names of
the sacred mountains of the Tewa people, as well as the
myths associated with them. In their general beliefs and
customs the Tewa are found to be intermediate between
the Taos and the Zuni.

Mr. J. N. B. Hewitt, ethnologist, was engaged through-
out the year in office work, continuing the editing and
copying of the legends, traditions, and myths of the
Seneca, collected by the late Jeremiah Curtin in 1884-85.
Of the original list of 120 items composing this manu-
seript collection, 85 have been edited and typewritten,
exclusive of two items which were translated from un-
edited texts.. While this work is now practically com-

plete, the apparent discrepancy in the number of edited
and tyepwritten items (about 35) is due to the fact
that the original list contained a number of texts of
little ethnological value, being merely narrations of local
and personal adventures of modern Indians with ghosts,
and the like, and tales about modern witchcraft. The two
items completely translated were difficult of rendering,
as they were partly illegible and had been left unedited.
Two or three texts of similar character remained to be
translated, and on these Mr. Hewitt was engaged at the
close of the fiscal year. The Seneca material collected by
Mr. Curtin and placed in condition for publication by
Mr. Hewitt now comprises 1,350 pages.

In addition Mr. Hewitt undertook the work of trans-
lating a numbr of unedited and uncorrected manuscripts
bearing on Seneca traditions and legendary lore recorded
by himself in 1896. Thirteen of these items were trans-
lated, aggregating 410 pages.

As in the past, Mr. Hewitt devoted considerable time
to collecting and preparing data for replies to corre-

24 BUREAU OF AMERICAN ETHNOLOGY

spondents on linguistic, historical, sociological, and tech-
nical subjects, and served also as custodian of manu-
scripts.

The beginning of the. fiscal year found Dr. Truman
Michelson, ethnologist, engaged in an investigation among
the Foxdndians near Tama, Iowa, with whom he remained
until the middle of August, when he proceeded to Okla-
homa, where he initiated researches among the Sauk
Indians of that State. Doctor Michelson was very suc-
cessful in recording the myths and tales of the Foxes,
which covered about 2,300 pages of texts. He obtained
likewise some notes on the ceremonial and social organiza-
tion of that tribe, but these are neither full nor complete,
as the Foxes are, without exception, the most conservative
of the Algonquian tribes within the United States. While
among the Sauk Doctor Michelson, with the aid of a native
interpreter, translated some of the Fox myths and tales
collected in Iowa, but his ehief work in Oklahoma con-
sisted in gaining an insight into the Sauk ceremonial and
social organization. He also translated, with the as-
sistance of a Sauk, the Kickapoo texts collected by the
late Dr. William Jones, subsequently correcting the ver-
sion with a Kickapoo informant. The dialectic differences
between Sauk, Fox, and Kickapoo are not great, and as
few of the Mexican. Kickapoo now speak any but broken
English, a Sauk was employed in making the first draft
of the translation.

‘Among the Shawnee of Oklahoma Doctor Michelson’s
work was primarily linguistic. The results confirmed his .
opinion, gathered from the late Doctor Gatschet’s notes
and texts, that the Shawnee language is most intimately
connected with Sauk, Fox, and Kickapoo, on the one hand,
and with the Abnaki dialects on the other. He also
gathered some Shawnee myths, partly in texts, partly on
the phonograph, and a beginning was made on the Shaw-
nee social organization. It was found that, apparently,
the larger divisions are not phratries, nor are their clans
exogamous, as already noted by Doctor Gatschet, despite

ADMINISTRATIVE REPORT 25

the ordinary view. The question of exogamy or endogamy
among the Shawnee is fixed merely by blood relationship.

Among the Mexican Kickapoo Doctor Michelson gath-
ered some additional texts, corrected the translations of
Doctor Jones’s Kickapoo texts, as above noted, made ob-
servations on Kickapoo clan organization, and gathered
also linguistic data which shed further light on the rela-
tions of the Sauk, Fox, and Kickapoo dialects.

Doctor Michelson returned to Washington about the
middle of December and commenced the elaboration of his
field notes. In January he visited the Carlisle Industrial
School, where he procured linguistic data on Ottawa, Tur-
tle Mountain Chippewa, Potawatomi, Abnaki, Menomi-
nee, Sauk, and Arapaho. The most important result ob-
tained is the fact that the so-called Turtle Mountain Chip-
pewa is really Cree—at least such is the language of the
pupils at Carlisle. Whether the entire band is Cree is
another question. Doctor Michelson’s opinion that Arap-
aho is the most divergent Algonquian dialect was con-
firmed and it was made more nearly certain that Menomi-
nee distinctly belongs with Cree, not with Chippewa. Doc-
tor Michelson returned from Carlisle in the following
month, when he was compelled to submit to an operation
for trachoma, which apparently had been contracted dur-
ing his field researches of the previous summer. On re-
suming his duties it was found advisable to incorporate
the linguistic notes obtained in the summer and fall of
1911 and the winter of 1911-12, so far as practicable, in
his memoir on the Linguistic Classification of the Algon-
quian Tribes, then in galley proof preparatory to pub-
lication in the Twenty-eighth Annual Report, The value
and completeness of this paper were thereby greatly en-
hanced. r he

While in the office Doctor Michelson was frequently
called on to furnish data for answering letters of inquiry,
and he also found opportunity to furnish notes of addenda
and corrigenda for a future edition of the Handbook of
American Indians.

26 BUREAU OF AMERICAN ETHNOLOGY

Mr. Francis La Flesche, ethnologist, was engaged during
the year in the further study of the tribal rites of the
Osage Indians in Oklahoma. These rites are regarded by
the Osage as mysterious, and being held in great awe by
the tribe are very difficult to obtain, even by their own
members. Instances are pointed out where, in the belief
of the Osage, persons in officiating at ceremonies made
mistakes in the form or in the recitation of the rituals and
in the singing of the songs, and have therefore become
insane, or blind, or have met with violent death. The mur-
der of Saucy Calf, a man of high standing in his tribe,
and the burning of his house last winter are attributed by
his people to the fact that he gave away certain rituals
and songs of the sacred tribal ceremonies. From Saucy
Calf Mr. La Flesche had obtained the entire first degree
of the No*ho"zhi"ga rites, and while the two were together
the old seer frequently expressed the fear that some harm
might come to him for parting with these religious secrets.
By reason of the superstitious awe in which these sacred
rites are held, Mr. La Flesche’s studies in this particular
have been necessarily slow, since it was essential for him
first to gain the full confidence of those versed therein.
Notwithstanding this difficulty, he has been fortunate
enough to procure the full ritual of the Hibernating of
the Black Bear, which pertains to the origin of the seven
and six war honors of the tribe, and is recited by the men
members of the No"ho*zhi"ga of the Black Bear clan at the
sacred-bundle ceremony when the warrior chosen recounts
his war honors and takes up the seven and six willow sap-
lings to count and the songs of this part of the ceremony
ure being sung by the officiating priest. A related ritual,
which tells of the rearing of a child to the completion of its
life, is recited when a widow is being initiated into the
No*ho"zhi*ga to take the place of her husband; but Mr.
La Flesche has not yet been able to record this, owing to
the dread inspired by the death of Saucy Calf. However,
after considerable difficulty he succeeded in obtaining six
rituals from Waxrizhi, whose father, who died about a

ADMINISTRATIVE REPORT 27

year before, is said to have been the last of the No"ho"zhi"ga
men thoroughly versed in the ancient rites.

Another ritual obtained is the Dream Ritual, with
literal and free translations. This is a narration of a
No*ho"zhi"ga’s dream, during a fast, of the sacred packs,
a number of which have been procured and transferred
to the National Museum.

Still another ritual, known as the Wigie. Pahogre,
“* First of the Rituals,’’ with literal and free translations,
was recorded. This tells of the coming of the Hoga of
the Seven Fireplaces, or clans, to the earth from the sky
by permission of the Sun, Moon, and Morning and Even-
ing stars, and with the aid of the Winged Hoga, or
“* Spotted Eagle ’’; of their finding the earth covered with
water when they descended; their having to rest on the
tops of seven red oak trees, until, by his magic power, the
Elk dispersed the waters and made dry land appear ; their
meeting with the crawfish, which brought from out of the
earth clays of different colors to be used by the people of
the Ho"ga clan for symbolic purposes in their No*ho"zhi"ga
rites. The No*ho"zhi"ga are said to be exceedingly care-
ful not to recite this ritual to anyone unless given large
fees.

The ritual of the Birth of the Sacred Bird, also recorded
and translated by Mr. La Flesche, relates to the adoption
of the hawk as a war symbol and is in form of a legend
telling of the birth of the bird, as of a human being, to
the sister of four brothers who attended the delivery of
the child. The story begins with the birth, gives the de-
tails of each stage of growth, and tells of the prediction
of the four brothers that their nephew was destined to
become a great warrior. The child becomes fretful and
wails ceaselessly until the skins of seven prey animals and
a bow with a bit of scalp attached are brought to it by its
uncles. For this reason no one can be initiated into the
order of the No*ho"zhi*ga unless he furnishes the skins
of these seven animals.

98 BUREAU OF AMERICAN ETHNOLOGY

The ritual of the Symbole Painting was likewise re-
corded. This relates to the symbolic painting of the man
who acts as the initiator in the initiation of a new mem-
ber of the No"ho*zhi"ga order. The paint is symbolic of
the dawn and the rising sun.

Another ritual, that of the apeoads to the House of
Initiation, is recited by the officiating priest while he, the
initiator, and the votary ceremonially approach the place
of meeting of the No*ho*zhi'ga for performing some of
the ceremonies. It relates to the Tsi’wako"dagi, or
‘* mysterious house,’’ of the Ho*ga clan.

The ritual of Feeding of the Fire relates to the cere-
monial building of the sacred fire at the place of gather-
ing of the No*ho"zhi"ga to perform one of the ceremonies.
It is an appeal to the supernatural for aid in obtaining
deer for the sustenance of life and also for help to over-

come the tribes whieh menace the lives, the peace, and
the happiness of the people. :

While these rituals are in themselves complete, each one
forms a part of the great No*ho"zhi'ga rite, which Mr.
La Flesche is endeavoring to record in its entirety.

Aside from the rituals and songs, Mr. La Flesche has
procured stories of the wako”"’dagi, or medicine men, and
of the strange animals from which they obtained super-
natural powers; he has also recorded love stories, stories
of those who had died and returned to life, war stories,
and myths. Some of these have been transcribed in final
form. In all, the text of these stories aggregates about
250 pages. Mr. La Flesche, however, has given com-
paratively little attention to legends and stories of this
kind, having devoted his energies chiefly to the secret
rites that at one time meant so much. to the Osage peo-
ple, and which are so rapidly disappearing.

By agreement with Mr. Karl Moon, noted for his work
in Indian photography, the bureau is to receive a series
of Osage photographs, taken with the aid of Mr. La
Flesche, who made the necessary arrangements with the
indians to pose for them. Mr. La Flesche received as a

ADMINISTRATIVE REPORT 29

gift from Wano"shezhi"ga the sacred bundle of the Eagle
clan, to which he belongs. This fine specimen has been
transferred to the National Museum, where it is placed
with the other Osage bundles that he has been so fortunate
as to obtain.

Dr. Paul Radin, ethnologist, was among the Winnebago
Indians of Wisconsin at the opening of the fiscal year,
having resumed his investigations of this people in the
preceding month. These were continued to completion,
and in October, 1911, Doctor Radin returned to Wash-
ington and continued the preparation of a monograph
on the ethnology of the Winnebago tribe, which was
brought to completion and submitted in the latter part of
March, 1912. The medium of publication of this memoir
has not yet been determined.

Dr. Franz Boas, honorary philologist, continued the lin-
guistic researches outlined in previous reports, the imme-
diate object of which is the completion of part 2 of the
Handbook of American Indian Languages, which is to
contain sketches of the native languages of Oregon and
Washington, with some additional material on the extreme
northwestern part of the continent. An account of the de-
velopment of the plan and object of this Handbook was
set forth in my last annual report.

The printing of the sketch of the Takelma grammar, by
Dr. Edward Sapir, for this Handbook, has been completed,
and the separates thereof have been issued. The work
of Dr. Leo J. Frachtenberg unfortunately suffered delay
owing to protracted illness. His revision of the Coos
grammar, however, has been almost completed, and it
is expected that the manuscript of the Siuslaw grammar
will be in the hands of Doctor Boas, as editor of the
Handbook, by August of this year. The necessary final
revision of the subject matter of both sketches was made
by Doctor Frachtenberg at Siletz, Oregon. |

Doctor Boas rewrote a grammar of the Chukchee lan-
guage, with comparative notes on the Koryak and Kam-
chadal, by Mr. Waldemar Bogoras, and added references

30 BUREAU OF AMERICAN ETHNOLOGY

to the published Russian and English series of Chukchee
texts, which had been published previously by Mr. Bo-
goras. In the course of the year this manuscript was also
typewritten and prepared for the printer. In the sum-
mer of 1912 Doctor Boas met Mr. Bogoras in Berlin and
discussed with him the revised form of the grammar. At
the close of the year the results of these discussions were
being incorporated in the grammar, and it is expected that
the manuscript will be ready for the printer early in the
autumn.

Doctor Boas has followed out the policy of printing
texts illustrating the grammatical sketches in a series
which according to the original plan were to have been
published as bulletins of the bureau, but this plan was
abandoned for administrative reasons. During the pres-
ent year the series of Tsimshian texts, illustrating the
Tsimshian dialect, was published as Volume III of the
Publications of the American Ethnological Society, and
the series of Maidu texts as Volume IV of the same
series. These illustrate languages contained in part 1
of the Handbook, so that now texts for all languages
therein treated are available to students.

The printing of the Coos texts, by Doctor Frachten-
berg, which are to appear as Volume I of the Columbia
University Contributions to Anthropology, has almost
been completed, and the printed matter has been utilized
to illustrate the sketch of the language.

The research in Indian musié by Miss Frances Dens-
more was characterized by the completion of her studies
among the Chippewa and the beginning of investiga-
tions along similar lines among the Sioux. Miss Dens-
more’s field work comprised one month with the Sioux
on the Sisseton Reservation in South Dakota, about two
months on Standing Rock Reservation in North Dakota,
and a few days on the White Earth Reservation in Min-
nesota for the final revision of some descriptions and
translations in her Chippewa manuscripts. The finished
results submitted during the year comprised material on

ADMINISTRATIVE REPORT 31

both Chippewa and Sioux music. Two papers on Chip-
pewa studies were presented, one entitled ‘‘ Further
Analyses of Chippewa Songs,’’ the other bearing the
title ‘‘ Deductions from the Analysis of Chippewa
Music.’’ In addition Miss Densmore finished about 100
pages that included additional reference to the bibliog-
raphy of the subject, a more complete explanation of
minor points, some linguistic analyses, and slight changes
in the analysis of individual songs to conform with pres-
ent methods—all this was complete for publication when
submitted. Her paper on ‘‘The Sun Dance of the Teton
Sioux,’’ including 33 songs, could be published in its pres-
ent form, but it is deemed desirable to add a structural
analysis of the songs similar to that accompanying the
Chippewa material.

Additional illustrations for the Chippewa studies have
been submitted during the year, also adequate illustrations
for the paper on the Sun dance of the Sioux. With few
exceptions these illustrations are photographs taken
especially for the work, many being pictures of old cere-
monial articles used in the Sun dance. Considerable at-
tention also has been given to the collecting of specimens
having an interest in connection with the work.

Mr. W. H. Holmes, head curator of the department of
anthropology of the United States National Museum, has
continued, as opportunity afforded, the preparation of the
Handbook of Archeology commenced by him while chief
of the bureau. The main body of the research work in
connection with this Handbook has been completed, but
much remains in the way of literary investigation and in
the preparation of illustrations. While no time can yet
be fixed for the completion of the work, Mr. Holmes hopes
to finish the manuscript and the illustrations for the first
volume before the summer of 1913.

Good progress has been made in transcribing the manu-
seript French-Miami dictionary, by an unknown author
but attributed to Pére Joseph Ignatius Le Boulanger, in
the John Carter Brown Library at Providence, Rhode

32 BUREAU OF AMERICAN ETHNOLOGY

Island. The copying has been made possible through the
courtesy of Mr. George Parker Winship, librarian, who
not only has placed this valuable manuscript at the dis-
posal of the bureau for this purpose, but has kindly per-
mitted his assistant, Miss Margaret Bingham Stillwell,
to prepare the transcript, and personally has supervised
the making of photostat copies of part of the manuscript,
especially that devoted to the text portion. During the
year Miss Stillwell finished and submitted the transcript
of 295 pages, representing pages 20 to 77 of the original.

Prof. Howard M. Ballou, of the College of Hawaii, has
continued the search for titles for the proposed List of
Works Relating to Hawaii, especially those of works pub-
lished locally in the native language, many of which are
very rare. In this work Professor Ballou has had the
generous assistance of the Rev. Mr. Westervelt.

There has long been need of a revision of the Catalouge
of Prehistoric Works East of the Rocky Mountains, pre-
pared by the late Dr. Cyrus Thomas and published as a
bulletin of the bureau in 1891, but which passed out of
print several years ago. Inthe fall of 1911 steps were taken
toward undertaking this revision, and the bureau was
fortunate at the outset in engaging the services of Mr.
D. I. Bushnell, jr., of University, Virginia, as compiler of
the work. Cireular letters were dispatched to county
clerks east of the Mississippi, who not only supplied direct
information respecting aboriginal sites, but furnished the
names of hundreds of collectors and others having per-
sonal knowledge of the subject, and to these special let-
ters were addressed. By this means so much information
of a local character was received in regard to the location
of mounds, village and camp sites, shell heaps, quarries
and workshops, pictographs, ete., in addition to that re-
corded in the Catalogue of Doctor Thomas, that the re-
vised work gives promise of being a fairly complete Hand-
book of Aboriginal Remains East of the Mississippi. -Be-
sides finishing the collation of this material and of other
data already in possession of the bureau, Mr. Bushnell

ADMINISTRATIVE REPORT 333}

has made good progress in extracting the information con-
tained in various publications devoted to American arche-
ology, notably those by Mr. Clarence B. Moore on the
mounds of the South. In this compilation the bureau has
had the generous cooperation of Mr. Arthur C. Parker,
State archeologist of New York, and of Mr. Warren K.
Moorehead, curator of the department of archeology of
Phillips Academy, Andover, Massachusetts, while others
have kindly offered their aid. No date for the publication
can yet be given.

PUBLICATIONS

The editorial work of the bureau has been conducted
under the immediate charge of Mr. J. G. Gurley, editor.
The proof reading of the Twenty-seventh Annual Report,
the accompanying paper of which is a monograph en-
titled ‘‘ The Omaha Tribe,’’ by Alice C. Fletcher and
Francis La Flesche, was completed and the report pub-
lished.

The manuscript of the Twenty-eighth Annual Report
was edited and transmitted to the Public Printer. At the
close of the year about one-third of this report was in
page form, and the remainder was in process of paging.
This report includes the following papers: Casa Grande,
Arizona, by Dr. J. Walter Fewkes; Antiquities of the
Upper Verde River and Walnut Creek Valley, Arizona,
also by Doctor Fewkes, and Preliminary Report on the
Linguistic Classification of Algonquian Tribes, by Dr.
Truman Michelson.

The series of bulletins was increased by the addition of
Bulletin 47, A Dictionary of the Biloxi and Ofo Lan-
guages, Accompanied by Thirty-one Biloxi Texts and Nu-
merous Biloxi Phrases, by James Owen Dorsey and John
R. Swanton.

Bulletin 49, List of Publications of the Bureau, was
issued in a third impression.

Bulletin 40, Handbook of American Indian Languages,
Part 2, was carried toward completion under the editor-

74936°—19—33 rErH——3

34 BUREAU OF AMERICAN ETHNOLOGY

ship of Dr. Franz Boas, as elsewhere stated, with the re-
sult that two sections, comprising 418 pages, dealing with
the Takelma and Coos languages, are in substantially
final form.

Toward the close of the year steps were taken to ad-
vance the work on Bulletin 46, Byington’s Choctaw Dic-
tionary, edited by Dr. John R. Swanton.

Considerable time was given to the editing and proof
reading of Bulletin 52, Early Man in South America,
by AleS Hrdli¢éka, in collaboration with W. H. Holmes,
Bailey Willis, Fred. Eugene Wright, and Clarence N.
Fenner. At the close of June the work was nearly
through press.

The last bulletin to receive attention was No. 53—
Chippewa Music—II, by Frances Densmore. Substan-
tial progress on the preparation of the author’s material
for the press had been made at the close of the fiscal year.

The demand for the publications of the bureau econ-
tinues to increase, and their distribution, numbering
15,003 copies during the year, necessitated extended cor-
respondence. The distribution of the bureau publications
has been under the immediate care of Miss Helen Munroe
and Mr. E. L. Springer, of the Smithsonian Institution.

A coneurrent resolution authorizing the reprinting of
the Handbook of American Indians was introduced in the
Senate and passed on May 11, 1912, and subsequently was
favorably reported by the Committee on Printing of the
House of Representatives, but it had not been passed at
the close of the fiscal year.

ILLUSTRATIONS

The preparation of the illustrations for the publications
of the bureau and the photographing of the members of
visiting delegations of Indians were conducted under the
charge of Mr. De Lancey Gill, illustrator. In connection
with this work 90 photographic negatives of Indians and
123 of ethnologic subjects were prepared; 196 films ex-
posed by members of the bureau in the field were devel-

ADMINISTRATIVE REPORT 35

oped; 1,322 prints were made for publication and for ex-
change or distribution; and 110 pen and brush drawings
were prepared. At the request of Mr. Wilberforce Eames,
of the New York Public Library, a collection of 118 pho-
tographs of representative Indians, covering 55 tribes,
was furnished by the bureau as a part of a loan exhibition
opened at that library in May and was still on view at the
close of the fiscal year.

Mr. Gill had the usual assistance of Henry Walther
until February 16, 1912, when his services in behalf of the
bureau for many years came to a close with his death.
Mr. Walther has been succeeded by Walter A. Stenhouse.

LIBRARY

Under the supervision of Miss Ella Leary the work of
the library has made satisfactory progress. During the
year 720 volumes (103 by purchase) and 300 pamphlets
were received; in addition 620 periodical publications, of
which 606 were acquired by exchange and the remainder
by subscription, were accessioned. The recataloguing of
certain serial publications in the hbrary has been con-
tinued and attention given to the preparation of a subject
eatalogue of the large collection of pamphlets, many of
which had been stored and therefore were inaccessible for
three or four years. Successful effort has been made to
complete the sets of certain publications of scientific so-
cieties and other learned institutions. For the use of the
members of the staff the librarian has prepared and posted
copies of a monthly bulletin of the library’s principal
accessions ; and in order that the large number of scientific
serials received might also be made readily accessible the
current issues have been displayed on a table provided for
that purpose.

Notwithstanding the increasing value of the bureau’s
library, it was found necessary, from time to time, to
make requisition on the Library of Congress for the loan
of books, the volumes thus received for temporary use
numbering about 250. The volumes bound during the

36 BUREAU OF AMERICAN ETHNOLOGY

year numbered 492. At the close of the year the library
contained approximately 17,970 volumes, about 12,500 pam-
phlets, and several thousand periodicals. Although main-
tained primarily as a reference library for the bureau’s
staff, it is constantly consulted by students not connected
with the Smithsonian Institution and by officials of the
executive departments and the Library of Congress.

COLLECTIONS

The following collections were made by members of the
staff of the bureau during their field researches:

By Mr. F. W. Hodge: Twenty-two paper squeezes of
early and recent Spanish inscriptions on E] Morro, or
Inscription Rock, in New Mexico. Objects of stone,
bone, clay, etce., from the cemetery of the ancient ruined
pueblo of Kwasteyukwa on the mesa above the Jemez Hot
Springs, New Mexico. Ten barrels of pottery and human
skeletal remains from the same locality. These collec-
tions were made under a joint expedition conducted by
the bureau and the School of American Archeology.

By Dr. John R. Swanton: Two ball sticks, one ball, one
breecheloth and belt, one tiger tail, from the Creek In-
dians at Coweta, Oklahoma.

By Mr. James Mooney: Four dance masks, two pairs
of ball sticks, two toy baskets, two wooden spoons, one
ox muzzle, one stone ax, one small celt, three arrow-
heads, from the Cherokee Indians of North Carolina.

By Mr. Francis La Flesche: Two sacred packs of the
Osage Indians.

PROPERTY

The most valuable part of the property of the bureau
consists of its library, manuscripts (chiefly linguistic),
and photographic negatives. The bureau possesses also
cameras, phonographic machines, and other ordinary ap-
paratus and equipment for field work; stationery and office
supplies; necessary office furniture; typewriters, ete., and
the undistributed stock of its publications. The amount

ADMINISTRATIVE REPORT 37

of $342.27 was expended for office furniture during the
year, while the cost of necessary books and periodicals
was $396.42.

As in the past, the manuscripts have been under the
custodianship of Mr. J. N. B. Hewitt. Those withdrawn
by collaborators of the bureau during the year numbered
234 items. The new manuscripts acquired are those
hitherto mentioned in this report as having been prepared
by members of the staff or by collaborators and designed
for eventual publication. Negotiations have been entered
into with the heirs of the late Senor Andomaro Molina, of
Merida, Yucatan, for the return of Henderson’s Maya
Dictionary, a manuscript of six volumes lent to Sefor
Molina a number of years ago for use in connection with
certain linguistic studies then contemplated in behalf of
the bureau.

RECOMMENDATIONS

I desire to repeat the recommendations submitted in
my last annual report, respecting the extension of the
researches of the bureau and for other purposes, and urg-
ing the appropriation of the necessary funds for con-
ducting them. These include the following projects:

The exploration and preservation of antiquities in the
arid region.

‘The extension of ethnologic researches in Alaska and
among the tribes of the Mississippi Valley.

The preparation of a completely revised edition of the
Handbook of American Indians.

Additional editorial assistance in preparing the publi-
cations of the bureau for the press.

A small sum to meet the expense of supplying photo-
graphs of Indian subjects to schools and colleges, and for
other educational purposes, and for systematically mak-
ing photographs in the field to illustrate the daily life and
the ceremonies of the Indians.

In addition it is recommended that the systematic ex-
eavation and study of certain archeological sites in the

38 BUREAU OF AMERICAN ETHNOLOGY

South and West be conducted in order that archeological
research may go hand in hand with the ethnological studies
now being pursued in the same fields.

The reasons for extending the work of the bureau in the
directions indicated are set forth more fully in the esti-
mates of appropriations for the year 1914, in connection
with which the sums regarded as necessary to the work
are given.

F. W. Hopes,
Ethnologist-in-charge.

Dr. CHartes D. WaALcorT,

Secretary of the Smithsonian Institution.

NOTE ON THE ACCOMPANYING PAPERS

With the exception of the article by Dr. J. Walter Fewkes, “ De-
signs on Prehistoric Hopi Pottery,” no mention has been made in
previous administrative reports of the papers here published which
are in line with existing plans of the bureau.

The paper by Dr. Melvin Randolph Gilmore on “ Uses of Plants
by the Indians of the Missouri River Region” belongs to the same
series as “ Ethnobotany of the Zuni Indians” (Thirtieth Report of the
Bureau of American Ethnology), and “ Ethnobotany of the Tewa
Indians” (Bulletin 55). Intensive studies of the nature of food and
medicinal plants of our Indians have come to be recognized as of
practical and economic value. The American Indian has contributed
many plants to the dietary of European nations, and there is every
reason to believe that there are many more that could be adopted from
him were their value as a food resource known; and although the
customs of the natives of America are rapidly changing it is not too
late to rescue from them a knowledge of the uses to which plants have
been put by our aborigines. Doctor Gilmore’s paper is based upon
original observations. In the opening chapter of his article he points
out the value of ethnobotanic study and shows some of the influences
of the flora on the human activities in the region considered.

There is no more fascinating study in ethnology than that of the
prehistory of the aborigines of this continent. The possibility of
rescuing from the night of time unwritten chapters of Indian history
by a study of Indian remains has attracted the attention of the staff
of the bureau since its foundation, and to a long line of publications
is now added an important contribution entitled a “ Preliminary
Account of the Antiquities of the Region between the Mancos and
La Plata Rivers in Southwestern Colorado,” by Mr. Earl H. Morris.

In this preliminary report Mr. Morris considers many house re-
mains, stone structures of a cruder masonry than those of the adja-
cent Mesa Verde National Park, and lays the foundation of what may
later be recognized as evidences of a new type indicating a pre-
puebloan culture. He points out that the region studied belongs
culturally within the horizon of the Mesa Verde area, finding many
of the remains almost identical in character in the two areas.

Two kinds of remains were left by prehistoric people from which
may be drawn an imperfect picture of the manners and customs of
an unlettered people living at an epoch before their written history
began. These remains may be called major and minor antiquities,

and the most important of the former are buildings, those of the latter
39

40 BUREAU OF AMERICAN ETHNOLOGY

pottery. As a preliminary to a correct interpretation of the chrono-
logical development of man in the area before we had documentary
history to guide us it is important to classify these buildings and pot-
tery and arrange them in such groups as would enable us to determine
their chronological sequence. These different groups are either dis-
tinct geographical regions called culture areas, or are sometimes
superimposed one on the other by stratification in the same area. In
coordinating the classification and arrangement of groups geographi-
cally or stratigraphically the archeologist follows the same methods
as the paleontologist. Geographical ceramic areas or distribution of
pottery are determined by the form, technique, colors, and symbolic
or other decorative elements of pottery. Chronological ceramic
strata are determined by superimposition. Of the several character-
istics of pottery, technique, color, and symbolic decoration, the last
mentioned is the most highly specialized, and in its highest develop-
ment most localized and distinct. Pottery of the same form, color,
and technique is, on the other hand, most widely distributed. <Al-
though a determination of ceramic areas from the data afforded by
symbolic decorations is a tedious work, these symbols open the door
to an understanding of the inner life of a long-forgotten people. A
small fragment of a bowl may, through picture writing, become a
means by which the thoughts of a people are transmitted, even as in
the case of inscriptions on ostraca.

The article entitled “ Designs on Prehistoric Hopi Pottery,” by Dr.
J. Walter Fewkes, is an attempt to define from ceramic symbolism
and in a certain manner the culture of the prehistoric Hopi in north-
eastern Arizona who reached the highest phase of development in
aboriginal ceramic art.

The first fruits of the effort to make more widely known the ethnol-
ogy, native songs, and rich poetry of the Hawaiian Islanders, for
which appropriations have been made by Congress, was a valuable
article published as Bulletin 38 under the title “ Unwritten Literature
of Hawaii: The Sacred Songs of the Hula,” by Dr. Nathaniel B.
Emerson. This is now followed by a second of the series, entitled
“The Hawaiian Romance of Laieikawai,” by Miss Martha Warren
Beckwith. This work, undertaken as the author says in her preface,
“out of love for the land of Hawaii and for the Hawaiian people,”
is not only a monument to her enthusiasm, but also indicative of the
literary attainments of Haleole, a highly gifted Polynesian, eager
to create a genuine national literature. Aside from its great ethno-
logical value the plot of this fascinating story will appeal to lovers
of fiction.

JessE Waiter FEwKES,
Chief.
Avcust, 1918.

ACCOMPANYING PAPERS

41

USES OF PLANTS BY THE INDIANS OF
THE MISSOURI RIVER REGION

BY

MELVIN RANDOLPH GILMORE

43

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PREFACE

The results contained in the following paper are born of the desire
to ascertain so far as possible the relation of the native people of the
plains to one phase of their indigenous physical environment—its
plant life—and their ingenuity in supplying their necessities and
pleasures therefrom. It must be borne in mind that the sources of
supply available to any of the tribes of the American race were
greatly restricted as compared with the field from which our Eu-
ropean race draws its supplies. Many of the plants of this continent
utilized by its native people, however, might well be useful acquisi-
tions for our people if made known to us.

Another potent reason for gathering such information while it
may still be obtained, before the death of all the old people who
alone possess it, is that it is only in the light of knowledge of physical
environments that folklore, ritual, ceremony, custom, song, story, and
philosophy can be interpreted intelligently. The intellectual and
spiritual life of a people is reflected from their material life. The
more fully and clearly the physical environment of a people is known
the more accurately can all their cultural expressions be interpreted.
The old people themselves appreciate this and have expressed them-
selves as glad to give me all the information they could in the matters
of my inquiry, in order that, as they said, future generations of their
own people as well as the white people may know and understand
their manner of life. To this end my informants in the several tribes
have taken pains and have shown great patience in instructing me in
their lore.

The information here collated has been obtained at first hand from
intelligent and credible old persons, thoroughly conversant with the
matters which they discussed. The various items have been rigor-
ously checked by independent corroborative evidence from other indi-
viduals of the same tribe and of different tribes through a protracted
period. The work of the interpreters employed has also been verified
by comparison and by my own study of the languages of the various
tribes interviewed. :

The information was obtained by bringing actual specimens of
each plant to the observation and identification of many inform-
ants, and the names, uses, and preparation in each case were noted
on the spot at the dictation of the informant.

45

46 : PREFACE

I have met uniform courtesy, kindness, and hospitality at the
hands of Indians of the several tribes in the pursuit of my in-
quiries, and my sincere thanks are due to very many men and
women of the tribes, their great number preventing acknowledg-
ment to them here by name. Special mention for conspicuous
service rendered the author should be made of Dr. Susan La Flesche
Picotte and her sister, Mrs. Walter T. Diddock, of Walthill, Nebr.,
daughters of Chief Iron Eye, otherwise Joseph La Flesche, of the
Omaha tribe. Of the same tribe should be mentioned Wajapa,
White Horse, George Miller, Daniel Webster, Amos Walker, and
Richard Robinson.

Penishka, of the Ponca tribe, enrolled on the Government rolls
as Jack Penishka, Niobrara, Nebr., has given much useful infor-
mation of his tribe.

Of the Teton Dakota, mention should be made of Fast Horse and
his wife, Joseph Horncloud, Otto Chiefeagle, and the well-known
Short Bull.

Of the Pawnee, special thanks are due Mr. James R. Murie, Mr.
Alfred Murie and his wife, Chief White Eagle, Mr. David Gil-
lingham, Mrs. Rhoda Knife-Chief and Mr. Charles Knife-Chief.

My thanks are due also to Dr. Charles E. Bessey, of the University
of Nebraska, for suggestions and encouragement in carrying on the
work and to him and Mr. James Mooney for reading the manu-
script.

I wish to acknowledge also my obligation to Mr. W. E. Safford
for his painstaking aid in arranging and verifying the botanical
nomenclature.

CONTENTS

Page
in trod chil 6 n= ee et ey Se a ee 53
INeSlected: \OpPOnEtInIE CS se -5 2-08 en eee es a ee er on ee 54
Ohne botany ae ae ee He i a ee ee 55
Influence of flora on human activities and cuiture______________________ 56
Infinencerot humans population onions == a sa ee ee 58
Taxonomic list of plants used by Indians of the Missouri River region___ 61
Ancient and modern phytoculture by the tribes________-________________ 136
CONCIIS1 Or eee ee eee ee a ee eee 1387
Glossary of plant names mentioned in this monograph_______--___-_____ 139
IB (DOR Ta rye ee oe ees 2 See ee ee 153

A ow
y
| . : ‘
Le
’
A
1 s
:
‘
‘
1 / my
ver ee pilerewae = 7
: - ' i a we)
’ ie ver
‘the : Uy
iv Liven
i jhihe! Sytiwinie
iy ai 1
a ‘ 4 et lei >
FOE ep Di JS Ae eo Athi
1 = : UMM albe ve i (ep syed, 90
vvibiot vata 0 aan ea
. ; 4 4 he Ae a 2 a fa
: AMEE tl iit ya dis i Te HH
5 Mt Awtt ior
{ Ae ae ‘Pini t
ant Fen

Puate 1.

14,

15.

a.

ILLUSTRATIONS,

. Pulsatilla patens (Pasque flower). 6. Typha latifolia........-
. Sagittaria latifolia. b. A sluggish stream growing full of arrow-

[erie (Saainicnrey EVI lb)- DR aes sega Geeta aR eee cso la SEEmeneee

. A mass of Stipa spartea bent under the wind. In the background

can be seen a number of plants of Echinacea angustifolia in
bloom. 6. Bunch of Stipa spartea; bunch of long-awned seeds
of Stipa spartea; a hairbrush made from awns of Stipa spartea.

. Zizania aquatica (wild rice). Herbarium specimen of straw, a

few grains not hulled, and a handful of hulled grains as pre-
pared for food. 6. Zizania aquatica, habit................--

. Arisaema triphyllum. 6. Habit picture of Arisaema triphyllum.

Panaxotritoliumimay also be S@CD) sss <5 ope ce lean ni

. Tradescantia virginica (spiderwort). 6. A circle of Cottonwood

leaf toy tipis as made by Indian children of Plains tribes. . .--.

. Erythronium mesochoreum, entire plant, bulbs, and flowers.

b. Erythronium mesochoreum, habit of growth on the errs

. Yucca glaucain bloom. 6. Yucca glauca in fruit.. SAE
. A bundle of yucca leaves bound up to demonstrate + use as drill

in fire making. 6. A piece of yucca stem prepared to demon-
strate use as hearth piece in fire making. c. A dry yucca plant.

MpIIPISKVCISI COLOR rsn ee era see eam nisee senile Bae heen Sere
as
2 th

Tubers and fruit of Nelumbo lutea. 6. Nelumbo lutea, habit-. -
Thalictrum dioicum (early meadow rue). 6. Aquilegia cana-
CONSIS. sai cing eo owieiressjovec eras Sisis se liemisiownlens mses see =mssleays sis

. Sanguinaria canadensis, detail. 6. Sanguinaria canadensis,

habit BP ei oe ee ears oie ateis Data a Sie SislasSdip le cctools Se erereimtereeias

. Wild strawberry native to wild meadows of Nebraska. b. Woman

of the Teton Dakota pounding chokecherries (Padus melano-
Carpe) told ry or, will teriSUp ply (oc el ates =tn eee lester letie i=
Foliage and fruit of Prunus besseyi (sand cherry). 6. Branch of
Prunus besseyi showing prolificness of this fruit. .....-...----

Herbarium specimen of Psoralea esculenta (tipsin)........-....---
16. A string of roots of Psoralea esculenta (tipsin) peeled and dried

tospreservelforiwinler supply s <:e.amm lets scene = eens syne la ais =

17. a. Vine of Glycine apios (Apios tuberosa). 6. Tubers of glycine

apios;(Atpiositilberosa) 2 cn..ccw <- sacec seine ovine eeeinaesee seems

18. a. Specimen of Falcata comosa showing leafy branches with pods

and small beans produced thereon from the petaliferous flowers.
b. Leafless branches which grow prostrate on ground surface
and four large beans produced underground from the cleisto-
gamous flowers of these leafless branches.............--------

19. a. Clusters of fruits of Rhus glabra. 6. Cordage made from inner

bark of Tilia americana (basswood); a bundle of raw fiber and
a piece of cord made by hand from the fiber ........-...-----

74936°—19—33 erH——4 49

66

66

94

50

PLATE 20.

21.
22.
23.
24,
25.

26.

27.

ILLUSTRATIONS

a. A cactus native to Nebraska. 6. Gathering buffalo berries (Lep-
AIL yLAes ALPeN Led) Same eerie aes eae eee ialore
Heracleumlanatimpeese testes) cea ae eeee ne eee eat
Cornus}amomumpnibloomt. 5.2.0.5. seer ee eee eee eee ene
a. Asclepias syriaca, flowers. b. Habit of Asclepias syriaca........
Asclepiasisymiacasinuitee 5. <7j22 20ers eee ee Ree eee eee ete
Ipomoea leptophylla (bush morning-glory). An entire plant, show-
ing the large root, about 4 feet long-----.--------- = 2-22 see
a. Ipomoea leptophylla (bush morning-glory), a perennial flowering
plant native in the sand hills of Nebraska, showing habit.

b. Ipomoea leptophylla (bush morning-glory).....-..-.-.----

a. Pepo foetidissima (wild gourd) in bloom. 6. Strikes Two, an
aged man of the Arikara tribe, gathering his tobacco.......-.

. Varieties of squashes and pumpkins cultivated by tribes of Indians

of Nebraska from immemorial time...........-....--------------

. a. Staminate and pistillate flowers of watermelons grown from

seed obtained from Penishka, an old man of the Ponca tribe.
bs Uniton vane’ Of ADOVCL. sameeren tec ae sete setae

29A. Watermelon grown from seed obtained from Penishka, an old man

30.

of the Pon Cariribe cn cost oscar ee ee EEE
a. Echinacea angustifolia interspersed with Stipa spartea. b. Tops
and tubers of Helianthus tuberosus.....-.......-------- weeps

30/A\.. Whacinaria SCATIOSUS'=22 55.25 se = tenement cs <'=:< = = = eee

Page

104
108
108
108
108

110

110

114

116

PHONETIC GUIDE

1. All vowels are to be given their continental values.

2. Superior n (") gives a nasal modification to the preceding vowel.

3. A consonant sound approximating the German ch is shown
by hi.

4. A lengthened vowel is shown by doubling, e. g. buude, pakskiisu,
ete.

5. Unless indicated as a diphthong, vowels do not unite in sound,
but each vowel forms a syllable.

51

Pa »~ i a a 8 ee is <. ras
‘ta 7
i ae
*
° i
T

AS Z ny itis TTR MOH SS ‘ - ~ ae

_ ; an : -

7 f eatin? { Moe cia odd avis OH a) siu loaf A Lk ra
Jawa ig ruthie eV ICT t aiff of powa: of hare iF AzRT ap Re (ie ale); wwrIIque . ‘g i
ayworle er Ay namie) orld diamaizonegga Pan 2 Sivas ba Ak

er

7 « ch t t wl

MESTABAIY , i Fared 2 9 santild; rob ¥ d revo el fares Home it bd

r

Saves oi stian joa ob klowor arbi tial fib ‘a. en a Stbai oiled :
: aldaliveg eitriot lowoy dose ud a

oto

- - — -

USES OF PLANTS BY THE INDIANS OF THE MISSOURI
RIVER REGION

By Menvin Ranpnoren Gi~mMore

INTRODUCTION

During the period which has elapsed since the European occupancy
of the continent of North America there has never been a thorough-
going, comprehensive survey of the flora with respect to the knowl-
edge of it and its uses possessed by the aboriginal population. Until
recent years little study had been made of the ethnobotany of any of
the tribes or of any phytogeographic region. Individual studies
have been made, but the subject has not claimed a proportionate
share of interest with other phases of botanical study. The people
of the European race in coming into the New World have not really
sought to make friends of the native population, or to make adequate
use of the plants or the animals indigenous to this continent, but
rather to exterminate everything found here and to supplant it with
the plants and animals to which they were accustomed at home. It
is quite natural that aliens should have a longing for the familiar
things of home, but the surest road to contentment would be by way
of gaining friendly acquaintance with the new environment. What-
ever of good we may find in the new land need not exclude the good
things we may bring from the old, but rather augment the sum total
contributing to our welfare. Agriculture and horticulture should
constantly improve the useful plants we already have, while discovery
of others should be sought.

We shall make the best and most economical use of all our land
when our population shall have become adjusted in habit to the nat-
ural conditions. The country can not be wholly made over and ad-
justed to a people of foreign habits and tastes. There are large tracts
of land in America whose bounty is wasted because the plants which
can be grown on them are not acceptable to our people. This is not
because these plants are not in themselves useful and desirable, but
because their valuable qualities are unknown. So long as the peo-

53

54 USES OF PLANTS BY INDIANS [BTH, ANN. 33

ple of the country do not demand articles of food other than those
to which our European ancestors were accustomed those articles will
be subject to demand in excess of production, with consequent en-
hancement of cost, while at the same time we have large land areas
practically unproductive because the plants they are best fitted to
produce are not utilized. The adjustment of American consumption
to American conditions of production will bring about greater im-
provement in conditions of life than any other material agency.
The people of any country must finally subsist on those articles of
food which their own soil is best fitted to produce. New articles of
diet must come into use, and all the resources of our own country
must be adequately developed.

Dr. J. W. Harshberger has well stated the practical uses and the
correlations of ethnobotanic study:

Phytogeography, or plant geography in its widest sense, is concerned not
only with the distribution of wild plants, but also with the laws governing the
distribution of cultivated plants. In order to determine the origin of the lat-
ter—that is, the original center from which the cultivation of such plants has
spread—it is necessary to examine the historic, archeologic, philologic, eth-
nologic, and botanic evidence of the past use of such plants by the aboriginal
tribes of America. This investigation affords interesting data which can be
applied practically in enlarging the list of plants adaptable to the uses of civi-
lized man. ... Ethnobotany is useful as suggesting new lines of modern
manufacture, for example, new methods of weaving goods, as illustrated by
the practical application of the careful studies of pueblo fabrics by Frank H.
Cushing. It is of importance, therefore, to seek out these primitive races and
ascertain the plants which they have found available in their economic life,
in order that perchance the valuable properties they have utilized in their
wild life may fill some vacant niche in our own, may prove of value in time
of need or when the population of America becomes so dense as to require
the utilization of all of our natural resources.”

NEGLECTED OPPORTUNITIES

That we have had in the past exceptional opportunities for ob-
taining aboriginal plant lore, which we have failed to recognize,
disdained to accept, or neglected to improve, is well shown by an
incident narrated in his journal by the great botanical explorer,
Bradbury, in the beginning of the nineteenth century. How much
information might then have been obtained which is no longer avail-
able! In 1809 Bradbury accompanied a trading expedition up the
Missouri River as far as the villages of the Arikara.

I proceeded along the bluffs [in the vicinity of the Omaha village which was
at that time near the place where Homer, Dakota County, Nebr., now is] and
was very successful in my researches, but had not been long employed when
T saw an old Indian galloping toward me. He came up and shook hands with

1 Harshberger, Phytogeographic Influences in the Arts and Industries of American
Aborigines, p. 26.

GILMoRE] ETHNIC BOTANY 55

me and, pointing to the plants I had collected, said, “Bon pour manger?”
to which I replied, ‘ Ne pas bon.” He then said, ‘Bon pour medicine?” TI re-
plied, “ Oui.” He again shook hands and rode away. ... On my return
through the village I was stopped by a group of squaws, who invited me very
kindly into their lodges, calling me Wakendaga’* (physician). I declined ac-
cepting their invitation, showing them that the sun was near setting, and that
it would be night before I could reach the boats. They then invited me to stay
all night; this also I declined, but suffered them to examine my plants, for all
of which I found they had names.”

ETHNIC BOTANY

In savage and barbarous life the occupation of first importance
is the quest of food. In the earliest times people had to possess a
practical working knowledge of plants with regard to their utiliza-
tion for food; those which were edible, those by which shift could
be made at need to avert famine, and those which on account of
deleterious properties must be avoided at all times, came to be known
by experience of all the people in their range.

In the process of experiment some plants would be found which,
though not proving useful for food, would disclose properties which
could be used as correctives of unhealthy conditions of the body;
some would be found to allay fevers, some to stimulate certain func-
tions, others having the effect to stop hemorrhage, and so on.

Certain persons in every tribe or social group, from taste and
habit, would come to possess a fund of such knowledge, and to these
all simpler folk, or those more occupied with other things, would
resort. These wise ones then would know how to add the weight
and dignity of ceremony and circumstance so that the laity should
not fail to award due appreciation to the possessors of such knowl-
edge; thus arose the rituals connected with the uses and the teach-
ing of the same. Persons who desired to acquire such knowledge
applied to those who possessed it, and if of approved character and
prudence they, upon presentation of the customary fees or gifts,
were duly instructed. These primitive professors of botany would
then conduct their disciples on private excursions to the haunts of
the plants and there impart to them the knowledge of the charac-
teristics and habits, ecologic relations, and geographic distribution
of the plants, together with their uses, methods, and time of gather-
ing, preserving, and preparing for medicinal use, and the proper
way to apply them.

1 Bradbury must have been mistaken as to the meaning of the people or have misun-
derstood the term used, because the Omaha word for “ physician” is wazathe. The
word waka"dagi means ‘‘something supernatural.” This may be the word Bradbury
heard and has given as wakendaga, or he may have misunderstood some other word.
No such word as wakendaga has been found by me in the Omaha language.

* Bradbury, Travels in the Interior of America, p. 75.

56 USES OF PLANTS BY INDIANS [ETH. ANN. 33

Besides this body of special plant lore there was also a great deal
of knowledge of plants in general and their common uses, their
range, habits, and habitat, diffused among the common people.
There was also a body of folk sayings and myths alluding to plants
commonly known.

INFLUENCE OF FLORA ON HUMAN ACTIVITIES AND
CULTURE

The dominant character of the vegetation of a region is always an
important factor in shaping the culture of that region, not only
directly by the raw materials which it supplies or withholds, but
indirectly also through the floral influence on the fauna. The chase
of the buffalo with all that it entailed in habits of domestic life, in-
strumentalities and forms of government, industrial activities, and
religious rites, was directly related to the prairie and plains forma-
tions of vegetation. The food staples, the style of housebuilding,
and forms of industry were quite different in the prairie region from
what they were in the eastern woodland regions, and in the desert
region of the Southwest they were different from either of the first
two regions.

The Dakota came into the prairie region from the east in the lake
region, impelled by the onset of the Chippewa, who had the ad-
vantage of firearms acquired from the French. In the lake region
they had as the most important article of vegetal food the grain of
Zizania aquatica, As they migrated westward the quantity of
Zizania diminished and the lack had to be supplied by substitution
of something which the prairie might afford. One of the food plants
of greatest importance they found on the prairie is Psoralea escu-
lenta. The Dakota name of the wild rice, Zizania aquatica, is psi
and of Psoralea esculenta is tipsina. From the etymology of these
two names Dr. J. R. Walker, of Pine Ridge, has suggested that the
second is derived from the first, indicating the thought of its useful-
ness as a food in place of what had been the plant of greatest im-
portance in the food supply of the region formerly inhabited by this
people. Doctor Walker offers this suggestion only as a possible ex-
planation of the derivation of tépsi™na. Tinta is the Dakota word
for “ prairie”; na@ is a suffix diminutive. It is suggested, then, that
in tipsi"na we have a compound from ¢i*ta-psi"-na. This seems a
plausible explanation. It need not imply that Psoralea was thought
to be like Zzania, but only that it was a little plant of the prairie,
tita, which served a use like to that of Zizania, psi". This is probably
a case in point, but whether so or not, instances could be cited of the
influence of vegetation on language, as in case of some names of

GILMorE] INFLUENCE OF FLORA 57

months, Wazchushtecha-sha-wi, Red Strawberry moon—i. e., the
moon (lunar month) when strawberries are red ripe, the name of
the month of June in the Dakota calendar.

The prevalence of certain plants often gave origin to place names.
As examples of such names may be cited the Omaha name of Logan
Creek, tributary of the Elkhorn River, 7aspa"-hi-bate-ke (meaning
river where clumps of Crataegus are). Another instance is the Omaha
name of Loup River, which is Vu-ta"-ke (river where nw abounds).
Nu is the Omaha name of Glycine apios. The Omaha name of Little
Blue River is M/aa-ozhi-ke (river full of cottonwoods, maa).

The character of the flora of a region has its effect on the style
of architecture. The tribes of the eastern woodlands had abundance
of timber for building, so their houses were log structures or frames
covered with bark. In Nebraska, where the forest growth was very
limited, the dwelling was the earth lodge, a frame of timbers
thatched with prairie grass and covered with earth.

A people living with nature, and largely dependent upon nature,
will note with care every natural aspect in their environment. <Ac-
customed to observe through the days and the seasons, in times of
stress and of repose, every natural feature, they will watch for every
sign of the impending mood of nature, every intimation of her favor
and every monition of her austerity. Living thus in daily asso-
ciation with the natural features of a region some of the more not-
able will assume a sort of personality in the popular mind, and so
come to have place in philosophic thought and religious ritual.

Throughout the range of the Plains tribes they saw everywhere
the cottonwood, the willow, and the cedar. These trees by their ap-
pearance impressed the imagination of the primitive mind. The
cedar, appearing to be withdrawn into lonely places, and standing
dark and still, like an Indian with his robe drawn over his head
in prayer and meditation, seemed to be in communion with the
Higher Powers. The willow was always found along the water-
courses, as though it had some duty or function in the world in
connection with this element so imperatively and constantly needful
to man and to all other living forms. The cottonwood they found
in such diverse situations, appearing always so self-reliant, showing
such prodigious fecundity, its lustrous young leaves in springtime
by their sheen and by their restlessness reflecting the splendor of the
sun like the dancing ripples of a lake, that to this tree also they
ascribed mystery. This peculiarity of the foliage of the cottonwood
is quite remarkable, so that it is said the air is never so still that
there is not motion of cottonwood leaves. Even in still summer
afternoons, and at night when all else was still, they could ever hear
the rustling of cottonwood leaves by the passage of little vagrant

58 USES OF PLANTS BY INDIANS [ETH. ANN. 33

currents of air. And the winds themselves were the paths of the
Higher Powers, so they were constantly reminded of the mystic
character of this tree.

The Sacred Pole, an object of the greatest veneration to the
Omaha Nation, was made of cottonwood.

These three trees will serve as examples of plants to which mys-
tery is ascribed and which had symbolism in the rituals of religion.
In the chapter on the aboriginal uses of plants, where the plants are
listed according to taxonomic order, several others will be found.

Tt will be found that the sense of beauty and the pleasure-giving
arts will, with every people, find outlet and expression by means of
the natural products of their own region. Much of the enjoyment
of art arises from association. The tribes of Nebraska found within
their range many plants yielding pigments to gratify the love of
color; they also found many plants whose leaves or seeds yield
fragrance. All of these scents are clean and wholesome and redolent
of the pure outdoors and freshness of breezes from nature’s garden
and the farthest removed from any suggestion of hothouse culture
and of the moiling of crowds. By a whiff of any of these odors one
is mentally carried, by the power of association and suggestion, to
the wide, quiet spaces, where the mind may recover from throng-
sickness and distraction of the multitude and regain power and
poise.

Native plants of the region also furnished the materials for per-
sonal adornment, although it is noteworthy that it has not been found
that flowers were used for this purpose by any of the tribes of the
plains. It was often remarked that the people admired the wild
flowers in their natural state, but they never plucked them. How-
ever, beads and pendants were made from many seeds.

INFLUENCE OF HUMAN POPULATION ON FLORA

It would be most interesting if we could determine with any degree
of accuracy the efficient factors in the redistribution of vegetation
over the ice-devastated region after the glacial retreat. We should
like to know the distance, velocity, and direction, and the active
agents, eolian, hydrographic, faunal, and anthropic, of the various
currents in the resurgence of floral life over the region formerly ice
covered.

We see the results of human agency as a factor in plant migration
very clearly in the introduction into this State of a number of plants
since the advent of Europeans. Some species introduced here are
indigenous on the Atlantic seaboard, some have been brought from
Europe and naturalized in the Eastern States, and thence brought

@iumore] INFLUENCE OF POPULATION ON FLORA 59

here by immigrants from those States; other species, for instance
Salsola pestifer (Russian thistle), have been introduced directly from
Europe.

Verbascum thapsus (mullein), Aretiwm minus (burdock), Leon-
todon taraxacum (dandelion), and many other weeds now very com-
mon, are of recent introduction by this means, besides many plants
purposely introduced by the white settlers, such as Vepeta cataria
(catnip), Roripa armoracia (horseradish), and other herbaceous
plants, and fruit and timber trees, vines, and shrubs.

Although these sources of plant immigration into Nebraska are
recognized, the human factor in plant distribution prior to the
European advent is not so obvious and may not have suggested itself
to most of my readers. But the people of the resident tribes traveled
extensively and received visitors from distant tribes. Their wants
required for various purposes a great number of species of plants
from mountain and plain and valley, from prairie and from wood-
land, from regions as remote from each other as the Rio Grande and
the Great Lakes and St. Lawrence.

Their cultivated plants were all probably of Mexican origin, com-
prised in the Cucurbitaceae (squashes, pumpkins, gourds, and water-
melons), Phaseolus vulgaris (garden bean) in 15 or more varieties,
Zea mays (corn) in five general types aggregating from 15 to 20
varieties, and their tobacco, Vicotiana quadrivalvis.

But besides these known plant immigrants already carried into Ne-
braska by human agency before the advent of Europeans, certain facts
lead me to believe that some plants not under cultivation, at least in
the ordinary sense, owe their presence here to human transporta-
tion, either designed or undesigned. Parts of certain plants, and in
most cases the fruits or fruiting parts, were desired and used for their
fragrance, as the seeds of Aguilegia canadensis, the fruiting tops of
Thalictrum purpurascens, the entire plant of Galium triflorum, the
fruits of Zanthoxylum americanum, and leaves and tops of Monarda
jistulosa. Any of these easily might be, and probably were, unde-
signedly distributed by the movements of persons carrying them.
Desirable fruits were likely carried from camp to camp and their
seeds dropped in a viable condition often in places favorable to their
growth. Malus ioensis is found in Iowa and on the west side of the
Missouri River in the southeast part of Nebraska, but nowhere higher
up the Missouri on the west side except on a certain creek flowing
into the Niobrara from the south near the line between Knox County
and Holt County. The Omaha and Ponea call this creek Apple
Creek on that account. The original seed, so far from their kind,
probably reached this place in camp kitchen refuse.

60 USES OF PLANTS BY INDIANS [ETH. ANN. 33

Acorus calamus and Lobelia cardinalis are both found in certain re-
stricted areas within the old Pawnee domain. Acorus is exceedingly
highly prized by the Pawnee, and also by the other tribes, for medici-
nal use, and by the Pawnee especially for ritualistic religious use.
Also its seeds were used for beads. Seeds obtained originally at a
place far distant might have been lost in the margins of streams, and
so have been introduced unwittingly. Moreover, seeds or living roots
might have been brought purposely and set by the priests and doctors
without the knowledge of the laity. Thus this plant may have been
introduced to the few places where it is now to be found in Nebraska
either with or without design. At all events it appears most probable
that it was introduced by human agency. It is significant that the
isolated areas where it is found are comparatively near old Pawnee
village sites. Lobelia was a plant to which mystic power in love af-
fairs was attributed. It was used in making love charms. Of course
the methods and formule for compounding love medicines were not
known to everyone, so a person desiring to employ such a charm must
resort to some one reputed to have knowledge of it and must pay the
fees and follow the instructions of his counsellor. In order to have the
medicine convenient the wise ones might very naturally think of try-
ing to introduce it to grow in their own country. Quite naturally,
too, its introduction, if accomplished, would be secretly effected. Ad-
vertising is contrary to the professional code.

In another place the recent dissemination of Jfeléilotus is discussed.
When the Pawnee were removed from Nebraska to Oklahoma they
carried with them seeds from Nebraska, their mother country, to the
land, foreign to them, which circumstances they had no power to con-
trol caused them to colonize. Besides the seeds of their cultivated
crops they carried stores of dried fruits as part of their food supply.
Among these were quantities of dried plums, often dried entire with-
out pitting. At the present time there are thickets of Prunus ameri-
cana wherever are seen the lodge rings of the original earth lodges
which they first occupied when they went to Oklahoma. This fact I
observed when I visited that tribe in pursuit of information in their
plant lore. From consideration of such facts as are here demon-
strated I am of the opinion that human occupation and activities
were more or less efficient factors in the distribution of plants in Ne-
braska as found by the first comers of the European race.

The most casual observer can perceive that Europeans, since their
advent, have greatly changed the flora by introducing new species
and depleting the numbers of some and augmenting the numbers
of certain other species. A very great depletion has occurred in the
grassland flora by reason of the large areas in which the original
flora has been completely exterminated by the plow. Other areas

GILMORE] TAXONOMIC LIST OF PLANTS 61

have been overgrazed until the original balance of vegetation has
been destroyed by the unnatural competition induced among the
native species as well as by the added competitive factor of intro-
duced species. Thus many pasture lands may now be seen in which
hard and bitter species, such as Solidago rigida and Vernonia
fasciculata, not desired by grazing animals, have inordinately in-
creased. Not only have some species of the natural prairie flora
been thus decreased and others increased, but the woodland flora
has been considerably augmented not only by artificial planting,
but also by attendant protection of the natural increase, which
protection has been in some instances intentional and in others only
coincidental.

The introduction and dissemination of species by human agency
in aboriginal time has been discussed already. It remains to notice
the human factor in depletion of certain species and augmentation
of others prior to European advent. Probably the chief means
employed by the tribes, affecting the floral balance, was that of
fire. Their habit of firing the grasslands was effective in retarding
the advance of woodland with all its associate flora and very
probably even drove back the forest line and exterminated some
areas which, previous to any human occupancy, had been possessed
by forest growth.

TAXONOMIC LIST OF PLANTS USED BY. INDIANS OF
THE MISSOURI RIVER REGION?

PROTOPHYCEAE AND ZYGOPHYCEAE

Without specification of genera or even of orders it is sufficient
to say that a green stain for decoration of implements made of
wood was obtained from masses of the green aquatic vegetation pop-
ularly known as “pond scum” or “ frog spit.” The green substance
used by the people of the tribes for the purpose of making a green
stain, obtained by them from sluggish streams and ponds, doubtless
consisted of colonies of Protococcus, Ulothrix, Chaetophora, Spiro-
gyra, ete.

AGARICACEAE

Prevrotus utmarius Bull. Elm Cap.

This fungus is used for food by the tribes acquainted with it.
When young and tender it is most delicious. It grows in decayed
spots on Acer negundo and Ulmus sp. The writer discovered its use
for food among the people of the Dakota Nation. Some women were
gathering it in a grove of boxelder near the place where the Cannon-
ball River flows into the Missouri River, and they gave information

1 See glossary of plant names, p. 139.

62 USES OF PLANTS BY INDIANS [BTH. ANN. 33

as to its use. They were looking for it in decayed spots caused by
tapping the trees for the purpose of sugar making, for these people
still make sugar from the sap of the boxelder.

PoLyPoRACEAE " BRACKET FUNGI

Potystictus verstcotor (Ll.) Fr.
Cha® na"kpa (Dakota), “tree ears” (cha", wood or tree; na"kpa,
ear).
The Dakota use this fungus for food when young and tender, ex-
cept specimens growing on ash trees (/raxinus), which they say
are bitter. They are prepared by boiling.

UsrimaGINACEAE SMUTS

Ustizaco Maypis (DC.) Cda. Corn Smut.
Wahaba hithi (Omaha-Ponea) ; literally, “ corn sores” or “ blis-
ters ” (wahaba, corn).
This fungus was used for food by both Omaha and Pawnee. For
this purpose the spore fruits were gathered as soon as they appeared,
while firm and white, and boiled. They were said to be very good.

Ly CoPERDACEAE PUFFBALLS

Lycoprrpon GeMMAtTUM Batsch., CaLvaTiA cyATHAFoRMIS (Bosc.)
Morg., Bovisra prumpBea Pers. Puffball.

Hokshi chekpa (Dakota), “baby’s navel” (hokshi, baby; chekpa,

navel).

The Pawnee name is Aaho rahik (kaho, the name + rahik,
old), descriptive of it in the stage when it is used as a styptie.

The prairie mushrooms, commonly designated puffballs, were
gathered and kept for use as a styptic for any wounds, especially
for application to the umbilicus of newborn infants. From its uni-
versal application to this use among the Dakota is derived their name
for the puffball. In the young stage it is used for food. It is used
also as a.styptic by the Ponca and the Omaha. While white and
firm, before the spores formed, it was sometimes roasted for food
by the Omaha, but this use was unknown to my informant among
the Dakota.

HELVELLACEAE

MorcHe.iA ESCULENTA (L.) Pers. Morel.
Mikai kthi (Omaha-Ponca), “star sore” (mékat, star; Athi, sore).
They are much esteemed for food and are eaten boiled.

GILMorE] TAXONOMIC LIST OF PLANTS 63
PARMELIACEAE

PAaRMELIA BORRERI Turn. Lichen.
Cha" wiziye (Dakota).

UsNEACEAE

Usnea BARBATA Hoffm. Lichen.

Cha" wiziye (Dakota).

This lichen and the preceding one are by the Dakota used in the
same way and given the same name. They were used to make a
yellow dye for porcupine quills; for this purpose the lichens were
boiled and the quills dipped in the resulting liquid.

EQUISETACEAE

Eautsetum sp. Horsetail, Scouring Rush, Snakegrass, Joint Rush.
Marde idhe shnaha (Omaha-Ponca), “ to-make-a-bow-smooth ”
(matde, bow; shnaha, to smooth; idhe carries the idea of pur-
pose or use). Designated also shangga wathate because horses
(shangga) eat it with avidity.
Pakarut. (Pawnee).
It was used by these tribes for polishing, as we use sandpaper.
Winnebago children sometimes made whistles of the stems, but the
older people warned them not to do so lest snakes should come.

PINACEAE CONIFERS

Pinus MurRAYANA Oreg. Com. Lodgepole Pine.

Wazi (Dakota).

While not indigenous to Nebraska, this tree was known and prized
for use as tipi poles. The tribes of eastern Nebraska made trips to
obtain it in its habitat or traded for it with their western neighbors.
JUNIPERUS VIRGINIANA L. Cedar. -

Hante or ante sha (Dakota) ; sha, “ red.”

Maazi (Omaha-Ponca).

Tawatsaako (Pawnee).

The fruits are known as Jiante itika, “cedar eggs.” The fruits
and leaves were boiled together and the decoction was used internally
for coughs. It was given to horses also as a remedy for coughs.
For a cold in the head twigs were burned and the smoke inhaled, the
burning twigs and the head being enveloped in a blanket. Because
the cedar tree is sacred to the mythical thunderbird, his nest being
“in the cedar of the western mountains,” cedar boughs were put on

64 USES OF PLANTS BY INDIANS [ETH. ANN. 33

the tipi poles to ward off lightning, “as white men put up lightning
rods,” my informant said.

In the year 1849-50 Asiatic cholera was epidemic among the Teton
Dakota. The Oglala were encamped at that time where Pine Ridge
Agency now is. Many of the people died and others scattered in a
panic. Red Cloud, then a young man, tried various treatments,
finally a decoction of cedar leaves. This was drunk and was used
also for bathing, and is said to have proved a cure.

The Omaha-Ponea name for the cedar is maazi. Cedar twigs
were used on the hot stones in the vapor bath, especially in purifica-
tory rites. J. Owen Dorsey * says, “In the Osage traditions, cedar
symbolizes the tree of life.” Francis La Flesche * says:

An ancient cedar pole was also in the keeping of the We’zhi"shte gens,
and was lodged in the Tent of War. This venerable object was once the
central figure in rites that have been lost. In creation myths the cedar is
associated with the advent of the human race; other myths connect this tree
with the thunder. The thunder birds were said to live “in a forest of
cedars...” There is a tradition that in olden times, in the spring after
the first thunder had sounded, in the ceremony which then took place this
Cedar Pole was painted and anointed at the great tribal festival held while
on the buffalo hunt.

As a remedy for nervousness and bad dreams the Pawnee used
the smoke treatment, burning cedar twigs for the purpose.

TyYPHACEAE

Tyena tatirotia L. Cat-tail. (PI. 1, 6.)

Wihuta-hu (Dakota) ; wihuta, “the bottom of a tipi” (Au, plant-
body, herb, shrub, or tree; in a Dakota plant name hw signifies
“ plant,’ as does Az in the Omaha language).

Wahab’ igaskonthe (Omaha-Ponca) ; wahaba, corn; igaskonthe,
similar, referring to the appearance of the floral spikes syn-
chronously with the maturing of the corn.

Ksho-hi" (Winnebago) ; ksho, prairie chicken, Ai", feather. The
plucked down resembles in color and texture the finer feathers
of the prairie chicken.

Hawahawa (Pawnee).

Kirit-tacharush (Pawnee), “eye itch” (kirit, eye; tacharush,
itch) ; so named because the flying down causes itching of the
eyes if it gets into them.

The down was used to make dressings for burns and scalds; on
infants, to prevent chafing, as we use talcum; and as a filling for
pillows and padding for cradle boards and in quilting baby wrap-
pings. Pieces of the stem were essential elements in making the

1Siouan Cults, p. 391.
2 Fletcher and La Flesche, The Omaha Tribe, pp. 457-458.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 1

a. PULSATILLA PATENS, (PASQUE FLOWER)

b. TYPHA LATIFOLIA

Photo by courtesy of Public Museum of Milwaukee, Department of Education

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 1A

a. SAGITTARIA LATIFOLIA

Photo by courtesy of Public Museum of Milwaukee, Department of
Education

b. A SLUGGISH STREAM GROWING FULL OF ARROWLEAF (SAGITTARIA LATIFOLIA)

GILMORE] TAXONOMIC LIST OF PLANTS 65

ceremonial object of the Omaha and Ponca known as niniba weawan,
used in the Wawan ceremony. In a family in which the birth of
a child was expected the women busied themselves in collecting a
great quantity of the down of 7ypha, in a mass of which was laid
the newborn infant; that which adhered after drying the mother
removed by manipulation after moistening with milk from her
breasts. Cotton fabrics were unknown to the Plains tribes previous
to the coming of white traders, hence, instead of cotton diapers, pads
of cat-tail down were used for the purpose by the mothers in these
tribes.

ALISMACEAE

Sacrrrarra LatiFon1A Willd. Arrowleaf. (PI. 1A.)

Pshitola (Dakota).

Si” (Omaha-Ponca).

Si-poro (Winnebago).

Kirit (Pawnee), “cricket ” (from the likeness of the tuber to the
form of a cricket) ; known also as kits-hat, “ standing in water,”
the tuber being termed iit.

By all these tribes the tubers were used for food, prepared by boil-
ing or roasting. The Pawnee must have some other use for the plant
because an old medicine-man showed excited interest when he saw a
specimen in my collection, but he did not communicate to me what
the use is.

In the Omaha myth, “Ishtinike and the Four Creators,” Sagit-
taria (S2) is mentioned,’ also in the myth “ How the Big Turtle
Went to War.” ?

Peter Kalm? in 1749 mentions Sagittaria as a food plant among
the Algonquian Indians:

Katniss is another Indian name of a plant, the root of which they were
likewise accustomed to eat,... It grows in low, muddy, and very wet
ground. The root is oblong, commonly an inch and a half long, and one inch
and a quarter broad in the middle; but some of the roots have been as
big as a man’s fists. The Indians either boiled this root or roasted it in
hot ashes. ... Their katniss is an arrow-head or Sagittaria, and is only a
variety of the Swedish arrow-head or Sagittaria sagittifolia, for the plant above
the ground is entirely the same, but the root under ground is much greater
in the American than in the European. Mr. Osbeck, in his voyage to China,

mentions that the Chinese plant a Sagittaria, and eat its roots. This seems
undoubtedly to be a variety of this katniss.

1 Dorsey, Zegiha Language, p. 554.

2Ibid, p. 256. (The translator mistranslated si” “ wild rice.” Si" is Sagittaria ; wild
rice is Si" waninde.)

*Peter Kalm. Travels into North America, vol. 1, p. 386.

74936°—19—33 ETH 5

66 USES OF PLANTS BY INDIANS [ETH. ANN. 33
PoackAE

SPARTINA MICHAUXIANA Hitche. Slough Grass.

Sidu-hi (Omaha-Ponca).

This plant, which grows in all the swales of eastern Nebraska,
was used as thatching to support the earth covering of the lodges in
the permanent villages.

SavAsTANA oporATA (L.) Scribn. Sweet Grass.

Wachanga (Dakota. )

Pezhe zonsta (Omaha-Ponea).

Manuska (Winnebago).

Kataaru (Pawnee).

Sweet grass is found in northeastern Nebraska, and more abun-
dantly northward and eastward. It was used for perfume and was
burned as an incense in any ceremony or ritual to induce the pres-
ence of good influences or benevolent powers, while wild sage, a
species of Artemisia, was burned to exorcise evil influences or malevo-
lent powers. It was an essential element in the objects used in the
Wawan ceremony of the Omaha and Ponca. According to J. Owen
Dorsey, wachanga is one of the plants used in connection with the
sun dance.? :

On Palm Sundays old Dakotas, members of the church, when they
have received palms at the church, carry them home and tie sweet
grass with them when they put them up in their houses. At the
present time, it is said, some of the old people still carry sweet grass
to church for the Palm Sunday service. This is from the old-time
association of sweet grass with sacred ceremonies and things holy.

When Chief Welkie, of the Pembina band of the Chippewa tribe,
made a treaty of peace with the Dakota tribe the ceremony included
the smoking of a pipe of tobacco mixed with sweet grass. This was,
no doubt, with the idea of summoning all good powers as witnesses
and helpers in concluding the desired peace.

Panicum vircatum L. Switch Grass.

Hade wathazhninde (Ponca).

On the buffalo hunt, in cutting up the meat the people were careful
to avoid laying it on grass of this species in head, because the glumes
of the spikelets would adhere to the meat and afterwards would stick

in the throat of one eating it. .

Stipa sparTeaA Trin. Porcupine Grass, Spanish Needles, Needle
Grass. (PI. 2:)
Mika-hi (Omaha-Ponea), “ comb plant ” (mika, comb).
Pitsuts (Pawnee), “hairbrush”; or Paari pitsuts, Pawnee hair-
brush.

1Siouan Cults, p. 454.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 2

a. A MASS OF STIPA SPARTEA BENT UNDER THE WIND. IN
THE BACKGROUND CAN BE SEEN A NUMBER OF PLANTS OF
ECHINACEA ANGUSTIFOLIA IN BLOOM

b. BUNCH OF STIPA SPARTEA; BUNCH OF LONG-AWNED SEEDS OF STIPA SPARTEA; A HAIR-
BRUSH MADE FROM AWNS OF STIPA SPARTEA

Photos by courtesy of Department of Botany, |lowa State Agricultural College

THIRTY-THIRD ANNUAL REPORT PLATE 3

BUREAU OF AMERICAN ETHNOLOGY

BOTANICAL SURVEY OF NEBRASKA

HERBARIUM SPECIMEN OF

ZIZANIA AQUATICA (WILD RICE).
STRAW, A FEW GRAINS NOT HULLED, AND A HANDFUL OF HULLED

GRAINS AS PREPARED FOR FOOD

a.

ZIZANIA AQUATICA, HABIT

Photo by courtesy of Public Museum of Milwaukee, Department of Education

b.

GILMore] TAXONOMIC LIST OF PLANTS 67

The stiff awns of this grass were firmly bound into a bundle, from
which the pointed grains were burned off, leaving a brush used for
dressing the hair. This brush was used also in a certain part of the
ceremony heretofore mentioned as the Wawan of the Omaha-Ponca,
the Hako* of the Pawnee.

ZIzAN1a Aquatica L. Wild Rice, Indian Rice. (PI. 3.)

Psim (Dakota).

Sinwaninda (Omaha-Ponca).

Sin (Winnebago).

The range of wild rice is very extensive throughout the North
Temperate Zone. It is found in the shallow lakes of the Sand Hills of
Nebraska, still more northeastward in the lake region of Minnesota,
Wisconsin, and Michigan, and northward into Canada. This cereal

- was an important part of the dietary of the tribes of Nebraska, but

not in so great a degree as with the tribes of the lake regions to-
ward the northeast. It would seem worth while to raise wild rice
in any lakes and marshy flood plains in our State not otherwise
productive, and so add to our food resources. From trial I can
say that it is very palatable and nutritious and, to my taste, the
most desirable cereal we have. A quotation from a consular report
characterizes it as “the most nutritious cereal in America.”? The
most exhaustive treatise on wild rice and its use among the aboriginal
tribes is that by Dr. A. E. Jenks.*

Zea MAYS L. Maize, Indian Corn.

Wamndaheza (Dakota) ; Teton dialect, wagmeza.

Wahdba (Omaha-Ponca).

Nikiis (Pawnee).

Maize was cultivated by all the tribes of Nebraska. Native in-
formants say they had all the general types—dent corn, flint corn,
flour corn, sweet corn, and pop corn; and that of most of these types
they had several varieties. They maintained the purity of these
varieties from generation to generation by selecting typical ears for
seed and by planting varieties at some distance from each other.
They raised considerable quantities, part of which was preserved by
drying in the green stage, while the rest was allowed to ripen. The
ripe corn was prepared by pounding to a meal, by parching (some-
times by parching and then grinding), by hulling with lye from
ashes to make hominy, and in various other ways. Maize comprised
a large part of the food supply. Corn was regarded as “ mother ”
among the Nebraska tribes who cultivated it.

1 Pletcher, The Hako, p. 220.

2 Outlook, May 10, 1913, p. 80.

*The Wild Rice Gatherers of the Upper Lakes, in Nineteenth Rep. Bur. Amer. Ethn.,
pt. 2.

68 USES OF PLANTS BY INDIANS [ETH. ANN. 33

When the corn was approaching maturity, and blackbirds made
depredations on the fields, the men of the Wazhinga-thatazhi subgens
of the Omaha tribe used to chew up some grains of corn and spit the
chewed corn around over the field. This action was supposed to
keep the birds from doing any further damage.t

In the Omaha subgens, the Wazhinga-thatazhi (“those who eat no
small birds”), the people feared to eat the first mature ears lest the
small birds, particularly blackbirds, should come and devour the
rest of the crop.”

A white leaf appearing in a cornfield was hailed with joy by the
Omaha as a portent of a bountiful crop for the year and of abun-
dance of meat at the next buffalo hunt.

Among the Omaha if a murderer passed near a field it was feared
the effect would be to blight the crop. Some time in the latter half
of the nineteenth century a murderer, having passed his term of
exile for his crime, was returning to his people. As he approached
he was warned away from the fields by their owners. This indi-
vidual was a mystery man (‘“ medicine man”) and as such was consid-
ered to possess supernatural power, or to be able to enlist the aid of
supernatural powers by certain prayers and songs; hence as he came
by the fields he sang a song to the powers to avert the disastrous effect
on the crop, which otherwise his presence might incur. Of this he
assured the people to quiet their fears of blight on their crop.

Corn silks were gathered and, after being dried in the sun, were
stored away for use as food. To this end the dried corn silks were
grouhd with parched corn, and, it is said, gave sweetness to the
compound.

Our European race little appreciates the great number and variety
of corn food products made by the American tribes. No attempt is
here made even to give a full list of such products.

Awnpropocon Furcatus Muhl.

Hade-zhide (Omaha-Ponea), “ red hay” (Jade, hay; zhide, red).

This grass, the most common in the meadows and prairies of the
State, was ordinarily used to lay on the poles to support the earth
covering of the lodges. The stiff, jomted stems are termed in the
Omaha-Ponea language peska. These were often used by little
boys in play to make arrows for their toy bows. In making arrows
of the stems of this wild grass small boys of the Arikara, Mandan,
and Hidatsa tribes would commonly insert a thorn ot Crataegus sp.
(thorn apple) for an arrow point. With such arrows to their little
bows they would train themselves to skill in archery by shooting
frogs. The first field matron to the Omaha taught the women to knit.
One woman, Ponka-sa®, lost her needles and improvised a set from

1Dorsey, Omaha Sociology, p. 238.
2 Dorsey, Siouan Cults, p. 402,

GILMORE} TAXONOMIC LIST OF PLANTS 69

peska. White Horse, an old medicine-man of the Omaha, told me of
a remedial use of Andropogon which he had obtained by purchase
from an Oto medicine-man. A decoction of the lower blades of this
grass chopped fine was drunk in cases of general debility and Jan-
cuor without definitely known cause. The same decoction was used
also for bathing in case of fevers, for this purpose a cut being made
on the top of the head to which the decoction was applied. The peo-
ple had great dread of fevers because of the evil effect they were sup-
posed to have on the mind; this no doubt was because of delirium
which often accompanies fever.

CYPERACEAE

Scirpus vatipus Vahl. Bulrush.

Psa (Dakota).

Sa-hi (Omaha-Ponca).

Sistat (Pawnee).

The tender white part at the base of the stem of the bulrush was
eaten fresh and raw by the Dakota. The stems were used to weave
into matting by all the tribes. A medicine-man of the Pawnee
evinced lively interest when he saw a specimen in my collection, but
did not communicate any information about it, a fact from which I
infer it has some ceremonial use.

ARACEAE

ARISAEMA TRIPHYLLUM (L.) Torr. Jack-in-the-pulpit. (PI. 4.)

Mikasi-maka" (Omaha-Ponea), “ coyote medicine.”

Nikso kororik kahtsu nitawau (Pawnee); medicine (or herb)
hahtsu; that bears, nitawau; what resembles, kororik; an ear of
corn, nikso. The name is strikingly descriptive of the ripened
fruit.

This plant is used medicinally by the Pawnee. When a Pawnee
medicine-man saw my specimen he evinced lively interest and
showed me a bag containing the pulverized corm, but was unwilling
to tell me its use. Another Pawnee medicine-man, however, told
me of its use in treating headache by dusting on the top of the head
and on the temples.

The corm was pulverized and applied as a counterirritant for
rheumatism and similar pains, as irritant plasters are used by white
people.

The seeds of this plant were put into gourd shells by the Pawnee
to make rattles.

Acorus catamus L. Sweet Flag, Calamus.
Si"kpe-ta-wote (Dakota), “ muskrat food ” (si"kpe, muskrat; wote,
food).

70 USES OF PLANTS BY INDIANS [ETH. ANN. 33

Maka"-ninida (Omaha-Ponea).

Ma*ka"-kerek (Winnebago).

Kahtsha itu (Pawnee) ; kahtsu, medicine; ha, in water; itv, lying.

All the tribes hold this plant in very high esteem. It was used
as a carminative, a decoction was drunk for fever, and the rootstock
was chewed as a cough remedy and as a remedy for toothache. For
colic an infusion of the pounded root stock was drunk. As
a remedy for colds the rootstock was chewed or a decoction was
drunk, or it was used in the smoke treatment. In fact, this part of
the plant seems to have been regarded as a panacea. When a hunt-
ing party came to a place where the calamus grew the young men
gathered the green blades and braided them into garlands, which
they wore round the neck for their pleasant odor. It was one of
the plants to which mystic powers were ascribed. The blades were
used also ceremonially for garlands. In the mystery ceremonies of
the Pawnee are songs about the calamus.

Among the Teton Dakota in old times warriors chewed the root-
stock to a paste, which they rubbed on the face to prevent excitement
and fear in the presence of the enemy.

COMMELINACEAE

TRrApDESCANTIA vircinica L. Spiderwort, Spider Lily. (Pl. 5, a.)

This is a charmingly beautiful and delicate flower, deep blue in
color, with a tender-bodied plant of graceful lines. There is no more
appealingly beautiful flower on the western prairies than this one
when it is sparkling with dewdrops in the light of the first beams of
the rising sun. There is about it a suggestion of purity, freshness,
and daintiness.

When a young man of the Dakota Nation is in love, and walking
alone on the prairie he finds this flower blooming, he sings to it a
song in which he personifies it with the qualities of his sweetheart’s
character as they are called to his mind by the characteristics figura-
tively displayed by the flower before him. In his mind the beauties
of the flower and of the girl are mutually transmuted and flow to-
gether into one image.

The following song, addressed to 7radescantia, is translated from
the Dakota language by Dr. A. McG. Beede:

“Wee little dewy flower,

So blessed and so shy,
Thou’rt dear to me, and for
My love for thee I'd die.”

"SIM ‘uojya|ddy 'xo4 *y 354085 Aq 0J0Y4d uolzeonpy jo
4dedaq ‘aa}%neMi! Oo wnasnW o!/Gn o fsa A
NagS 39 OSTV AVW WoIT0dIaL See ee Site anar ugue INO US Dee ou abo lose!
XVNVd “WATIAHdIYL VWAVSIYY 43O SYNLOld LIGVH 4 WOATIAHdIYL VWAVSIEV 2

vyalVid 1YOdSyY IVANNYV GYIHL-ALYIHL ADOIONHLA NVOIMAWY 4O NV3yns

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 5

a. TRADESCANTIA VIRGINICA (SPIDERWORT)

b. A CIRCLE OF COTTONWOOD-LEAF TOY TIPIS AS MADE BY INDIAN CHILDREN
OF PLAINS TRIBES

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 6

a. ERYTHRONIUM MESOCHOREUM, ENTIRE PLANT,
BULBS, AND FLOWERS

b. ERYTHRONIUM MESOCHOREUM, HABIT OF GROWTH ON THE
PRAIRIE

Photos by courtesy of Dr. Elda Walker, University of Nebraska

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 7

a. YUCCA GLAUCA IN BLOOM
Photo by courtesy of Dr. R. J. Pool, University of Nebraska

b. YUCCA GLAUCA IN FRUIT

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 8

a b c

a. A BUNDLE OF YUCCA LEAVES BOUND UP TO DEMONSTRATE USE AS DRILL IN FIRE MAKING.
b. A PIECE OF YUCCA STEM PREPARED TO DEMONSTRATE USE AS HEARTH PIECE IN FIRE
MAKING. ec. A DRY YUCCA PLANT

GILMORE] TAXONOMIC LIST OF PLANTS Teal

LiIviacEArE

Axirum MuTABILE Michx. Wild Onion.

Pshi (Dakota).

Marzho"ka-mantanaha (Omaha-Ponca).

Shithop (Winnebago).

Osidiwa (Pawnee).

Since the introduction of the cultivated onion the wild onion is
known to the Pawnee as Osidiwa tsitschiks, “ native osidiwa.”

All the species of wild onion found within their habitat were used
for food by the Nebraska tribes, commonly raw and fresh as a relish,
sometimes cooked as a flavor for meat and soup, also fried.

EryTHRONIUM MESOocHOREUM Knerr and E. ausipum Nutt. Spring
Lily, Snake Lily. (PI. 6.)

Hedte-shutsh (Winnebago).

I was informed by Winnebago that children ate them raw with
avidity when freshly dug in springtime.

Lizrum umBetiatum Pursh.

The flowers of this plant, pulverized or chewed: were applied by
the Dakota as an antidote for the bites of a certain small poisonous
brown spider. It is said to relieve the inflammation and swelling
immediately.

Yucca erauca Nutt. Soapweed, Spanish Bayonet, Dagger Weed.
(BISMGsS5)

Hupestula (Dakota).

Duwaduwa-hi (Omaha-Ponca).

Chakida-hahtsu or Chakila-kahtsu (Pawnee).

The root was used by the Pawnee and Omaha in the smoke treat-
ment. By all the tribes the root was used like soap, especially for
washing the hair. On the high treeless plains the Teton Dakota,
for want of wood for fire-drills, utilized yucca. The hard, sharp-
pointed blades were bound together with sinew to make the drill, and
the stem, peeled and dried, was used as the hearth of the fire-making
apparatus, just as punk was used in the timbered regions.

Yucca leaves were macerated till the fibers were cleared, and,
with the sharp, hard point of the leaf still attached, were twined
into thread. The sharp point was used as a needle.

SmiLax HERBACEA L. Jacob’s Ladder.
Toshunuk akunshke (Winnebago), “otter armlet” (foshunuk.
otter; akiunshke, armlet).
The fruits were eaten at times by the Omaha for their pleasant.
taste. They were said to be effectual in relieving hoarseness.

f(y? USES OF PLANTS BY INDIANS [ETH. ANN. 33

Trmacrar

Tris verstcotor L. Blue Flag. (PI. 9.)

Maha"-skithe* (Omaha-Ponca), “ sweet medicine” (maka", medi-
cine; skithe, sweet), or perhaps in this case meaning not “ sweet ”
in the sense we use the word, but “ stimulating,” as the plant has
a pungent taste.

The rootstock was pulverized and mixed with water, or more often
with saliva, and the infusion dropped into the ear to cure earache;
it was used also to medicate eye-water. A paste was made to apply
to sores and bruises.

SALICACEAE

Porvtus sarcentit Dode. Cottonwood. (PI. 5, b.)

Waga cha” (Dakota) ; cha” means “ wood ” or “ tree.”

Maa zho (Omaha-Ponca), “ cotton tree” (zho", wood or tree).

Natakaaru (Pawnee).

The Teton Dakota say that formerly the people peeled the young
sprouts and ate the inner bark because of its pleasant, sweet taste
and nutritive value. Young cottonwood branches and upper branches
of older trees were provided as forage for their horses and were
said to be as “good for them as oats.” White trappers and travel-
ers have recorded their observations as to the value of the cot-
tonwood as forage.

Mystic properties were ascribed to the cottonwood. The Sacred
Pole of the Omaha was made from a cottonwood. This was an object
which seems to have had among that people a function somewhat
similar to that of the Ark of the Covenant among the ancient He-
brews. Among the list of personal names pertaining to the Ka*za
gens of the Omaha tribe is that of Maa-zho" Hoda, Gray Cotton-
wood. Cottonwood bark was employed as a fuel for roasting the
clays used in making paints for heraldic and symbolic painting of
the skin. A yellow dye was made from the leaf buds in early spring.
A very pretty and interesting use of cottonwood leaves was made by
children in play. They split a leaf a short distance down from the
tip along the midrib; at equal distances from the tip they tore across
from the margin slightly; then, bending back the margin above the
rents for the smoke flaps, and drawing together the leaf-margins
below the rents and fastening them with a splinter or a thorn, they
had a toy tipi. These they made in numbers and placed them in
circles like the camp circle of their tribe. The children of all the
Nebraska tribes played thus. It is interesting to note this manifesta-

1Tt should be noted that a number of different plants seem to be known by the
Omaha and Ponka as maka™—skithe, ‘‘ sweet medicine.”

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 9

IRIS VERSICOLOR

Photo by courtesy of George R. Fox, Appleton, Wis.

qtarore] TAXONOMIC LIST OF PLANTS 713

tion of the inventive genius and resourcefulness of the Indian child
mind thus reacting to its environment and providing its own amuse-
ment. Children sometimes gathered the cottony fruits of the cot-
tonwood before they were scattered by the wind and used them as
gum for chewing. In early spring, before the leaves appear, the
waxy buds of the cottonwood were boiled to make yellow dye.
Feathers for pluming arrows were dyed a yellowish color by dipping
in a decoction made by boiling the seed vessels of this tree.

Mention has been made already of the use of cottonwood leaves
by little girls in making toy tipis. They were also used to make toy
moccasins. lor this purpose a rent was made at equal distances on
each side of the leaf about halfway from the tip to the petiole. The
edge of the leaf was now turned down in a line from this rent to the
base; then the edges of the leaf from the rent to the tip were brought
together and pinned with a splinter to make the fore part, the edges
of the base were brought together and fastened to make the back
part, and behold! a tiny green moccasin of the pattern common
among the tribes of the plains, the top being turned down at the
ankle.

Girls and young women made another pleasing use of the cotton-
wood leaf. The tip of the leaf was put between the lips and the
sides pressed against the nostrils with the thumb and index finger
in such a way that one nostril was quite closed and the other partly so.
Then the breath was expelled through the partly closed nostril, vi-
brating on the leaf in such a way that very sweet musical notes were
produced, birdlike or flutelike in quality. The effect is most pleasing
to the ear.

The green, unopened fruits of cottonwood were used by children as
beads and ear pendants in play.

Saix InTERTOR Rowlee. Sandbar Willow.
The stems of this willow were peeled and used in basketry by the
Omaha and other tribes.

SALIX sP.

Wakpe-popa (Dakota), generic name for willow.

Ruhi (Winnebago).

Kitapato (Pawnee).

Poles of willow of various species, overlaid on the heavier timbers
to sustain the thatch covered with earth, were used in the construc-
tion of the earth lodge. Small poles of willow were used to form the
frame of the sudatory, or bath lodge. Before European customs
had so far superseded the native tribal customs, willow had its place
in the funeral customs of the Omaha. On the day of burial, the
fourth day after the death, at the time of starting from the home for

74 USES OF PLANTS BY INDIANS [ETH. ANN. 33

the place of interment, young men, friends of the family of the de-
ceased, appeared at the lodge to accompany the funeral party to the
grave. They made parallel gashes in the skin of the forearm, and
lifting the skin between these gashes, they thrust in the stems of
willow twigs; leaving these thus depending from the arm, the twigs
were soon bathed in the blood of the young men, who thus attested
to the living their sympathy and condolence, while they sang the
tribal Song to the Spirit. This song is one of joyful cadence rather
than mournful, because it is a song of cheer to the departing spirit,
while their blood and tears manifest their sympathetic feeling for the
bereaved

JUGLANDACEAE

Jucians nicra L. Black Walnut.

Hma (Dakota); Teton dialect, gma; also by the Teton Dakota

called cha"-sapa, black wood.

Tdage (Omaha-Ponea). Tdage-hi, walnut tree.

Chak (Winnebago). Chak-hu, walnut tree.

Sahtaku (Pawnee).

The nuts were used for food and a black dye was made from the
root. The black walnut (¢dage) is mentioned in the myth of “ Ish-
tinike and the Four Creators.”1 For food the nuts were eaten plain
or served with honey, or made into soup.

Hicorra ovata (Mill.) Britton. Hickory Nut.

Cha"su (Dakota). Cha"su-hu, hickory tree.

No"si (Omaha-Ponca). No"si-hi, hickory tree.

Pa"ja (Winnebago), nut. Pa"ja-hu, nut tree.

Sahpakskiisu (Pawnee), skull nut, from the resemblance of the

nut (saht, nut; pakskiisu, skull).

The nuts were used for food in the same way as walnuts. Sugar
was made from the sap as from Acer species, and also by boiling
hickory chips.

BrTULACEAE

Coryius AMErTcANA Walt. Hazelnut.

Uma (Dakota). Uma-hu, hazel bush.

Uzhinga (Omaha-Ponea). U*zhinga-hi, hazel bush.

Huksik (Winnebago).

The nuts were used for food as were other nuts, being eaten raw
with honey, or used as body for soup.

1Dorsey, fegiha Language, p. 556.

GiumorE] TAXONOMIC LIST OF PLANTS 75

Berruta papyrirera Marsh. Paper or Canoe Birch.
Ta"pa (Dakota). ZYa"pa-hu, birch tree. Teton dialect Cha"ha sa",
pale-bark (cha"-ha, bark; sa” pale).
The bark, shredded fine, was bound in bundles for torches. It
was used also as material for vessels to catch the sap from the
trees in sugar-making time, and for various household utensils.

FAaGACEArE

Qurrctus macrocarPA Michx. Bur Oak.
Uskuyecha-hu (Dakota).
Tashka-hi. (Omaha-Ponca).
Chashke-hu (Winnebago).
Patki-natawawi (Pawnee) ; patki, acorn; natawawi, bearing.

Quercus ruBrRA L. Red Oak.

Uta (Dakota). Uta-hu, oak tree.

Buude-hi (Omaha-Ponea).

Nahata-pahat (Pawnee), “ red-tree” (nahata, tree; pahat, red).

Acorns, especially of Quercus rubra, were used for food. The
bitter and astringent properties were extracted by leaching with
wood ashes, preferably the ashes from basswood. The bark of the
root of any species of oak was scraped off and boiled and the de-
coction given for bowel trouble, especially in children.

ULMACEAE

Uximus americana L. White Elm, American Elm.
Pe (Dakota), “the elm”; pe cha", “elm wood”; pe chcheka, “ the
common elm.”
Ezho" zho" (Omaha-Ponca), “elm tree,” generic name; ezho" zho"
ska, “ white elm” (ska, white).
Taitsako taka (Pawnee), “ white elm” (taitsako, elm: taka, white).
The wood was used for fuel; forked trees were used for the posts
in building the earth lodge; sections of elm logs were used to make
huge corn mortars, while the pestles were also made of this wood.
Smaller mortars and pestles of this wood were made for grinding
medicines and perfumes. All these uses applied also to the other
species of elm.

Uxmus tHomast Sarg. Rock Elm.

Pe itazipa (Dakota), “bow elm” (itazipa, bow).

Ezho zho" zi (Omaha-Ponca), “ yellow elm ” (27, yellow).

This species and the preceding were both used for saddle trees.
It would seem from the Dakota name that it was formerly used for
making bows, but I have no direct information on that point.

76 USES OF PLANTS BY INDIANS (ETH. ANN. 33

Uxmus rutva Michx. Slippery Elm or Red Elm.

Pe tututupa (Dakota), or in Teton dialect pe tutu"tu "pa.

Ezho" zhide (Omaha-Ponea), “red elm” (zhide, red) or ezhon

chide gthigthide, “ slippery red elm” (qgthigthide, slippery).

Wakidikidik (Winnebago).

Taitsako pahat (Pawnee), “red elm” (pahat, red).

The bark, when weathered for several years till it glows with
phosphorescence in the darkness, was used to catch the spark in fire-
making. The fresh inner bark was boiled and the resulting decoction
was drunk as a laxative. The Omaha used to cook the inner bark
with buffalo fat in rendering out the tallow. They considered that
the bark gave a desirable flavor to the fat and added a preservative
quality, preventing it from becoming rancid. When the rendering
was finished the children always asked for the pieces of cooked
bark, which they-prized as titbits.

The inner bari fiber was also used for making ropes and cords.

Cettis occomEentauis L. Hackberry.

Yamnumnugapi (Dakota), from yamnumnuga, “to crunch,” be-

cause animals crunch its berries.

Gube (Omaha-Ponca).

Wake-warutsh (Winnebago), “raccoon food” (wake, raccoon;

warutsh, food).

Kvaapsit (Pawnee).

Omaha informants say the berries were eaten only casually, but the
Dakota used them as a flavor for meat. For this purpose they
pounded them fine, seeds and all. When they first saw pepper corns
of black pepper, and their use as a condiment when ground, they
likened them to yamnumnugap? and so they called black pepper
yamnumnugapt washichu", “white man’s yamnumnugapi.”

The Pawnee say they pounded the berries fine, added a little fat,
and mixed them with parched corn. They described the combination
as very good.

Moracear

ToxyLon pomirerumM Raf. Osage Orange, Bois d’Are.

Zho"-zi-zhu (Omaha-Ponea), “ yellow-flesh wood” (zho", wood;

zi, yellow; zhu, flesh).

Nakitsku (Pawnee).

This tree was not native to Nebraska, but its wood was used for
making bows wheneyer it could be obtained. It was gotten whenever
southern trips were made into its range, which is in the southern
part of Oklahoma; or it was obtained by gift or barter from the
tribes of that region.

GILMORE] TAXONOMIC LIST OF PLANTS 77

Houmuuvs americana Nutt. Hops.

Cha" iyuwe (Dakota), but this only means twining, @ywwe, on a
tree, cha". Since its European use in connection with yeast has
become known to them they call it walpe onapolye; walipe,
“leaves”; onapolkye, “to puff up.”

Maka" skithe (Omaha-Ponca), “sweet medicine.” Since learning
its leavening use it is called in that connection wiunabihu.

The Teton Dakota steeped the fruits to make a drink to allay
fevers and intestinal pains. A part of the root down 3 or 4 feet in
the ground was called maka" shithe, “sweet medicine”; this was
chewed and applied to wounds, either alone or in combination with
the root of Physalis lanceolata, “ the crooked medicine,” and that of
Anemone canadensis, “the little buffalo medicine.”

URrrIcACEAE

Urtica cractuis Ait. Nettle.

Hanuga-hi or manazhiha-hi (Omaha-Ponca).

The dried stalks were crumpled in the hands or gently pounded
with a stone to free the fiber from the woody part. The first method
was more common. The fiber of nettles was used by Nebraska tribes
for spinning twine and cordage. Rope of this fiber was generally
used to hobble horses. It was also used to weave into cloth. It is
said that cloth of this fiber was used in the Sacred Bundle of the
Tent of War.

Small boys gathered the fiber of this plant to use as wadding for
their popguns.

POLYGON ACEAE

Rumex crispeus L. Sour Dock.

Shiakipi (Dakota).

Among the Teton Dakota the green leaves, crushed, were bound
on boils to draw out the suppuration. The Omaha boiled the leaves
for food as white people do. This plant is naturalized from Europe.

Roumex HYMENOsEPALUS Torr. Canaigre.

Kahts-pirakari or kahts-pilakari (Pawnee), “medicine with many
children” (kahtsu, medicine; pira or pila, children; hari,
many), so called because of the sweet-potato-like roots clustered
at the base of the stem. F

The plant is found indigenous in sandy slopes of river valleys in

the region of the Wichita Mountains of Oklahoma and southwest-
ward. Since the allotment of their lands in severalty, the Wichita
and Pawnee are bringing this plant into cultivation. The root is
used as a remedy for diarrhea.

78 USES OF PLANTS BY INDIANS [ETH. ANN. 33
CHENOPODIACEAE

CueENnopopium atBpuM L. Lamb’s-quarter.

Watsipe toto (Dakota), “ greens” (wakpe, leaves; toto, green).

Kitsarius (Pawnee), “ green juice ” (kits, from kitsu, water, juice;

kidarius, green).

This plant is naturalized from Europe, but appears to be so long
established that the fact of its intreduction seems now unknown to the
Indians. Among the Teton Dakota and the Omaha this plant, while
young and tender, was cooked as pottage. A Pawnee informant
said that it is so used now by the Pawnee, not in former times. It
was used in old times by the Pawnee for painting bows and arrows
green.

NYCTAGINACEAE

ALLIONIA NycTacINEA Michx. Wild Four-o’clock.

Poipie (Dakota).

Maka"-wasek (Omaha-Ponea), “strong medicine” (maka", medi-

cine; wasek, strong).
Kahtstakat (Pawnee), “yellow medicine” (kahts, from hkahtsu,
medicine; takat, yellow). |

By the Teton Dakota the root was boiled to make a decoction to
drink in case of fever. Together with roots of /chinacea angusti-
folia it was boiled to make a vermifuge. The prescription for this
purpose required the drinking of it four nights at bedtime, after
which, at the next evacuation, the worms would be voided. My in-
formant, Fast Horse, of the Oglala tribe, said, “If one has a big
worm [tape worm?], it comes away, too.” Roots of Allionia and
Echinacea were also boiled together to make a remedy for swellings
of arms or legs. When applied, this must always be rubbed down-
ward on the affected parts to reduce the swelling. Among the Ponka
the root was used as a remedy for wounds, for this purpose being
chewed and blown into them. Among the Pawnee the dried root,
ground fine, was applied dry as a remedy for sore mouth in babies.
A decoction of the root was drunk by women after childbirth to
reduce abdominal swelling.

PHYTOLACCACEAE

Puytonacca americana L. *Pokeberry, Inkberry, Redweed.

The plant seems to be unknown to the Omaha, Ponca, and Dakota,
and known only in recent times to the Oto and Pawnee. It is a
late introduction from the Eastern States and is reported only from
the extreme southeastern part of the State. It is rather commen in
Oklahoma, whither the Oto, the Pawnee, and most of the Ponca
have been removed. So far as I was able to learn, they have there

GILMORE] TAXONOMIC LIST OF PLANTS 79

used it only for decorative purposes, a red stain obtained from the
fruit being employed in painting horses and various articles of use
or adornment.

NyMPHAEACEAE

Nymewara ADVENA Soland. Large Yellow Pond Lily.

There is some dialectic variation in the speech of the four tribes
of the Pawnee Nation, and by one tribe, the Skidi, this plant is
called tukawia; by another, the Chawi, it is called tut. It is said the
seeds were cooked for food. This was the information given, but my
informants may have mistaken this plant for the next one.

Netumeo tures (Willd.) Pers. Yellow Lotus, Water Chinquapin.
(Pl. 10.)

Tewape (Dakota).

Tethawe (Omaha-Ponca).

Tsherop (Winnebago).

Tukawiu (Pawnee).

This is one of the plants considered to be invested with mystic
powers. It is an important native food plant, both the seeds and the
tubers being used. The plant was much sought and highly prized by
the tribes living within its range. The hard, nutlike seeds were
cracked and freed of their shells and used with meat for making
soup. The tubers, also, after being peeled, were cut up and cooked
with meat or with hominy. It contributes a delicious flavor, unlike
any other.

The tubers were harvested by wading into the pond to search for
them in the mud with the toes. When found, the mud was worked
away from them with the feet, and they were pulled out by means
of a hooked stick. In shape and general appearance they much re-
semble a small banana. This resemblance between the banana and
Nelumbo tubers was remarked by the Omaha when bananas were first
brought to their notice, so they were called tethawe ega", “ the things
that look like tethawe,” which is now the Omaha name of the banana.
Nelumbo tubers might be cooked when first harvested, but to pre-
serve them for winter use they were dried, being first peeled and
cut into pieces about an inch long. An anatomical feature of the
plant body is a ring of tubular air spaces extending longitudinally
throughout the stem. This characteristic also pertains, naturally,
to the tubers and gives rise to a droll notion in regard to them. The
Indians say that one who is digging these tubers must be careful to
refrain from snufling through the nostrils, else the cavities of the
tubers which he digs will become filled with mud and so spoiled.
Another notion held in regard to this plant is that the tubers gath-
ered by a tall man will be long, while a short man will get short
tubers.

80 USES OF PLANTS BY INDIANS [PTH. ANN. 33

The Osages and other western natives employ the roots [sic] of this plant,

. .. for food, preparing them by boiling. ... Fully ripe, after a considerable
boiling, they become as farinaceous, agreeable, and wholesome a diet as the
potato. ... This same species . .. is everywhere mide use of by the natives,

who collect both the nuts and roots...

RANUNCULACEAE

THALICTRUM DASycARPUM Fisch. & Lall. Meadow Rue. (PI. 11, a.)

Wazimna (Dakota); wazi, “pine”; mna, “to smell.” The name

seems to signify pinelike odor.

Nisude-hi (Omaha-Ponea), “ flute-plant” (nésude, flute).

Skadiks or skariks (Pawnee).

By the Teton Dakota the fruits on approaching maturity in Au-
gust are broken off and stored away for their pleasant odor; for
this purpose they are rubbed and scattered over the clothing. The
Indians say the effect is enhanced by dampness. This, like all other
odors used by Indians, is of slight, evanescent fragrance. They used
no heavy scents; all are delicate and give a suggestion of whole-
someness and of the freedom of the uncontaminated outdoors.

The hollow stems were used by small boys to make toy flutes
(nisude). The Ponca sometimes used the tops as love charms.
Bachelors rubbed the tops with saliva in the palms of the hands to
give them power to capture the affections of the desired maidens by
shaking hands with them. My informants said the plants of this
species growing in Minnesota are better than those found in Ne-
braska.

The Pawnees used this plant as a stimulant for horses, causing
them to snuff it into the nostrils when obliged to make forced
marches of three or four days’ duration in order to escape from
enemies. For this purpose it was administered by rubbing it mixed
with a certain white clay on the muzzle of the horse.

Puusatitia patens (L.) Mill. Pasque Flower, Twin-flower. (PI.
las)

Hokshi-chekpa walicha (Dakota), “Twin-flower.”

As a counter-irritant for use in rheumatism and similar diseases
the leaves of Pulsatilla were crushed and applied to cause a blister.
This information was given by an old man of the Omaha tribe.

The people of the Dakota Nation call this plant by a name in their
language which means “ twin-flower,”’ because usually each plant
bears just two flowering scapes. Indians generally are keenly ob-
servant of all things in nature and reverent toward them. They
have reverence and affection for the living creatures, the birds and
beasts, the trees and shrubs and flowering plants. They have stories
and songs about most of the plant and animal forms of life with

1 Nuttall, Flora of Arkansas Territory, p. 160.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 10

a. TUBERS AND FRUIT OF NELUMBO LUTEA

5 eed

b. NELUMBO LUTEA, HABIT

Photo by courtesy of Department of Botany, lowa State Agricultural College

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GILMorE] TAXONOMIC LIST OF PLANTS $1

which they are acquainted. They believe that each species has its
own particular song which is the expression of its life or soul. The
Song of the Twin-flower here given is translated from the Dakota
language by Dr. A. McG. Beede.
“T wish to encourage the children

Of other flower nations now appearing

All over the face of the earth;

So while they awaken from sleeping

And come up from the heart of the earth

I am standing here old and gray-headed.”

Pulsatilla is the very earliest bloomer in the spring, often appear-
ing before the snow has disappeared. This fact explains the allusion
in the words “I wish to encourage the children of other flower na-
tions.” The entire plant is hairy, and wheu ripe the head is white
and bushy, having the appearance of a full and heavy growth of
very white hair on the head of an old man. This appearance explains
the allusion in “I am standing here gray-headed.”

When an old Dakota first finds one of these flowers in the spring-
time it reminds him of his childhood, when he wandered over the
prairie hills at play, as free from care and sorrow as the flowers and
the birds. He sits down near the flower on the lap of Mother Earth,
takes out his pipe and fills it with tobacco. Then he reverently holds
the pipe toward the earth, then toward the sky, then toward the north,
the east, the south, and the west. After this act of silent invocation
he smokes. While he smokes he meditates upon all the changing
scenes of his lifetime, his joys and sorrows, his hopes, his accom-
plishments, his disappointments, and the guidance which unseen
powers have given him in bringing him thus far on the way, and he
is encouraged to believe that he will be guided to the end. After
finishing his pipe he rises and plucks the flower and carries it home
to show his grandchildren, singing as he goes, The Song of the Twin-
flower, which he learned as 4 child, and which he now in turn teaches
to his grandchildren.

The mention of “ reverently holding the pipe” is an allusion to a
religious act of worship. Tobacco was used ceremonially and the
pipe might be considered as a kind of censer. The earth was poeti-
cally and mystically regarded as Mother of all living things, all
plants, animals, and human beings. The Sky likewise was regarded
as Father, and the Cardinal Points as the Paths of approach of the
Powers which are all about us in this world. Man is not apart from

nor above nature but a part of nature. All good things in nature
are his friends and kindred, and he should be friendly with all.

In the Omaha tribe, and probably also in other tribes, Pulsatilla
had medicinal use. In cases of rheumatism and neuralgia the fresh

74936°—19—33 prH——6

82 USES OF PLANTS BY INDIANS [ETH. ANN. 33

leaves of Pulsatilla are crushed and applied on the surface over the
affected part. It acts as a counter-irritant and will cause a blister
if left on the skin long enough. My informant especially cautioned
me that it must be used externally, as it would be dangerous and
harmful if taken internally.

ANEMONE CANADENSIS L. Anemone, Wind Flower.

Te-zhinga-maka" (Omaha-Ponca), “little buffalo medicine” (‘e,

buffalo; zhinga, little; maka", medicine).

The root of this plant was one of the most highly esteemed medi-
cines of the Omaha and Ponca. I do not know whether its value
rested more on real physiological effects or on the great mystic powers
ascribed to it; however, it was prescribed for a great many ills, es-
pécially wounds, by those who had the right to use it. It was ap-
plied externally and taken internally, and was used also as a wash for
sores affecting the eyes or other parts. The right to use this plant be-
longed to the medicine-men of the Ze-sinde gens. To touch a buffalo
calf was taboo to this gens; hence the name of the plant, “little buf-
falo medicine.” My informant, Amos Walker, of the Ze-sinde gens
of the Omaha, said that the plant is male and female, and that the
flower of the male plant is white and that of the female red.

ANEMONE cytinprica A. Gray. Long-fruited Anemone.

Wathibaba-maka" (Ponca), “ playing-card medicine.”

Some Ponca used the woolly fruits of this plant as charms for
good luck in playing cards, rubbing their hands in the smoke arising
from burning some of the fruits and also rubbing the palms with the
chewed fruit when about to engage in a card game.

Aqumercra canapeNsIs L. Wild Columbine. (PI. 11, 0.)

Inubtho"-kithe-sabe-hi (Omaha-Ponca), “black perfume plant”

(inubtho", fragrant; kithe, to make, to cause; sabe, black; hi,
plant).

Skalikatit or Skarikatit (Pawnee), “black-seed” (skali, seed;

katit, black).

The seeds are used by Omaha and Ponca, especially by bachelors,
asa perfume. To obtain the odor the seeds must be crushed, a result
which the Omaha commonly get by chewing to a paste. This paste is
spread among the clothes, where its fragrant quality persists for a
jong time, being perceptible whenever dampened by dew or rain.
Among the Pawnee the seeds are used for perfume and as a love
charm. In cases of fever and headache the seeds are crushed with an
elm-wood pestle in a mortar hollowed out of the same wood. The
resulting powder is put into hot water and the infusion is drunk.
For use as a love charm the pulverized seeds are rubbed in the palms,
and the suitor contrives to shake hands with the desired one, whose

GILMORE] TAXONOMIC LIST OF PLANTS 83

fancy it is expected will thus be captivated. Omaha girls were
somewhat in fear of the plant because of this supposed property and
because, further, too strong a whiff of the odor was thought to cause
nosebleed. On this account Omaha swains took delight in playfully
frightening girls by suddenly thrusting some of the powder under
their noses.

BerBeERIDACEAE

CaAULOPHYLLUM THALICTROIDES (L.) Michx. Blue Cohosh.
Zhu-nakada-tanga-maka" (Omaha-Ponca), “ great fever medicine ”
(zhu, flesh; nakada, hot; tanga, great; maka", medicine). Zhu-
nakada, literally “ hot flesh,” is the Omaha word for “ fever.”
A decoction of the root was given for fevers. This was considered.
the most effectual febrifuge known to the Omaha.

MENISPERMACEAE

MENISPERMUM CANADENSE L. Moonseed.

Ingthahe-hazi-i-ta (Omaha-Ponea), “thunder grapes” (ingthahe,
thunder; hazi, grapes; 7, they; ta, genitive sign). Another name
of Menispermum among the Ponca is Wanatha hazi etai,
“ orapes of the ghosts” (wanatha, ghost or shade or spirit; hazi,
grapes).

Wanaghi-haz (Winnebago), literally “ ghost fruit,” or “fruit of
the ghosts or shades.”

Hakakut (Pawnee), “sore mouth” (Aakau, mouth; kut, sore).

The several tribal names suggest the sinister character ascribed to

this plant.
PAPAVERACEAE

SANGUINARIA CANADENSIS L. Bloodroot. (PI. 12.)

Minigathe maka" wau (Omaha-Ponca), “ woman-seeking medi-
cine.”

Pek-hishuji (Winnebago). The first member of this compound
means “ gourd,” and the second, “ to make red”; hence the name
probably refers to the use of the plant for reddening gourd
rattles in ancient time, though I have never seen a rattle of
modern time so decorated.

For the purpose of dyeing red the root of this plant was boiled
with the materials to be dyed. For a love charm a bachelor of the
Ponca after rubbing some of the root on his palm would contrive
to shake hands with a girl he desired; if successful in this, after five
or six days she would be found willing to marry him. From this use
comes the Omaha-Ponca name of the plant. It was said to be used
sometimes also as a decorative skin stain.

84 USES OF PLANTS BY INDIANS [BTH. ANN. 33
SAXIFRAGACEAE

GROSSULARIA MISSOURIENSIS (Nutt.) Cov. & Britt. Wild Gooseberry.

Wichakdeshka (Dakota); Yankton, dialect, wichaknasha; Teton

dialect, wichagnashka.

Pezi (Omaha-Ponca).

Haz-ponoponokh (Winnebago), “crunching fruit” (haz, fruit;

ponoponok, crunching).

The berries of this plant were used for food in their season. A
children’s game was described among the Omaha in which the chil-
dren were counted off into two parties. Each individual of both
parties was given a portion of the acidulous unripe berries which
he must try to eat without making a grimace. The party less suc-
cessful in this ordeal had to pay a forfeit to the victorious party
or to execute some performance for their amusement, as for instance,
to hop on one foot so many steps backward.

Rives amertcanum Mill. Wild Black Currant.
Chap-ta-haza (Dakota), “ Beaver-berries,” from chapa-ta-haza
(chapa, beaver; haza, berry; ta, genitive sign).
Pezi nuga (Omaha-Ponea) ; pezi, gooseberry ; nuga, male.
An Omaha said a strong decoction of the root is made to drink as
a remedy for kidney trouble. A Winnebago medicine-man said the
root of the black currant is used by women for uterine trouble.

RosacEAE

FRAGARIA VIRGINIANA Duchesne and F. Amertcana (Porter) Britton.
Wild Strawberry. (Pl. 13, a.)

Wazhushtecha (Dakota). Wazhushtecha-hu, strawberry vine.
Wazhushtecha sha wi, the moon when strawberries are ripe,
June (sha, red; w7, moon, lunar month).

Bashte (Omaha-Ponea). Bashte-hi, strawberry vine.

Haz-shchek (Winnebago) ; haz, fruit.

Aparu-huradu (Pawnee), “ ground berry” (aparu, berry; huradu,
ground).

All the tribes were fond of wild strawberries and luxuriated in
them in their season, but the fruit was too juicy to lend itself to
the process of drying successfully for winter use. Young leaves
of the plant were infused to make a beverage like tea by the Winne-
bago.

Russ occrentaris L. and R. srrrcosus Michx. Wild Raspberry.
Taka*hecha (Dakota). Taka™hecha-hu, raspberry bush.
Agthamu"gi (Omaha-Ponea).

Aparu (Pawnee), berry.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 12

a. SANGUINARIA CANADENSIS, DETAIL

Photo by courtesy of Public Museum of Milwaukee,
Department of Education

b. SANGUINARIA CANADENSIS, HABIT

Photo by courtesy of Department of Botany, lowa State Agricultural College

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 13

a. WILD STRAWBERRY NATIVE TO WILD MEADOWS OF NEBRASKA

b. WOMAN OF THE TETON DAKOTA POUNDING CHOKECHERRIES (PADUS MELANO-
CARPA) TO DRY FOR WINTER SUPPLY

GILMORE] TAXONOMIC LIST Ol PLANTS 85

All the tribes used the berries for food, fresh in season, or dried
for winter use. Young leaves were steeped to make a drink like tea.
According to an Omaha informant the root was used medicinally,
for which purpose it was scraped and boiled; the decoction was
given to children as a remedy for bowel trouble.
Rosa pratrncota Greene. Wild Rose.

Orzhirzhittha (Dakota). Onzhi"zhintha-hu, rosebush.

Wazhide (Omaha-Ponca).

Pahatu (Pawnee), red.

There are several species of Hosa in Nebraska, the most common
being Rosa pratincola, the prairie rose. The fruits are sometimes
eaten to tide over a period of food scarcity. An amusing instance
is told in the Omaha tribe of a time when the people were without
food and no game could be found. A man had been laboriously
gathering for his family a supply of wild rose fruits. After he
had a considerable quantity a man was seen returning with the
carcass of a deer he had been able to kill. At once the rose fruits
were cast away in prospect of the much more excellent food which
had come to hand.

It is said that the inner bark of the rosebush was sometimes used
for smoking, either alone or mixed with tobacco.

The Pawnee say there are sometimes large, brown hypertrophied
growths on the lower part of the stems, which, when charred by
fire and crushed to powder, were applied as a dressing to burns.

A wash for inflammation of the eyes was made by steeping the
fruits, according to information from the Omaha.

THE SONG OF THE WILD ROSE

The following is a translation into English out of the Dakota
language, by Dr. A. McG. Beede, of an old Dakota song. The people
of the Dakota Nation, and other tribes also, think of the various
plant and animal species as having each their own songs. With these
people music—song—is an expression of the soul and not a mere
artistic exercise.

Where the word “ Mother ” appears in the following song it refers
to * Mother Earth,” a living, conscious, holy being in Indian thought.
The earth was truly venerated and loved by these people, who con-
sidered themselves not as owners or potential owners of any part of
the land, but as being owned by the land. which gave them birth and
which supplied their physical needs from her bounty and satisfied
their love of the beautiful by the beauty of her face in the landscape.

The trilled musical syllables at the close of the last two stanzas
express the spontaneous joy which comes to a person who has “ life-
appreciation of Holy Earth.”

86 USES OF PLANTS BY INDIANS [ETH. ANN. 33

The first stanza is an introduction by the narrator, not a part of
the “ Song of the Wild Rose.” The remaining stanzas are the song
of the Wild Rose itself:

I will tell you of something I know,
And you can’t half imagine how good;
It’s the song of wild roses that grow
In the land the Dakota-folk love.

From the heart of the Mother we come,

The kind Mother of Life and of All;

And if ever you think she is dumb,

You should know that flowers are her songs.

And all creatures that live are her songs,
And all creatures that die are her songs,
And the winds blowing by are her songs,
And she wants you to sing all her songs.

Like the purple in Daydawn we come,
And our hearts are so brimful of joy
That whene’er we're not singing we hum
Ti-li-li-li-i, ta-la-la-loo, ta-la-la-loo!

When a maiden is ready to wed

Pin wild roses all over her dress,

And a rose in the hair of her head;

Put new moccasins onto her feet.

Then the heart of the Mother will give
Her the songs of her own heart to sing;
And she’ll sing all the moons she may live,
Ti-li-li-li-i, ta-la-la-loo, ta-la-la-loo!

Matws tornsts (Wood) Britton. Crab Apple.

She (Omaha-Ponca); she-hi, apple tree; she-zho", applewood;

she-si, apple seed.

The crab apple was used for food by tribes having acquaint-
ance with it. The Omaha and Ponca knew it as being found in the
Oto country along the Missouri, in the southeast part of Nebraska.
‘They said it is found nowhere west or north of this except on one
creek which flows into the Niobrara River from the south at about
the line between Knox and Holt Counties, 150 or 200 miles from any
other locality where trees of this species grow. This would seem
to indicate a case of plant migration by human agency, the occa-
sion being the dropping in camp, in some place favorable for germi-
nation, of fruits or viable seeds brought with camp supplies ob-
tained on a trip of considerable but not at all unusual distance to
the southeast.

GILMORE] TAXONOMIC LIST OF PLANTS 87

Crararcus curysocarpa Ashe. Red Haw.

Taspa" (Omaha-Ponca).

Chosa"wa (Winnebago).

The fruit was sometimes used for food, but commonly resorted to
only as a famine food.

AMELANCHIER ALNIFOLIA Nutt. June Berry, Saskatoon.

Wipazuka (Dakota).

Zho" Kuda (Omaha-Ponea), “gray wood” (zho", wood; Huda,

gray).

Haz-shutsh (Winnebago), “ red-fruit” (haz, fruit; shutsh, red).

The berries were prized for food. The wood was used for arrow-
shafts."

Prunus AMERICANA Marsh. Wild Plum.
Ka'te (Dakota), plum; ka"te-hu, plum tree.
‘Kade (Omaha-Ponea), plum; ka"de-hi, plum tree.

Kantsh (Winnebago), plum; hantsh-hu, plum tree.

Niwaharit (Pawnee), plum; Niwaharit-nahaapi, plum tree.

The fruit was highly valued for food, being eaten fresh and raw or
cooked as a sauce. The plums were also dried for winter use. They
were commonly pitted before drying, but the Pawnee say they often
dried them without removing the pits.

The Omaha planted their corn, beans, and squashes when the wild
plum came into bloom. ,

A broom for sweeping the floor of the dwelling was made by bind-
ing together a bundle of plum twigs. The plum was used because of
its toughness and elasticity.

An Omaha informant said the bark of the roots, after being scraped
and boiled, was applied as a remedy for abrasions of the skin.

Sprouts or young growths of the wild plum are used by the Teton
Dakota in making wau"ya"pi. This is an offering or form of prayer,
consisting of a wand, made preferably from a wild-plum sprout
peeled and painted. If painted, the design and color are emblematic.
Near the top of the wand is fastened the offering proper, which may
take the form of anything acceptable to the higher powers. A small
quantity of smoking tobacco is an article very frequently used for this
purpose. No matter how small a portion of the thing offered is used,
the immaterial self of the substance is in it. Such. offerings are
usually made for the benefit of the sick. Wauw"ya"pi may be made by
anyone at any place if done with appropriate ceremony, but the most
efficient procedure is to prepare an altar with due ceremony and there
set the wand upright with the offering fastened near the top.’

1 Riggs, Dakota-English Dictionary, p. 578.

2For this information I am indebted to Dr. J. R. Walker, Government physician at
Pine Ridge, who has made very careful research into the ceremonies and rituals of the
Teton Dakota.

88 USES OF PLANTS BY INDIANS [ETH. ANN. 33

- Prunus Besseyt Bailey. Sand Cherry. (PI. 14.)

Aoryeyapi (Dakota). The Dakota have a saying that if a person
gathering cherries moves in the direction contrary to the wind
the cherries will be good and sweet, but on the other hand if he
moves with the wind the cherries will be bitter and astringent.
The name ao"yeyap? expresses this idea.

No"pa tanga (Omaha-Ponea), “ big cherry.”

Kus apaaru kaaruts (Pawnee), “cherry-sitting-hiding” (hus,
cherry; apaaru, sitting; haaruts, hiding).

Prunus besseyi is peculiarly indigenous to the Sand Hills area of
Nebraska. The bush is small, varying in height as the situation is
favorable or unfavorable to vegetation from less than 1 foot to 24 feet.
The fruits are purplish-black, 1.5 to 2 em. in diameter, exceedingly
prolific and varying in quality, some bushes bearing fruit somewhat
astringent, others very desirable fruit.

All the tribes to whom the sand cherries were accessible made full
use of them for food as a sauce during their fruiting season and
laid up stores of them for winter by drying as they did the plums.
An Oglala said these cherries produce fruit only about once in two
years.

Papus NANA (Du Roi) Roemer. Chokecherry. (PI. 13, 0.)

Chapa (Dakota).

No"pa-zhinga (Omaha-Ponea), “ little cherry ” (no"pa, cherry).

Nahaapi nakaaruts (Pawnee) ; nakaaruts, cherry; nahaapi, tree.

The fruit has long been highly esteemed by all the tribes for food;
certain preparations of the cherry enter into old-time ceremonies and
rituals as well as into stories, songs, and myths. In certain sleight-
of-hand performances also this cherry is used. It is so highly
esteemed as to give the name to one of the months in the Dakota
calendar, Ca"pa-sapa-wi, “ The-month-when-cherries-are-ripe ” (lit-
erally, “ black-cherry-moon”).

The fruit was eaten with much relish while fresh and was dried
for winter use. The gathering and drying of the fruit made a busy
time for the community. The people traveled for miles to the
streams along which the cherries were abundant. There they went
into camp and worked at preparing the cherries while they lasted, or
until as great a quantity as was required could be made ready. Since
the pits were too small to be removed by any practicable method, the
cherries were pounded to a pulp, pits and all, on stone mortars, and
after being shaped into small cakes, were laid out to dry in the sun.
A favorite food preparation of the Dakota is wasna, 1 sort of pem-
mican or mincemeat, the dried cherry forming the fruit for the com-
pound.

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GILMORE] TAXONOMIC LIST OF PLANTS 89

The time of the Sun dance was determined by the ripening of the
cherries. It began on the first day of the full moon when cherries
were ripe.

A Ponca informant told me that a decoction of cherry bark was
taken as a remedy for diarrhea. Another informant of the same
tribe said a spoonful of the dried fruit very finely pulverized and
infused in hot water was used as a remedy for the same ailment.

According to the latter informant, trappers washed their traps
with water in which this bark had been boiled, in order to remove
the scent of former captures.

Papus metanocarpa (A. Nelson) Shafer. Western Chokecherry.
All that has just been said of Padus nana as to tribal nomenclature
and uses applies equally to Padus melanocarpa.

Mrmosacear

Acuan mutnogensis (Michx.) Kuntze. Spider-bean.

Pezhe gasatho (Omaha-Ponca), “ rattle plant” (pezhe, plant, herb;
gasatho, rattle).

Atikatsatsiks (Pawnee), “ spider-bean ” (atit, bean ; tsatsiks, spider ;
ka, inside). Ati(t)ka tsatsiks. Another name given is kifsit-
saris, “ bad plant ” (Xéts, plant; tsitsaris, bad). its? (ts?) tsaris.

When mature the entire plant with its persistent pods filled with

seeds was used by little boys as a rattle when in play they mimicked
some of the dances of their people.

The Pawnee boiled the leaves to make a wash to apply as a remedy

for the itch.
CAESALPINIACEAE

Gymwnoctapus prorca (l.) Koch. Kentucky Coffee-tree.

Waknakna (Dakota).

Na"tita (Omaha-Ponca).

Na*pashakanak (Winnebago).

Tohuts (Pawnee).

By the Dakota, Omaha, Ponca, Winnebago, and Oto the bark of
the root after being dried was pulverized and, mixed with water,
was used as a rectal injection in obstinate cases of constipation, for
which it was said to be an infallible remedy. This remedy was used
from time immemorial. Prior to contact with Europeans the In-
dians made their own syringes, an animal bladder being used for the
bulb and a hollow cylindrical bone, as the leg bone of a prairie
chicken, turkey, goose, or other bird, was used for the tube. The
bulb was attached to the tube by sinew wrapping. When the pul-
verized bark was put into the water its action was carefully noted

90 USES OF PLANTS BY INDIANS [PTH. ANN. 33

for a prognostication of the event. If the powder on touching the
water started to circle to the right and gradually mixed, it was
taken as a good omen for the recovery of the patient, but if the
powder settled quietly to the bottom it was considered an omen of
his death. A man whom I knew in the Omaha tribe had a very
bad case of constipation, which was finally given up by the medicine-
men of his own tribe, as they could not relieve him. A medicine-man
of the Oto tribe, who was there on a yisit, let it be known that he
could cure the case, so he was called in and had complete success.
One of the Omaha medicine-men, White Horse, wondered at the re-
markable efficacy of the Oto remedy, purchased the secret, paying the
Oto a horse and $20 in money for knowledge of this remedy, which
he afterward imparted to me.

The pulverized bark of the root, if snuffed, causes uncontrollable
sneezing. On account of this property it was used as a stimulant
when a person was very sick and seemed near death, as in case of
coma. If on application of the powder to the nostrils, the patient
did not sneeze it was thought there was no hope of recovery. A
Pawnee informed me that the dry pod of the plant, pulverized, was
used to cause sneezing for the relief of headache.

The Pawnee roast the seeds and eat them as chestnuts are eaten.
A Winnebago said the seeds after being pounded in a mortar were
used for food.

A Santee Dakota said the root was sometimes used for making
a black dye, but that it was not very good for the purpose. It was
used as a dyestuff together with some component unknown to my in-
formant. He said the root alone was without value.

The seeds are used by the Winnebago for counters or tally checks
in gambling.

FABACEAE

Baptista BracTeATA Ell. Black Rattle-pod.

Tdika shande nuga (Omaha-Ponca), male tdika shande; also

called gasatho, rattle.

Pira-kari (Pawnee) ; from pirau, children, and kari, many.

The first Omaha-Ponca name refers to the likeness of this plant
to Geoprumnon crassicarpum, which is called tdika shande. Baptisia,
being classed as similar to that but larger, more robust, is considered
male. The second name refers to its use by small boys as a rattle
when they play at having a dance. Pawnee boys used it in the same
way. The Pawnee after pulverizing the seeds mixed the powder
with buffalo fat as an ointment to be applied for colic by rubbing
on the abdomen.

GILMoRE] TAXONOMIC LIST OF PLANTS 91

THERMOPSIS RHOMBIFOLIA (Nutt.) Richards. False Lupine.

The flowers of this plant were dried and used in fumigation, that
is, the smoke treatment, for rheumatism, especially inflammatory
rheumatism. The method of treatment was to mix the dried flowers
with hair and burn the mixture under the affected part, confining the
smoke and heat with a close covering. It is said that this treatment,
with this remedy, reduces the swelling at once and relieves the pain.

Meninorus avpa Desvy. and M. orricrnatis (L.) Lam. Sweet Clover.

Wacha"ga iyechecha (Dakota); wacha"ga, sweet grass; iye-

checha, similar.

Melilotus was introduced by the Europeans. Seeds probably
came from the east among the effects of the early missionaries,
for it first appeared on the grounds of the Presbyterian mission on
the Omaha Reservation, which was built in 1856-57. The Omaha
coming to the mission observed this plant, which had newly found its
way into their country with the white men. They noticed that its
odor resembled that of Savastana odorata, which they venerated and
used in religious ceremonies. They were pleased with its odor, and
since it was perhaps associated in their minds with the white man’s
religion, owing to its presence at the mission, they gathered bunches
of it because of its pleasant odor, which they carried to their homes.
Thus the plant was scattered all over the reservation, so that there
is a more thorough distribution of it in that county than in any
other part of the State that I have seen. The Dakota also are fond
of the plant’s odor and liken it to Savastana, hence their name for it.
They gather bunches of Melilotus to hang in their houses for its
fragrance.

ASTRAGALUS CAROLINIANA L. Little Rattle-pod.

Ga'satho (Omaha-Ponca), rattle.

When ripe, the stalks with their persistent pods were used by
small boys as rattles in the games in which they imitated the tribal
dances, hence the Omaha-Ponca name signifying “ rattle.” No other
use was found for the plant except to serve as a kind of mat on which
was laid the fresh meat in course of butchering on the prairie, so that
it might be kept free from dirt.

A decoction of the root was used among the Teton Dakota as a
febrifuge for children.

GEOPRUMNON crRAssicarPpuM (Nutt.) Rydb. Buffalo Pea, Ground
Plum.
Pte ta wote (Dakota), “ food of buffalo” (pte, buffalo; wote, food;
ta, genitive sign).

92 USES OF PLANTS BY INDIANS [PTH. ANN. 33

Tdika shande (Omaha-Ponea) ; called also wamide wenigthe from
a use that was made of it. Wamide means “ seed” in the sense
of seed designed for planting; wenigthe means “something to
go with.” 4
Both the Omaha and the Ponca in the old time gathered the fruits
of this plant, which are formed just at corn-planting time, and put
them with the seed corn. When the latter had been sufficiently soaked
it was planted, but the Geoprumnon fruits were thrown away. No
one in either tribe was able to give any reason for this process in
preparation of seed corn; it was an old custom, the origin of which
is forgotten.
Astragalus crassicarpus * was used as an ingredient of “ war medi-
cine” among the Chippewa.”

Guycyruiza LepIpoTA Pursh. Wild Licorice.

Wi-nawizi (Dakota), “ jealous woman” (wi, woman; nawizi, jeal-
ous). The name is said to have been suggested by the burs, which
“take hold of a man.”

Pithahatusakitstsuhast (Pawnee).

Among the Teton Dakota a poultice for sore backs of horses is made
by chewing the leaves of this plant. For toothache the sufferer chews
the root and holds it in the mouth. The Indians say, “It tastes
strong at first, but after a while it becomes sweet.” The leaves after
being steeped are applied to the ears for earache. A decoction of the
root is used as a remedy for fever in children.

PsoRALEA ESCULENTA Pursh. Pomme Blanche, Tipsin. (Pls. 15, 16.)

Tipsi” or tipsi na (Dakota) ; Teton dialect, tipsinla.

Nugthe (Omaha-Ponca).

Tdokewiht (Winnebago), hungry.

Patsuroka (Pawnee).

The roots of this plant were an important item of the vegetal
diet of the Plains tribes. After being peeled they were eaten fresh
and uncooked or cooked. Large quantities were dug in June and
early July to peel and dry for the winter food supply. The peeled
roots were braided in long strings by the tapering ends, as strings of
garlic are braided by the tops.

The root is both farinaceous and glutinous and seems to form a
desirable food with a palatable taste characteristic of the bean
family.

Growing as this plant does, on the dry prairie in hard ground,
with the enlargement of the root several inches below the surface, it

1 4stralagus crassicarpus is a synonym of Geoprumnon crassicarpum (Nutt.) Rydb.

2 Densmore, Chippewa Music—II, pp. 63-64.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 15

—

HERBARIUM SPECIMEN OF PSORALEA ESCULENTA (TIPSIN)

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 16

A STRING OF ROOTS OF PSORALEA ESCULENTA (TIPSIN) PEELED AND DRIED TO
PRESERVE FOR WINTER SUPPLY

GILMoRE] TAXONOMIC LIST OF PLANTS 93

is no easy task to harvest it. The top of the plant breaks off soon
after ripening, and is blown away, scattering the seed, so the root
is then almost impossible to find; hence it must be harvested before
. this occurs. The top usually has three or four branches. When the
women and children go to the prairie to gather the roots, on finding a
plant the mother tells the children to note the directions in which the
several branches point and a child is sent in the general direction of
each branch to look for another plant, for they say the plants “ point
to each other.”
Psoralea has so important a place in the economy of the Plains
tribes and has had for so long a time that it enters into their my-
thology, folklore, stories, and sleight-of-hand tricks. In the story
“How the Big Turtle Went to War,” as told in the Omaha tribe, it
is said Viug¢evha"-biama, “Psoralea he cooked, they say.”

PsoraLeA TENUIFLORA Pursh.

Tichanicha-hu (Dakota).

Among the Teton Dakota the root of this plant, with two others,
the names of which I did not learn, were boiled together to make a
inedicine to be taken for consumption. Garlands were made of the
tops, to be worn for protection of the head from the heat of the sun
on very hot days.

Amorrua Fruticosa L. False Indigo, Water-string.

Kitsuhast (Pawnee), “ water-string” (Aitsw, water; hastu, string).

Whenever possible to obtain it near the butchering place on the
prairie this shrub was gathered and spread on the ground to receive
the pieces of meat and keep them clean.

AMORPHA CANESCENS Pursh. Lead Plant, Shoestring.

Te-hu"to-hi (Omaha-Poncea), “ butfalo bellow plant” (te, buffalo ;
hurto", bellow; hi, plant). The name is derived from the fact
that its time of blooming is synchronous with the rutting season
of the buffalo, being at that season the dominant blooming plant
on the prairie of the loess plain.

The stems were used by the Omaha for a moxa in cases of neuralgia
and rheumatism. The small stems, broken in short pieces, were at-
tached to the skin by moistening one end with the tongue. Then they
were fired and allowed to burn down to the skin.

An Oglala said the leaves were sometimes used to make a hot
drink like tea, and sometimes for smoking material. For this pur-
pose after being dried and crushed fine they were mixed with a little
buffalo fat.

1Dorsey Zegiha Language, p. 256.

94 USES OF PLANTS BY INDIANS [ETH, ANN. 33

ParosELA ENNEANDRA (Nutt.) Britton.

An Oglala informant said the root is poisonous. From her de-
scription of the effect I should think it must have a strong narcotic
effect. I have not had an analysis made.

Parosena AuREA (Nutt.) Britton.

Pezhuta pa (Dakota), “bitter medicine.”

An Oglala informant said a decoction of the leaves is used for
colic and dysentery.

PETALOSTEMUM PURPUREUM (Vent.) Rydb. Purple Prairie Clover,
and P. canpipum (Willd.) Michx. White Prairie Clover.

Wanakcha (Dakota).

Maka" skithe (Omaha-Ponca). This is one of several plants desig-
nated as maka" skithe, sweet medicine.

Kiha piliwus hawastat (Pawnee), “broom weed” (kiha, room;
piliwus, broom; hawastatu, weed). Also called hahts-pidipatshi,
small medicine (kahts, from kahtsu).

An Oglala said the leaves were sometimes used to make a drink
like tea. According to a Ponca its root was commonly chewed for
its pleasant taste. Although the word maka” appears in the Omaha-
Ponca name, no medicinal property is ascribed to this plant by these
tribes so far as known now. The Pawnee name is derived from the
use of the tough, elastic stems to make brooms with which to sweep
the lodge. The plant was used in old time by the Pawnee as a
prophylactic. The root, pulverized, was put into hot water. After
the sediment settled the water was drunk to keep away disease. ‘The
sediment was collected in the drinking-shell and carried to a place
prepared for it, where it was buried with respect.

Guycine apros L. Indian Potato. (PI. 17.)

Mdo (Dakota) ; Teton dialect, blo.

Nu (Omaha-Ponea).

Tdo (Winnebago).

Its (Pawnee).

The tubers of this plant were utilized for food by all the tribes
within its range. These tubers were prepared by boiling or roasting.

Apios tuberosa on the banks of streams and in alluvial bottoms is the true
pomme de terre of the French and the modo or wild potato of the Sioux Indians,
and is extensively used as an article of diet. . . . It should not be con-
founded with the ground-nut of the South.’

Many explorers and early settlers of Virginia, New England, and
New France make mention of the use of Aptos? as food by the

1 Report of Commissioner of Agriculture for 1870, p. 405.
2 Glycine apios was formerly called Apios tuberosa.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 17

a. VINE OF GLYCINE APIOS (APIOS TUBEROSA)

Photo by courtesy of Public Museum of Milwaukee, Department of
Education

b. TUBERS OF GLYCINE APIOS (APIOS TUBEROSA)

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 18

a. SPECIMEN OF FALCATA COMOSA SHOWING LEAFY BRANCHES WITH PODS AND SMALL
BEANS PRODUCED THEREON FROM THE PETALIFEROUS FLOWERS. 0b. LEAFLESS BRANCHES
WHICH GROW PROSTRATE ON GROUND SURFACE AND FOUR LARGE BEANS PRODUCED
UNDERGROUND FROM THE CLEISTOGAMOUS FLOWERS OF THESE LEAFLESS BRANCHES

GILMoRE] TAXONOMIC LIST OF PLANTS 95

various tribes in eastern North America, and not a few Europeans
had recourse to it also for food.
Le Jeune says:

They eat, besides, roots, such as bulbs of the red lily; a root which has a
taste of licorice; another that our French people call ‘ Rosary,” because it is
distinguished by tubers in the form of beads: and some others.*

The Swedish botanist, Peter Kalm, in his journal, says:

Hopniss, or Hapniss, was the Indian name of a wild plant which they ate... .
The Swedes in New Jersey and Pennsylvania still call it by that name, and
it grows in the meadows in a good soil. The roots resemble potatoes, and
were boiled by the Indians. ... Mr. Bartram told me that the Indians who
live farther in the country do not only eat these roots, which are equal in good-
ness to potatoes, but likewise take the peas which lie in the pods of this plant
and prepare them like common peas.”

Faxcata comosa (L.) Kuntze. Ground Bean. (PI. 18.)

Maka ta omnicha, or o"mnicha (Dakota), “ ground beans” (maka,

ground; o"mnicha, beans; ta, genitive sign).

Hibthi-abe (Omaha-Ponca), “ beans”; Ai"bthi-hi, bean-vines.

Honi"k-boije (Winnebago).

Ati-kuraru (Pawnee), “ground beans” (atit, beans; wraru, earth,

ground; kw, genitive sign).

Falcata grows in dense masses of vines over shrubbery and other
vegetation in some places, especially along banks and the edge of
timber. It forms two kinds of branches, bearing two forms of
flower, producing two different fruits. Leafy branches climb over
shrubbery, but under these, in the shade, prostrate on the earth, start-
ing out from the base of the main stem, are leafless, colorless branches,
forming a network on the surface of the ground. On these colorless,
leafless branches cleistogamous flowers form, which push into the
earth and there produce each a single bean closely invested by a
membranaceous pod. Each of these beans is from 10 mm. to 17 mm.
in long diameter, inclined to be flat, and from 5 mm. to 10 mm.
thick. The pods produced from the petaliferous flowers on the
upper leafy branches of the vine are 15 mm. to 20 mm. long and
contain four or five dark, mottled, diminutive beans about the size
of lentils. No attention is paid to these small aerial beans, but the
large subterranean beans were eagerly sought as an article of food
on account of their agreeable taste and nutritive value. From these
qualities they contributed a considerable item in the dietary of the
tribes.

Voles dig them and garner them into hoards of a pint or more in
a place, and the women would appropriate part of the voles’ stores

1Le Jeune’s ‘ Relation,” in Jesuit Relations, vol. v1, p. 273.
2Peter Kalm, Travels into North America, vol. I, pp. 385-386.

96 USES OF PLANTS BY INDIANS [ETH. ANN. 33

to their own use. The Pawnee formerly inhabited the larger part
of Nebraska with villages on the Loup, the Platte, and the Republi-
can Rivers. In 1875 they were removed to Oklahoma, where they
now reside. Mr. James R. Murie, of that tribe, in a letter of Febru-
ary 15, 1913, referring to F’alcata, a specimen of which had been sent
him, said:

We call them atikuwraru ... The Pawnees ate them. In winter time the
women robbed rats’ [sic] nests and got big piles of them. Nowadays when
the old women see lima beans they say they look like atikwraru in Nebraska.

Women of the Dakota Nation say that they not only obtained the
large ground beans of this species, garnered by the voles, or “ wood
mice,” but that they also gathered the small beans produced in large
quantity on the upper branches of the same vine from petaliferous
blossoms. These smaller beans are about the size of lentils. The
large beans, produced from cleistogamous blossoms on_ leafless
branches spreading prostrate on the ground under the cover of the
upper branches, are about the size of lima beans, and grow at a depth
of an inch or two under the ground in the manner of peanuts.

A most interesting item in connection with this food plant is the
statement of the women of the Dakota Nation that they did not take
the ground beans from the stores of the little animals which gathered
them without giving some food commodity in return. They said it
was their custom to carry a bag of corn with them when they went
to look for the stores of beans gathered by the animals, and when
they took out any beans they put in place of them an equal quantity
of corn. They say that sometimes instead of corn they put some
other form of food acceptable to the animals in place of the beans
which they took away. They said it would be wicked to steal from
the animals, but they thought that a fair exchange was not robbery.

Father De Smet, the indefatigable Christian missionary to the
tribes of the upper Missouri, makes the following observation:

The earth pea and bean are also delicious and nourishing roots [sic], found
commonly in low and alluvial lands. The above-named roots form a con-
siderable portion of the sustenance of these Indians during winter. They
seek them in the places where the mice and other little animals, in particular
the ground-squirrel, have piled them in heaps. *

Puasrouus vunearis L. Garden Bean.

O'mnicha (Dakota).

Hinbthinge (Omaha-Ponca).

FHoni*k (Winnebago).

Atit (Pawnee).

The garden bean in all its many types and varieties is one of the
gifts of the Western Hemisphere to the world. The earliest ex-

1De Smet, Life and Travels, vol. 11, p. 655.

GILmorr] TAXONOMIC LIST OF PLANTS 97

plorers tell of finding them in cultivation among the tribes of North
America from Quebee southward through Mexico and Central Amer-
ica into most of South America. Dr. D. V. Havard says:

The common kidney bean (Phaseolus vulgaris Savi) is a South American
plant... The finding of seeds of this species by Prof. Witmack in the pre-
historic graves of Arizona, not only completed the demonstration of its Ameri-
ean origin but likewise proved the antiquity of its culture in our own country.’

In considering the cultivated plants grown by the tribes of Ne-
braska at the time of the advent of Europeans it is of interest to
discover the probable region or regions of their origin and first
domestication. We find the most advanced civilization on the con-
tinent prior to European invasion was in Mexico and southward.
In that direction also we find the wild plants most nearly related to
the species aboriginally cultivated both there and in what is now
the United States, facts suggesting the probable area inhabited by
their wild prototypes. Doctor Coulter? reports nine species of the
genus Phaseolus indigenous to western Texas, some or all of which,
judging from their size as he describes them, seem to make promising
candidates for domestication, and we can conjecture that some of
these or others farther south were the original of the cultivated va-
rieties found here. ;

Before the coming of white men the Omaha cultivated many
varieties of beans of different sizes and colors, both bush beans and
climbing beans. The pole beans they called hitbthinge amorthir
(Ainbthinge, bean; amo"thi", walking). Bush beans were. called
hinbthinge mothin azhi, “bean not walking” (azhi, not). Since
their old order of life and industries have been broken up by the
incursion of Europeans they have lost the seed of a number of varie-
ties which they formerly grew, but I have found four varieties still
grown by them, and they can remember and describe the following
fifteen: 1. Black-spotted; 2. White-spotted; 3. Yellow-spotted;
4, Red-spotted; 5. Gray-spotted; 6. Very red; 7. Very black; 8. A
sort of dark-red; 9. White; 10. A sort of dark-blue; 11. A sort of
dark-yellow; 12. White with red around the hilum; 13. White with
black around the hilum; 14. Blue, somewhat spotted; 15. “ Like the
hair of an elk,” somewhat yellow-gray.

Lespepeza caprrata Michx. Rabbit-foot.

Te-hu"to"-hi nuga (Omaha-Ponca), “male buffalo bellow plant ”
(te, buffalo; huto, bellow; nuga, male). Amorpha canescens
was considered te-hu"to"-hi miga, female te-hu"to"-hi.

Parus-as (Pawnee) ; parus, rabbit; as, foot.

The Pawnee name will be recognized as an appropriate descriptive

name. The Omaha and Ponca used the stems as they did those of

1 Havard, Food Plants of North American Indians, p. 99.
2Coulter, Botany of Western Texas, pp. 89-90.

74936°—_19—33 rTH——7

98 USES OF PLANTS BY INDIANS [ETH. ANN. 33

Amorpha canescens for moxa. Amorpha they found in the sandy’
loam soil of valleys and Lespedeza on the hills of the loess plain.

Latuyrus ornatus Nutt. Wild Sweet Pea.
Hinbthi-si-tanga (Omaha-Ponea), large-seeded hi"bthi bean
(si, seed; tanga, large).

My informants could describe it and tell in what locality it is to be
found. They remembered it as they formerly saw it in the Sand
Hills when they went there on the hunt. Children sometimes gath-
ered the pods, which they roasted and ate in sport. The plant was
not considered of any importance, although noted and named.

OXALIDACEAE

Tonoxatts vioLacea (L.) Small. Sheep Sorrel, Violet Wood Sorrel,
and Xanruoxatis stricta (L.) Small. Yellow Wood Sorrel.

Hade-sathe (Omaha-Ponea), “sour herb” (Jade, herb, grass;

sathe, sour).

Pawnee: Various names were given. Skidadihorit, a name having
reference to its taste, which they describe as “sour like salt”; some
called it katt, salt; another name given was askirawiyu, as, foot; kira,
water; wiyu, stands. Another name given is kisosit. The Pawnee
say that the buffalo was very fond of Xanthovalis stricta. Children
ate both species, especially Jonowalis violacea, leaves, flowers, scapes,
and bulbs. The bulbs were pounded and fed to horses to make them
fleet.

LINACEAE

Linum tewist Pursh. Wild Flax.

The seeds of the wild blue flax were gathered and used in cookery
both because of their highly nutritive value and for the agreeable
flavor which they added to that with which they were cooked.

RUTACEAE

ZANTHOXYLUM AMERICANUM Mill. Prickly Ash.

Hakasits (Pawnee), thorn.

Omaha young men used the fruits of this shrub asa perfume. By
the Pawnee the fruits were used as a remedy for horses in case of
retention of urine.

MeELracraE

Me.ia azeperacu L. China Berry.
Makazhide sabe (Omaha-Peonea), “ black ‘ red-medicine.’ ”
Introduced into the Southern States early in the nineteenth cen-
tury, it has become naturalized, growing freely along the streams of

GILMORE] TAXONOMIC LIST OF PLANTS 99

Oklahoma. It has large, smooth black seeds inclosed in the waxy,
yellow translucent fruits, which are borne in great profusion. The
seeds have been utilized for beads by the tribes acquainted with them.
The Omaha traveling into Oklahoma have found them there, and
have taken up their use. They already had employed for beads as
well as for a good-luck charm the bright red seed of a species of
Erythrina. They say it grows somewhere to the southwest, toward
or in Mexico. They call it “red medicine,” maka" zhide (maka,
medicine; zhide, red). When the seeds of Melia were adopted for
use as beads they likened them to maka" zhide, and so call them
maka"-zhide sabe, “ black red-medicine.”

EUPHORBIACEAE

Croron TEXENSIS (Klotzsch) Muell. Arg.
One Pawnee informant said that very young babies, when sick,
were bathed with a decoction of leaves of this plant.

CHAMAESYCE SERPYLLIFOLIA (Pers.) Small.

Naze-ni pezhi (Omaha-Ponca), “milkweed” (naze-ni, milk;

pezhi, weed or herb). :

According to a Ponca informant this plant was boiled and the
decoction drunk by young mothers whose flow of milk was scanty
or lacking, in order to remedy that condition. This use of the plant
is probably prescribed according to the doctrine of signatures. An
Omaha informant said it was used as a remedy in case of dysentery
and abdominal bloating in children. For this purpose the leaves of
the plant were dried and pulverized and applied after first cross-
hatching the abdomen with a knife and then further abrading the
skin with the head of a certain plant, the identity of which I do not
know at present as I have not had a sample. Then the pulverized
leaves were rubbed by hand on the abraded surface. It was said to
cause a painful, smarting sensation and to act powerfully upon the
bowels through the intervening tissues and to give relief.

An Oglala informant said little boys used the plant in play as a
headdress.

DicHRoPHYLLUM MARGINATUM (Pursh) K]. & Garcke. Snow-on-the-
mountain.
Karipika or kalipika tsitsiks (Pawnee) ; tsitsiks, “ poison.”
Karipika or kalipika is the Pawnee name of Asclepias syriaca, to
which they compare this plant, because of its milky juice, but
they recognize the poisonous quality of all the genus.

ANACARDIACEAE

Ruvs cuasra L. Smooth Sumac. (PI. 19, a.)
Cha"-zi (Dakota), “ yellow-wood” (22, yellow).
Mirbdi-hi (Omaha-Ponca).

100 USES OF PLANTS BY INDIANS [BTH. ANN. 33

Haz-ni-hu (Winnebago), “water-fruit bush” (haz, fruit; ni,

water; hu, plant, tree, bush).

Nuppikt (Pawnee), “sour top.”

In the fall when the leaves turned red they were gathered and
dried for smoking by all the tribes. Omaha and Winnebago both
said the roots were used to make a yellow dye. Among the Pawnee
the fruits were boiled to make a remedy for dysmenorrhea and also
for bloody flux. An Omaha medicine-man, White Horse, said the
fruits were boiled to make a styptic wash to stop hemorrhage in
women after parturition, and that a decoction of the root was used
to drink in case of retention of urine and when urination was pain-
ful. An Omaha said that a poultice made by bruising the leaves was
applied wet in case of poisoning of the skin, as by some irritant
vegetal oil. In case the leaves could not be had the fruits were soaked
and bruised, the application being kept moist with the water in which
the fruits had been soaked.

TOXICODENDRON TOXICODENDRON (L.) Britton. Poison Oak, Poison
Ivy.
Hthi-wathe-hi (Omaha-Ponca), “ plant that makes sore” (Jithi,
sore; wathe, to make; 7, plant, bush, tree, any plant body).
The people knew and dreaded the poisonous effects of this plant,
but I did not learn of any use for it, nor of any antidote for its
poison.
ACERACEAE

Acer saccHaruM Marsh. Hard Maple.
Cha"-ha sa” (Dakota), “ pale-bark” (cha"-ha, bark; sa”, pale or
whitish).
Na"-sa"k (Winnebago), “ pure or genuine wood” (na", wood; sa"k,
real, genuine).
This species was used in Minnesota by the Santee Dakota. Since
their removal to Nebraska in 1866 they have made use of the next
species.

Acer saccHartnum L. Soft Maple.

Tahado (Dakota).

Wenu-shabethe-hi (Omaha-Ponca), “ tree to dye black.”

Wissep-hu (Winnebago), “tree to dye black.”

All the tribes made sugar from the soft maple. The Dakota word
for sugar is cha"ha"pi, literally “wood” or “tree juice” (ha"pi,
juice). The Omaha word is zho"ni (zho", wood or tree; nz, water).
The Pawnee word for sugar, nakits, is also compounded of their
words for “tree” (nakis) and “water” (kiitsw). From these exam-
ples it appears that the etymology of the word for “sugar” in the

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 19

eid

a, CLUSTERS OF FRUITS OF RHUS GLABRA

Photo by courtesy of Department of Botany, lowa State Agricultural
College

b. CORDAGE MADE FROM INNER BARK OF TILIA AMERICANA (BASSWOOD); A
BUNDLE OF RAW FIBER AND A PIECE OF CORD MADE BY HAND FROM THE FIBER

GiLarorE] TAXONOMIC LIST OF PLANTS 101

languages of the several tribes is evidence of the aboriginal source
of the article, for if they had first gotten sugar from the traders’
stores it would not have been associated in their minds with the sap
of trees.

Prince Maximilian of Wied, in his journey up the Missouri River
in the spring of 1832, observed the process of sugar making. In
his journal of the latter part of April of that year he says, “ Auch
die freien Indianer benutzten jenen Ahorn zur Bereitung des
Zuckers.”*

The Omaha and Winnebago names of this tree are given from the
use of maple twigs to make a black dye. The twigs and bark of
new growth were boiled. A certain clay containing an iron com-
pound, found interstratified with the Pierre shales exposed along
the Niobrara River, was mixed with grease and roasted. This
roasted clay and the water in which the bark was boiled were then
mixed, and the tanned hides which were to be dyed were soaked for
two or three days to get the right color. Treatment for a short time
made them brown, and for a longer time black.

Acer necunpo L. Boxelder.
Tashkada" (Dakota). In the Teton dialect it is called by either
the name tashkada" or cha"-shushka.
Zhaba-ta-zho" (Omaha-Ponca), beaver-wood (zhaba, beaver:
zho, wood; fa, genitive sign).
Nahosh (Winnebago).
Osako (Pawnee).
This tree was used also for sugar making by all the tribes. The
Dakota and Omaha and probably the other tribes used boxelder wood
to make charcoal for ceremonial painting of the person and for
tattooing. . ‘
Previous information as to the making of sugar from the sap of
this tree pertained, among the Pawnee and Omaha, only to times
now many years in the past; but it has been found that among some
tribes sugar is still made from this source. In September, 1916, the
writer found a grove of trees on the Standing Rock Reservation in
North Dakota, of which every tree of any considerable size showed
scars of tapping which had been done the previous spring in sugar
making.

BaALSAMINACEAE

Impatiens paLyipa Nutt. and I. srrnora Walt. Wild Touch-me-not.
The stems and leaves of this plant were crushed together to a pulp

and applied to the skin as a remedy for rash and eczema by the
Omaha.

1+ Maximilian, Reise in das Innere Nord-America, vol. 1, p. 279. ‘All the free
Indians employ that maple for sugar-making.”

102 USES OF PLANTS BY INDIANS [ETH. ANN. 33
RHAMNACEAE

CranoTuus AMERICANUS L. Red Root, Indian Tea.

Tabe-hi (Omaha-Ponea).

The leaves were used by all the tribes to make a drink like tea.
The taste is something like that of the Asiatic tea and is much better
than that of the South American yerba maté. On the buffalo hunt,
when timber was scarce, the great gnarled woody roots of this shrub,
often much larger than the part above ground, were used for fuel.

VITACEAE.

Viris crnerna Engelm. and V. vunpina L. Wild Grape.
Hastatha"ka (Dakota); Teton dialect Cha” wiyape. The Teton
name simply means vine (cha", tree; wiyape, twine, tree-twiner ).
Hazi (Omaha-Ponca). Grape vine, hazi-hi.
Hapsintsh (Winnebago).
Kisuts (Pawnee).
The fruit was used for food, either fresh or dried for winter use.
A Pawnee said he had seen people tap large grapevines in spring
and collect the sap to drink fresh. He said it tasted like grape juice.

ParTHENocissus QuiInquErouiA (L.) Planch. Virginia Creeper,
False Grape.
Ingtha hazi itai (Omaha-Ponca), ghost grapes (Aazi, grapes).

CELASTRACEAE

EvonyMts aTropurrurra Jacq. Burning Brush.

Wanaha-i-mo"thin (Omaha-Ponea), “ ghost walking-stick.”

A Winnebago medicine-man said women drink a decoction of the
inner bark for uterine trouble.

CELASTRUS SCANDENS L. Bitter-sweet.
Zuzecha-ta-wote (Dakota), “snake-food” (zuzecha, snake; wote,
food; ta, genitive sign).
An Oglala called it snake-food and held the notion that it is
poisonous.
‘TILIACEAE

Tra americana L. (PI. 19, 6.)

Hitta-cha® (Dakota).

Hinde-hi (Omaha-Ponca).

Hinshke (Winnebago).

The inner bark fiber was used by the Omaha and Ponca for making
cordage and ropes. The Pawnee say it was employed also for spin-
ning cordage and weaving matting.

GILMORE] TAXONOMIC LIST OF PLANTS 1038

MALvaceAr

CALLIRRHOE INvoLucrATA (T. & G.) A. Gray. Purple Mallow.

Short Bull, a half Brulé, half Oglala, called this plant Pezhuta
natiazilia, “ smoke treatment medicine ” (pezhuta, medicine; na"tia-
zilia having reference to its use to produce smoke for medical use).
Fast Horse, an Oglala, called it pezhuta, “ medicine.”

Among the Teton Dakota this plant was used for the smoke treat-
ment. The dried root having been comminuted and fired, the smoke
was inhaled for cold in the head, and aching parts were bathed in it.
The root was boiled, the decoction being drunk for internal pains.

Matvastrum coccrnrum (Pursh) A. Gray. Red False Mallow.

Heyoka ta pezhuta (Dakota), ‘“ medicine of the heyoka” (pezhuta,

medicine; heyoka, a dramatic order among the Dakota; éa, the
genitive sign).

This plant possesses to a large degree the mucilaginous property
which is in some degree common to all species of this family. On ac-
count of this property the Dakota heyoka utilized it by chewing it.to
a paste, which was rubbed over hands and arms, thus making them
immune to the effect of scalding water, so that to the mystification
and wonderment of beholders these men were able to take up pieces
of hot meat out of the kettle over the fire.

The plant was also chewed and applied to inflamed sores and
wounds as a cooling and healing salve.

VIOLACEAE
VIOLA sP.

Among the Omaha children violets were used in playing a game.
In springtime a group of children would gather a quantity of violets;
then, dividing into two equal parties, one party took the name of
their own nation and the other party took another, as for instance
Dakota. The two parties sat down facing each other, and each
player snapped violets with his opponent till one or the other had
none remaining. The party having the greater number of violets
remaining, each party having had an equal number at the beginning,
was the victor and playfully taunted the other as being poor fighters.

LoASACEAE

Nurtraty1a Nupa (Pursh) Greene.

Toka hupepe (Dakota).

The stems, after being stripped of their leaves, were pounded to
extract the gummy yellow juice. This was applied externally as a
remedy for fever after it had been boiled and strained.

104 USES OF PLANTS BY INDIANS [ETH. ANN. 33
CACTACEAE

OpuntTIA HUMIFUSA Raf. Prickly Pear. (PI. 20, a.)
U"chela (Dakota). The fruits are called w"chela taspu”.
Pidahatus (Pawnee).

An amusing summer game played by small boys of the Dakota
Nation was the “cactus game.” Boys gathered on the prairie where
the cactus abounded. One boy who was a swift runner was chosen
“to be it,” as white children say in games. This boy would take
a cactus plant and impale it on a stick. The stick served as a handle
by which he held up the plant for the other boys to shoot with their
bows and arrows. When a boy hit the target the target holder ran
after him and would strike him with the spiny cactus; then he would
‘return to the goal and receive the shots of other boys. Thus the
game continued indefinitely at the pleasure of the players.

The fruits were eaten fresh and raw after the bristles had been
removed, or they were stewed. They were also dried for winter use.
Sometimes from scarcity of food the Indians had to resort to the
stems, which they roasted after first removing the spines. The
mucilaginous juice of the stems was utilized as a sizing to fix the
colors painted on hides or on receptacles made from hides. It was
applied by rubbing a freshly peeled stem over the painted object.
On account of this mucilaginous property the peeled stems were
bound on wounds as a dressing.

Lopnopnora witutAmsit (Lem.) Coulter. Peyote.

Maka" (Omaha-Ponea). The medicine.

The religious cult associated with this plant has been introduced
among the Nebraska tribes from others to the southward. The plant
is indigenous to the Rio Grande region, where its cult arose. Thence
it spread from tribe to tribe, even to our northern national boundary.
This plant is often popularly but erroneously called mescal. The
use of peyote and the religious observances connected with it were
introduced among the Omaha in the winter of 1906-07 by one of
the tribe who returned from, a visit to the Oto in Oklahoma. He
had been much addicted to the use of alcohol and had heard among
the Oto that this religion would cure him. The cult had already
been introduced into the Winnebago tribe, whose reservation adjoins
that of the Omaha, so when he reached home he sought the advice
and help of the leader of the Peyote Society in that tribe. A society
was soon formed in the Omaha tribe, and although at first much
opposed it grew till it absorbed half the tribe. At the present time
its influence has somewhat weakened.

The peyote plant and its cult appeal strongly to the Indian’s sense
of the mysterious and occult. The religious exercises connected with

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 20

a. A CACTUS NATIVE TO NEBRASKA

b. GATHERING BUFFALO BERRIES (LEPARGYRAEA ARGENTEA)

GILMORE] TAXONOMIC LIST OF PLANTS 105

it are attended by much circumstance of ceremony and symbolism.
The average Indian, with his psychic inheritance and his physical
and psychic environment, naturally attributes to the peyote most
wonderful mystic powers. As the Semitic mind could conceive, and
the Aryan mind could accept the Semitic conception, that deity may
be incarnated in an animal body—that is, a human body—so to the
American Indian mind it seems just as reasonable to conceive that
deity may dwell ina plant body. So he pays the plant divine honors,
making prayers to it or in connection with it, and eating it or drink-
ing a decoction of it in order to appropriate the divine spirit-—to
induce the good, and exorcise the evil. In brief, the use of peyote by
the Indian corresponds to the Christian use of bread and wine in the
eucharist.

The body of doctrine and belief connected with this cult is a.
curious blending of aboriginal American religious ideas with many
imbibed by the Indians from Christian missionaries. In the meet-
ing places the worshipers gather in a circle about a fireplace
in the center of the lodge or tent. A fire is kept up throughout the
meeting. At the west side of the fire sits the leader. In front of him
is spread a cloth like an altar cloth; on this lies a peyote top,
and at the edge nearest to the leader an open Bible. At his right
hand stands a staff symbolically decorated with feather ornamen-
tation. In his hand he carries a fan made of 12 eagle feathers
symbolizing the 12 Christian apostles. A water drum is beaten
with a low insistent thrumming sound, accompanied by a gourd
rattle, while songs are chanted, and the people gaze into the fire or
sit with bowed head. Owing to the hypnotic effect of the firelight,
the community of thought, abstraction from all extraneous affairs,
the droning chant, the thrumming of the drum, and the mental
attitude of expectancy induced by the words of the speakers, who
discourse on the visions which shall be seen, combined with the
physiological effect of the drug, which stimulates the optic center,
the people fancy they really see most wonderful visions of spirits.
As an example, the vision described by a certain Omaha may be
related. It will be observed that his vision was the result of the
juxtaposition of a number of experiences and mental processes re-
called and immediately induced by the circumstances of the meeting
and the physiologic action of the drug. He was an ordinary reser-
vation Indian, who had had some schooling and had been in Wash-
ington and other eastern cities. On this occasion the opening read-
ing from the Bible had been the story of the Hebrew prophet taken
up to heaven in a chariot of fire. The Indian fell into a trancelike
state and afterwards described his vision. He related that Jesus had
come for him in an automobile and had taken him up to heaven,
where he had seen God in His glory in a splendid city, and with God

106 USES OF PLANTS BY INDIANS [ETH. ANN. 33

he had seen many of the great men of all time, more than he could
remember.
ELAEAGN ACEAE

LEPARGYREA ARGENTEA (Nutt.) Greene. Buffalo-berry. (PI. 20, b.)

Mashtitcha-puté (Dakota), “rabbit-nose” (mashticha, rabbit;

puté, nose).

Zho"-hoje-wazhide (Omaha-Ponea), or wazhide luta, gray waz-

hide,

Haz-shutz (Winnebago), “ red-fruit ” (haz, fruit; shutz, red).

Laritsits (Pawnee).

The fruits are used fresh in season and are dried for winter use.
The fruit was ceremonially used in feasts given in honor of a girl
arriving at puberty. Padus nana was ordinarily used, but Lepar-
gyrea might be substituted. This was a custom among the Dakota.

ARALIACEAE

Panax Quinquerotium L. Ginseng.

A Pawnee gave the information that ginseng roots in composition
with certain other substances were used as a love charm. From
various individuals the information was gathered bit by bit severally
and adduced, showing that the four species of plants used in com-
pounding this love charm were Aquilegia canadensis, Lobelia cardi-
nalis, Cogswellia daucifolia, and Panax quinquefolium or possibly a
species of Ligusticum. Specimens of the latter were not in hand, but
informants spoke of it as Angelica. They had become acquainted
with Angelica of the pharmacists and probably mistook it for their
own native Ligusticum. It is possible that various combinations
of four plants might have been used, but it appears certain that
Aquilegia canadensis and Cogswellia daucifolia were considered
most potent. The parts used were seeds of Aguilegia and Cogs-
wellia, dried roots of Panax, and dried roots and flowers of Lobelia
cardinalis. With these vegetal products was mingled red-earth
paint. The possession of these medicines was supposed to invest
the possessor with a property of attractiveness to all persons, in
spite of any natural antipathy which might otherwise exist. When
to these were added hairs obtained by stealth through the friendly
offices of an amiably disposed third person from the head of the
woman who was desired, she was unable to resist the attraction
and soon yielded to the one who possessed the charm.

1 Dorsey, Siouan Cults, p. 483.

GILMoRE] TAXONOMIC LIST OF PLANTS 107

APIACEAE

WASHINGTONIA LONGISTYLIS (Torr.) Britton. Sweet Cicely.
Cha"-pezhuta (Dakota) ; cha", wood; pezhuta, medicine.
Shaga-maka" (Omaha-Ponca), horse-medicine.

Kahtstaraha (Pawnee), “buffalo medicine” (kahtsu, medicine;

taraha, buffalo).

The Omaha and Ponca say that horses were so fond of the roots
of Washingtonia that if one whistled to them, while holding out the
bag of roots, the horses came trotting up to get a taste, and so could
easily be caught. An Omaha said that the roots were pounded up
to make poultices to apply to boils. A Winnebago medicine-man
reported the same treatment for wounds. A Pawnee said that a
decoction of the roots was taken for weakness and general debility.

Heracteum LaNnatum Michx. Cow Parsnip, Beaver Root. (PI. 21.)

Zhaba-maka" (Omaha-Ponea), “ beaver medicine” (zhaba, beaver;

maka", medicine).

A Winnebago medicine-man said the tops of this plant were used
in the smoke treatment for fainting and convulsions. According to
a Pawnee, the root, scraped or pounded fine and boiled, was applied
as a poultice for boils. It was learned from an old Omaha woman
that the root was boiled and the decoction taken for intestinal pains
and as a physic. An old Omaha medicine-man said the dried roots
were pounded fine and mixed with beaver dung, and that the mixture
was placed in the hole in which the sacred pole was planted.

Cocswetira pAuctroLiaA (Nutt.) M. E. Jones. Love Seed.

Pezhe bthaska (Omaha-Ponca), “ flat herb” (pezhe, herb; hilabea,

flat).

Seeds of this aromatic plant with seeds and various parts of
other plants were used as a love charm by men of all tribes in the
Plains region. A Pawnee stated that to carry seeds of Cogswellia
rendered the possessor attractive to all persons, so he would have
many friends, all people would serve him well, and if used in con-
nection with certain other plants would make him winning to women,
so he might win any woman he might desire.

CorNACEAE

Cornus AMomum Mill. Red Dogwood, Kinnikinnick. (PI. 22.)
Chat-shasha (Dakota), “red wood” (cha", wood; shasha, a re-
duplication of sha, red). So called from the winter coloration
of its bark.

108 USES OF PLANTS BY INDIANS [ETH. ANN. 33

Ninigahi (Omaha-Ponca). Contracted from nini, pipe, and igahi,
to mix; to mix [with tobacco] for the pipe.
Rulii-shutsh (Winnebago).
Rapahat (Pawnee), “red-stick” (ra, stick; pahat, red).
The outer bark was removed, after which the inner bark was
scraped and dried for smoking. It is fragrant, and all the tribes
were very fond of it. .

Cornus stotontreraA Michx. Red Brush, Kinnikinnick.

Cha"-shasha-hinchake (Dakota), real cha"-shasha (hi"chake, real,

very, indeed).

Ninigahi lite (Omaha-Ponca), real ninigahi.

This species is preferred for smoking. It is said to be the best of
all, but the Indians describe and name another which was also used,
but which I did not succeed in seeing or identifying. The Omaha
and Ponea call it ninigahi gtheahe, “ spotted ninigahi.”

Cornus aspertrotta Michx. Rough Dogwood.
Ma"sa-lite-hi (Omaha-Ponea), “real arrow tree” (ma"sa, arrow;
Fite, real; hz, plant body).

Ma*si-hotsh (Winnebago).

Nakipistatu (Pawnee), “ real arrow tree” (nahaapi, tree; kipis, ar-

row; tatu, real).

This was the favorite wood for arrow shafts.

ERIcACEAE

Uva-ursi uva-urst (L.) Britton. Bearberry.
Nakasis (Pawnee), “ little tree,” “short tree” (nakas, tree; kasis,
short).
The leaves were used for smoking like tobacco.

OLEACEAE

FRAXINUS PENNSYLVANICA Marsh. Ash.

Psehitin (Dakota).

Tashnanga-hi (Omaha-Ponea).

Rak (Winnebago).

Kiditako (Pawnee).

Ash wood was universally used for making pipestems; it was
used also for making bows, and young stems furnished arrow shafts.
The ash is one of the trees to which mystic powers are ascribed.
J. Owen Dorsey says: “The Omaha have two sacred trees, the ash
and the cedar. The ash is connected with the beneficent natural

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 21

HERACLEUM LANATUM
Photo by courtesy of George R. Fox, Appleton, Wis.

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THIRTY-THIRD ANNUAL REPORT PLATE

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BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 24

ASCLEPIAS SYRIACA, FRUITS

Photos by courtesy of Public Museum of Milwaukee, Department of Education

GILMORE] TAXONOMIC LIST OF PLANTS 109

powers. Part of the sacred pole of the Omaha and Ponca is made
of ash, the other part being of cottonwood.” *

The stems of the two principal symbolic objects used in the
Wawa? ceremony of the Omaha and the corresponding ceremony of
the Hako of the Pawnee were made of ash wood.

GENTIANACEAE

DaSySTEPHANA PUBERULA (Michx.) Small. Gentian.
Maka chahiwi-cho (Winnebago), “blue-blossom medicine”
(maka", medicine; chahiwi, blossom; cho, blue).
Pezhuta-zi (Dakota), “yellow medicine” (pezhuta, medicine; 27,
yellow). So called because of the color of the roots.
A decoction of the root is taken as a tonic; it is so used alone and
also in combination with other medicinal plants.

ASCLEPIADACEAE

Asciepras TuBEROSA L. Butterfly Weed, Pleurisy Root.

Maka" saka (Omaha-Ponca), “raw medicine”; (saka, raw;
maka” saka thata i, medicine they eat raw). Another name
given is kiw maka", wound medicine. The name raw medicine
was given because this root was used without boiling.

The root was eaten raw for bronchial and pulmonary trouble. It
was also chewed and put into wounds, or pulverized when dry and
blown into wounds. It was applied as a remedy for old, obstinate
sores. In the Omaha tribe this medicine and its rites belonged to
the Shell Society. A certain member of the society was the author-
ized guardian or keeper of this medicine. It was his prerogative to
dig the root and distribute bundles of it to the members of the society.
The ceremonials connected with the digging, preparation, consecra-
tion, and distribution occupied four days. In this connection it
may not be out of place to note that four is the dominant number in
all ritual and in all orientation in space and time among the Plains
tribes, just as the number seven is dominant with some other peoples.
Whether four or seven be the dominant number depends on whether
the four cardinal points of the horizon are given preeminence or
whether equal place is given also to the three remaining points, the
Zenith, the Nadir, and the Here.

Asctepras syrtaca L. Milkweed. (Pls. 23, 24.)

Waktha (Omaha-Ponca).

Mahintsh (Winnebago).

Karipiku (Pawnee).

This plant is used for food at three stages of its growth—the
young sprouts in early spring, like asparagus sprouts; the clusters

1Siouan Cults, p. 390.

110 USES OF PLANTS BY INDIANS [ETH. ANN. 33

of floral buds; and the young fruits while firm and green. It is
prepared by boiling. Small boys used the fiber of the mature stalks
of this plant for popgun wads, chewing it for the purpose.

When the Omaha first saw cabbage and noted its use boiled, as
they boiled waktha, they likened it to that, and so named cabbage
waktha wale, “white man’s walsitha.” Likewise the Pawnee named
cabbage haripiku tsahiks-taka, “white man’s karipiku” (tsahiks,
person ; taka, white).

Ascuepras exattTata (L.) Muh]. Tall Milkweed.

Waktha-ska (Omaha-Ponca), white waktha (ska, white; wasitha,
as stated before, is the Omaha-Ponca name of Asclepias
syriaca).

The root was eaten raw as a remedy for stomach trouble.

CONVOLVULACEAE

TroMora LEPTOPHYLLA Torr. Bush Morning-glory. (Pls. 25, 26.)

Kahts-tuwiriki (Pawnee), “whirlwind medicine” (tuwiriki,

whirlwind). So called because of the peculiar twisted nature of
the fibrovascular system.

Among the Pawnee the large, perennial storage root of this xero-
phytic plant is highly prized as a remedy for nervousness and bad
dreams. For this purpose the smoke treatment was used. For alle-
viation of pain the pulverized root was dusted on the body with
a deer tail or with a feather brush. It was also used to revive one
who had fainted.

Cuscura parapoxa Raf. Dodder, Love Vine.

Hakastahkata (Pawnee), “yellow vine” (hakastah, vine; kata,

yellow).

The dodder vine was used by Pawnee maidens to divin
their suitors were sincere. A girl having plucked a vine,
thought of the young man in mind tossed the vine over her aes
into the weeds of host species of this dodder. Then, turnir ; :Jund,
she marked the plant on which the vine fell. The second — ter
she would return to see whether the dodder had attached itself 1
was growing on its host. If so, she went away content with '
assurance of her lover’s sincerity and faithfulness. If the doar >
had not twined and attached itself, she took it as a warning not to
trust him.

Dodder was said to be used as a dyestuff to give an orange color
to feathers. For this purpose the vines were boiled and the ma-
terials to be dyed were dipped. A Mexican Indian now living at

v

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 25

Sa hel “aa
me aks
et ie

IPOMOEA LEPTOPHYLLA (BUSH MORNING-GLORY), AN ENTIRE PLANT,
SHOWING THE LARGE ROOT, ABOUT 4 FEET LONG

Photo by courtesy of Dr. R. J. Pool, University of Nebraska

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 26

a, IROMOEA LEPTOPHYLLA (BUSH MORNING-GLORY), A PERENNIAL FLOWERING
PLANT NATIVE IN THE SAND HILLS OF NEBRASKA, SHOWING HABIT

b. IRPOMOEA LEPTOPHYLLA (BUSH MORNING-GLORY)

Photos by courtesy of Dr. R. J. Pool, University of Nebraska

GILMORE] TAXONOMIC LIST OF PLANTS 111

Pine Ridge said his people call it rattlesnake food and say that
rattlesnakes take it into their dens for food.

BoraGINnaCcEAE

LirHosPERMUM CANESCENS (Michx.) Lehm.

Bazu-hi (Omaha-Ponca).

Children used the root of this plant in sport to chew with their
gum (gum of Stphium laciniatum) to make it of a red color. The
flowers of this plant were likewise used to color gum yellow.

VERBENACEAE

Versena Hasrata L. Wild Verbena.

Chathaloga pezhuta (Dakota) ; pezhuta, medicine.

Pezhe maka" (Omaha-Ponea) 3 pezhe, herb; maka”, medicine.

Among the Teton Dakota the leaves were boiled to make a drink
as a remedy for stomach ache. Among the Omaha the leaves were
steeped merely to make a beverage like tea.

MENTHACEAE

Mownarpa Fistutosa L. Wild Bergamot, Horsemint.

Heliaka ta pezhuta (Dakota), “elk medicine” (Kekaka, elk; pez-
huta, medicine; ta, genitive sign) ; or keliaka ta wote, food of the
elk (wote, food).

Pezhe pa (Omaha-Ponca), “ bitter herb” (pa, bitter; pezhe, herb).

Tsusahtu (Pawnee), ill smelling.

By the Teton Dakota the flowers and leaves are boiled together to

make a medicine which is drunk to cure abdominal pains.

The Winnebago used for pimples and other dermal eruptions on

the face an application made by boiling the leaves.

Monarpa FISTULOSA VAR. Washtemna.

Wakpe washtemna (Dakota), “fragrant leaves” (watipe, leat;
washte, good; mna, odorous). This form is one of the plants
connected with the Sun dance, according to J. Owen Dorsey.

Izna-kithe-iga hi (Omaha-Ponea), referring to its use in com-
pounding a pomade for the hair. Sometimes called pezhe-pa
mé"ga in distinction from the other pezhe-pa, in reference to its
finer essence and more delicate plant body (mi"ga, female; fe-
male pezhe-pa).

Tspstu (Pawnee), meaning, if any, not found.

1Siouan Cults, p. 454.

112 USES OF PLANTS BY INDIANS [ETH. ANN. 33

In addition to these two forms, the Pawnee, as said before, recog-
nize and name two other forms. All these four forms are included in
our taxonomy under the name Monarda fistulosa. The two remain-
ing forms, according to the Pawnee classification and nomenclature,
are tsakus tawirat and parakaha. The latter name, parakaha, sig-
nifies “ fragrant”; tsakus tawirat, “shot many times still fighting”
(tsakus, shot many times; tawirat, still fighting). In the order of
decreasing desirability for fragrance the Pawnee classify the four
forms in this order: parakaha, tsakus tawirat, tsostu, and tsusahtu,
which last name, meaning ill smelling, shows that it is undesirable,
according to their suspectibilities, for this purpose. One or more of
the other forms may often be found wherever the last, tsusahtu, the
common type form of MJonarda fistulosa, is found. The Pawnee
characterize them thus: fsusahtu, with stiff strong stems; tsostu, with
weaker stems and smaller leaves; the next two with weak stems, the
most fragrant one, parakaha, with stems “as weak as straw.” But
they also find differences in the roots, and they say these must be com-
pared in order to make identification certain.

The differences noted by the Indians among these varieties, if we
may be allowed to call them varieties, are fixed and hereditary and
not accidental or dependent on season or situation. Of this I am
assured by my own experience with living specimens of the two
forms designated by the Dakota Hehaka ta pezhuta and walipe
washtemna. J have transplanted specimens of these two forms from
the wild state and have had them under observation at all seasons for
five years. I have also noted these two forms in the wild state stand-
ing in close proximity to each other.

I give this extended discussion because I have found taxonomists
reluctant to admit the possibility of this distinction; at the same
time they did not put it to the proof.

Heproma uispma Pursh. Rough Pennyroyal.

Maka chiaka (Dakota).

An infusion of the leaves was used as a remedy for colds. It was
used also as a flavor and tonic appetizer in diet for the sick.

Menta canapensts L. Wild Mint.

Chiaka (Dakota).

Pezhe nubtho” (Omaha-Ponca), “ fragrant herb” (nwbtho”, fra-

grant).

Kahts-kiwahaaru (Pawnee); “swamp medicine” (kahis, from

hkahtsu, medicine; kiwahaaru, swamp).

Wild mint was used by all the tribes as a carminative, fow this
purpose being steeped in water for the patient to drink and sweetened
with sugar. Sometimes this infusion was used as a beverage, like
tea, not alone for its medicinal property but for its pleasing aromatic
flavor.

GILMoRE] TAXONOMIC LIST OF PLANTS 113

The Dakota used mint as a flavor in cooking meat. They also
packed it with their stores of dried meat, making alternate layers
of dried meat and mint.

A Winnebago informant said that traps were boiled with mint
in order to deodorize them so that antmals might not be deterred
by the scent of blood from entering them.

AGASTACHE ANETHIODORA (Nuit.) Britton. Fragrant Giant Hyssop,
Wild Anise.
The leaves of this plant were commonly used to make a hot aqueous
drink like tea to be taken with meals. It was also used as a sweet-
ening flavor in cookery.

SoLaNACEAE

PuHYSALIS HETEROPHYLLA Nees. Ground Cherry.

Tamaniokipe (Dakota).

Pe igatush (Omaha-Poncea) ; pe, forehead; igatush, to pop. The
name has reference to the use by children of the inflated persist-
ent calices which they pop on the forehead in play.

Nikakitspak (Pawnee) ; nikako, forehead; kitspak, to pop.

The fruits of the edible species, P. heterophylla, are made into a
sauce for food by all these tribes. When a sufficient quantity of them
was found they were dried for winter. When the Dakota first saw
figs they likened them to Physalis (Tamaniolipe), and called them
Tamaniolipe washichu", “ white man’s tamaniolipe.”

Puysauis LANCEOLATA Michx.t Prairie Ground Cherry.

Maka" bashaho-sho" (Omaha-Ponea), “crooked medicine ”
(bashasho"sho", crooked, referring to the root of this species).

Ha"pok-hischasu, (Winnebago), “owl eyes” (ha"pok, owl; hischasu,

eyes).

The root of this plant was used in the smoke treatment. A decoc-
tion of the root was used for stomach trouble and for headache. A
dressing for wounds was also made from it.

Nicorrana quaprivatvis Pursh. Tobacco. (PI. 27, b.)

Chandi (Dakota) ; Teton dialect, chanli.

Nini-hi (Omaha-Ponea).

This species of Vicotiana was cultivated by all the tribes of Ne-
braska. Since the advent of Europeans tobacco is one of the crops
whose culture has been abandoned by these tribes, and they have all
lost the seed of it,so that the oldest living Omaha have never seen it
growing; but they sometimes receive presents of the prepared tobacco

1This is the species which is intended by the reference on p. 584 of The Omaha
Tribe, Twenty-seventh Rep. Bur. of Amer. Ethn, The reference here names Physalis

viscora, no doubt an error for P. viscosa. But P, viscosa is native to the Atlantic coast
and is not found in the territory of the Omaha.

74936°—19—33 eru——8

114 USES OF PLANTS BY INDIANS [ETH. ANN. 33

from other tribes to the north, who are still growing it. From an old
man, Long Bear, of the Hidatsa tribe in North Dakota, who was then
73 years old, I obtained specimens and seed in 1908, by which I was
able to determine the species. I planted the seed and have had it
growing every year since. The plant, when full grown, is only about
60 em. or 70 cm. in height. It is very hardy and of quick maturity, so
that ripe seed will be found in about 60 or 65 days after coming up,
and fruit bearing continues till frost comes.

According to Nuttall, Nicotiana quadrivalvis was cultivated by all
the tribes along the Missouri.

A Pawnee informant said that his people in the old time prepared
the ground for planting this tobacco by gathering a quantity of dried
grass, which was burned where the patch was to be sown. This kept
the ground clear of weeds, so that nothing grew except the tobacco
which was planted. The crop was allowed to grow thick, and then
the whole plant—leaves, unripe fruit capsules, and the tender, small
parts of the stemts—was dried for smoking. The unripe seed capsules,
dried separately, were specially prized for smoking on account of the
flavor, pronounced by the Indians to be like the flavor now found in
the imported Turkish tobacco.

A Winnebago informant-told me that his people prepared the to-
bacco by picking off the leaves and laying them out to dry. Next day
the partially dry leaves, imp and somewhat viscid, were rolled like
tea leaves and again laid to dry. When fully dry the leaves were
rubbed fine and stored away. In this finished state the tobacco looks
somewhat like gunpowder tea. The Indians said it was of very
pleasant odor for smoking. The species of tobacco which was culti-
vated by the Winnebago, as well as the other tribes of the eastern
woodland region, was WVicotiana rustica L. It appears that this
species was cultivated by all the tribes from the Mississippi River
eastward to the Atlantic Ocean. It.is said that the woodland tribes
eagerly accepted presents of prepared tobacco of the species Vicotiana
quadrivalvis from the tribes of the plains region and sought to obtain
seed of the same, but the plains tribes jealously guarded against
allowing the seed to be exported to their woodland neighbors,

ScroPHULARIACEAE

PENTSTEMON GRANDIFLORUS Nutt. Wild Fox-glove.

A Pawnee informant said that he uses this plant as a remedy for
chills and fever, but it is not of common knowledge and use. The
preparation is a decoction of the leaves, taken internally.

1 Pickering, Chronological History of Plants, p. 741.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 27

a. PEPO FOETIDISSIMA (WILD GOURD) IN BLOOM

b. STRIKES TWO, AN AGED MAN OF THE ARIKARA TRIBE, GATHERING HIS
TOBACCO

GILMorE] TAXONOMIC LIST OF PLANTS WabGs

PLANTAGINACEAE

Prantaco Magor L. Plantain.

Sinie maka" (Omaha-Ponca).

A Ponca gave me the information that a bunch of leaves of this
plant made hot and applied to the foot is good to draw out a thorn
or splinter.

RUBIACEAE

Gatium TrIrLoruM Michx. Fragrant Bedstraw, Lady’s Bouquet.
Wau-pezhe (Omaha-Ponea), woman’s herb, or wau-inu-maka",
woman’s perfume (waw, woman).
The plant was used by women on account of its fragrance, a deli-
cate odor given off in withering, which resembles the odor of sweet-
grass, a handful of the plant being tucked under the girdle.

CAPRIFOLIACEAE

Sampucus canapensis L. Elderberry.

Chaputa (Dakota) ; chaputa-hu, elder bush.

Wagathahashka (Omaha-Ponca) ; wagathahashka-hi, elder bush.

Skirariu (Pawnee).

The fruits were used for food in the fresh state. The larger stems
of the bush were used by small boys for making popguns. A pleas-
ant drink was made by dipping the blossoms into hot water.

Visurnum tentaco L. Black Haw, Nannyberry.

Mna (Dakota) ; mna-hu, black haw bush.

Na'shama" (Omaha-Ponea).

Wuwu (Winnebago).

Akiwasas (Pawnee) ; naming names.

The fruits were eaten from the hand, not gathered in quantity.
Visurnum oputus L. “ High-bush Cranberry,” Pembina.*

In the north, where Sambucus canadensis is not found, boys made
popguns from stalks of Viburnum opulus after removing the pith.

1The name pembina is herewith proposed as a popular name for this shrub because of
the atrocious ineptness of the name “ high-bush cranberry,” since the berry of Viburnum
is nothing like a cranberry, and also because of the fact that the name pembina is
already commonly applied to this shrub and its fruit by the people of northern North
Dakota and Manitoba. The word pembina is a white man’s corruption of the name of
this berry in the Chippewa language, which is nepin-minan, summer-berry ; nepin, sum-
mer; and minan berry. The pronunciation of pembina is indicated thus: pém’-bi-na.
This name was applied to a river and mountain in North Dakota, and subsequently to a
town and county of that State. The Chippewa call the river Nepin-minan Sipi (Summer-
berry River), because of the abundance of these berries growing along the course of that
stream.

116 USES OF PLANTS BY INDIANS (ETH. ANN. 33

They made the piston from a piece of Amelanchier alnifolia or of
the young growth of Quercus macrocarpa. The fibrous inner bark
of Ulmus americana and of U. fulva was used for popgun wads.
In the north, where Betula papyrifera is found, its papery bark was
chewed to a pulp and used for this purpose, while on the western
prairie the tops of Artemisia were chéwed and so used.

SYMPHORICARPOS SyMPHORICARPOS (L.) MacM. Coral Berry, and S.
occipENTALIS Hook. Wolf Berry, Buck Brush.
Zuzecha-ta-wote sapsapa (Dakota); black snake food (zuzecha,
snake; wote, food; ta, genitive sign; sapsapa, reduplication of
sapa, black).
Ishtogalite-hi (Omaha-Ponea), eye-lotion plant (i"shta, eye).
The leaves were steeped to make an infusion used for weak or
inflamed eyes.

CUCURBITACEAE

Perro rorripissma (H. B. K.) Britton. Wild Gourd. (PI. 27, a.)

Wagamu" pezhuta (Dakota), pumpkin medicine (wagamu”, pump-
kin; pezhuta, medicine).

Niashiga maka" (Omaha-Ponca), human-being medicine (niashiga,
human being; ma/a", medicine). They say it is male (niashiga
maka" nuga) and female (niashiga maka" miga).

This is one of the plants considered to possess special mystic
properties. People were afraid to dig it or handle it unauthorized.
The properly constituted authorities might dig it, being careful to
make the prescribed offering of tobacco to the spirit of the plant,
accompanied by the proper prayers, and using extreme care not to
wound the root in removing it from the earth. A man of my ac-
quaintance in the Omaha tribe essayed to take up a root of this plant
and in doing so cut the side of the root. Not long afterward one of
his children fell, injuring its side so that death ensued, which was
ascribed by the tribe to the wounding of the root by the father.

This plant is one which is held in particularly high esteem by all
the tribes as a medicinal agent. As its range is restricted to the
drier parts of the Great Plains, it happens that since the tribes are
confined to reservations they can not get it as easily-as they did
in old times. This explains why, when I have exhibited specimens
of the root in seeking information, the Indians have asked for it.
While they fear to dig it themselves, after I have assumed the risk
of so doing they are willing to profit by my temerity; or it may be
that the white man is not held to account by the Higher Powers
of the Indian’s world.

The root is used medicinally according to the doctrine of signa-
tures, simulating, it is believed, the form of the human body, and

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GILMorE] TAXONOMIC LIST OF PLANTS alalizg

thought to be male and female. As a remedy for any ailment a por-
tion of the root from the part corresponding in position to the
affected part of the patient’s body is used—for headache or other
trouble in the head some of the top of the root is used; for abdominal
trouble a bit of the middle of the root; and so on.

A number of species of Cucurbitaceze were of undoubted aboriginal
American culture, as attested by the writings of the earliest explor-
ers, missionaries, and settlers, as well as by the stories, traditions,
myths, and religious ceremonies of the various tribes. From all the
evidence I have it appears that the tribes of Nebraska prior to Euro-
pean contact certainly cultivated squashes and pumpkins of several
varieties, gourds, and possibly watermelons. (Pl. 28.)

When we seek the region in which may possibly be found the
original prototypes of the cultivated species grown by the tribes
of Nebraska, naturally we must look to the region of the Rio Grande
or beyond.

Cucursrra LaGeNARIA L, Dipper Gourd.

Wamnuha or wakmu (Dakota).

Peke (Omaha-Ponca).

Among the tribes generally the gourd was grown in order to pro-
vide shells of which to make rattles. For this purpose the gourd
was indispensable, as rattles made therefrom were essential for all
ritualistic music. In order to fashion a rattle, the contents of the
gourd were removed and a handle was attached. Seeds of Arisaema
triphyllum or small gravel were placed in the shell.

Pero pero (L.) Pumpkin.

Wamnu (Dakota) ; Teton dialect, wagamu".

Wata" (Omaha-Ponca).

Since the advent of Europeans and the consequent disturbance of
the aboriginal activities the tribes have lost many of the varieties
of their old-time cultivated plants. Some varieties lost by one tribe
are still retained by some other tribe, while the latter probably no
longer enjoys plants still in possession of the former. Of their old-
time squashes the Omaha can describe the following eight varieties,
although they have lost the seed of most of them. They do not dis-
tinguish between pumpkin and squash, but call them both wata"
with descriptive modifiers affixed. 1. Wata” Kti, “real squash” (Ati,
real). This term would seem to indicate that this variety has been
longest known by the tribe. It is described as being spherical in
form, yellowish in color, “like a cottonwood leaf in the fall.”
2. Wata” mifa, small, spherical, spotted black and green. 3. Wata”
nide bazu, large oval, pointed at the ends, greenish in color.
4, Wata" kukuge, speckled. 5. Wata" mika snede, long wata" mika.

118 USES OF PLANTS BY INDIANS [ETH. ANN. 33

6. Wata" mika ska, white wata" mika. 7. Wata" mika saba,
black wata" mika. 8. Wata" mila zi, yellow wata" mila. These
last four squashes, called wata" mifia, were small summer or fall
squashes.

The Omaha planted their squashes at the time of blossoming of
the wild plum.

Cucurbita maxima of Tropical or Subtropical America. The pumpkin called
in Brazilian ‘“jurumu” (Maregr. 44), in Carib “jujuru” or “babora”
(Dese.), and cultivated from early times: ‘‘ pompions” were seen by Colum-
bus in 1498 on Guadalope (F. Columb, 47) ... OC. maxima was observed by
De Soto in 1542 in Florida, and is known to have been cultivated by the
North American tribes as far as the St. Lawrence.’

April 12, 1528 (Cabeza de Vaca, and Churchiil Coll.), arrival of exped. of
Pamphilo de Narvaez on north side of Gulf of Mexico, west of Mississippi R.
Landed, proceeded inland, and observed pumpkins and beans cultivated by the
natives.”

About their howses they have commonly square plotts of cleered grownd,
which serve them for gardens, some one hundred, some two hundred foote
square, wherein they sowe their tobacco, pumpons, and a fruit like unto a musk
million, but lesse and worse, which they call macock gourds, and such like,
which fruicts increase exceedingly, and ripen in the beginning of July, and
contynue until September; they plant also the field apple, the maracock, a
wyld fruit like a kind of pomegranett, which increaseth infinitlye, and ripens
in August, contynuing untill the end of October, when all the other fruicts be
gathered, but they sowe nether herb, flower, nor any other kynd of fruict.’

Perro maxima (Duch.) Peterm. Squash.

This species is found in tropical and subtropical North America.

The squash, called by the New England tribes ‘“ askutasquash” (R. Will),
and cultivated from early times :—observed under cultivation by the natives by
W. Wood, R. Williams, and Josselyn; is known to have been cultivated through-
out our middle and southern States; by the natives in the West Indies, as
appears from Dalechamp pl. 616, and was seen by Chanvalon on Martinique
(Poiret dict. nat. x1, 234.) *

To the southwest, whence came the crop plants of aboriginal cul-
ture in Nebraska, the remains in ruins sometimes reveal the identity
of plants of ancient culture there.

The occurrence of squash seeds in some of the mortuary bowls is important,
indicating the ancient use of this vegetable for food. It may, in this connec-
tion, be borne in mind that one of the southern clans of the Hopi Indians was
called the Patui or Squash family.’

Pepo pepo, Dr. J. H. Coulter says, “ Has a naturalized variety
in southern and western Texas, .... (C. tewana Gray).”®

1 Pickering, Chronological History of Plants, pp. 709-710.

2Tbid., p. 869.

3 William Strachey, Historie of Travaile into Virginia Britannia, p. 72 (1612).
4Pickering, op. cit., p. 747.

5 Fewkes, Two Summers’ Work in Pueblo Ruins, p. 101.

® Coulter, Botany of Western Texas, p. 124.

GILMORE] TAXONOMIC LIST OF PLANTS 119

Pumpkin seeds have been found in old Pawnee graves in Nebraska.

The squash is mentioned in the Onondaga creation myth, showing
that it has been in cultivation by that tribe from ancient times, and
this is evidence of its wide distribution from the area of its origin.

Religious expression is one of the most conservative elements and
does not readily take up any new thing, hence the religious songs of
a people indicate those things which have been for a long time
familiar to that people. Allusion is made to the squash in some of
the oldest religious songs of the Pima tribe in the southwest. One of
the most ancient hymns to bring rain is the following.

Hi-ilo-o ya-a-a! He the All-seeing

Sees the two stalks of corn standing;

He’s my younger brother. Hi-ilo-o ya-a-a!

He the All-seeing sees the two squashes ;

He’s my younger brother. Hi-ilo-o ya-a-a!

On the summit of Ta-atukam sees the corn standing;
He’s my younger brother. Hi-ilo-o ya-a-a!

On the summit of Ta-atukam sees the squash standing;
He’s my younger brother. Hi-ilo-o woiha!

Another Pima rain song:

Hi-ihiya naiho-o! The blue light of evening

Falls as we sing before the sacred Amina.

About us on all sides corn tassels are waving.

Hiteciya yahina! The white light or day dawn

Yet finds us singing, while corn tassels are waving.
Hitciya yahina-a! The blue light of evening

Falls as we sing before the sacred 4mina.

About us on all sides corn tassels are waving.

Hitciya yahina! The white light of day dawn

Yet finds us singing, while the squash leaves are waving.”

Cucurpira Fictrot1A Bouché. (C. melanosperma, A. Br.)

The specimens correspond closely with the description of this species
(hitherto known only as cultivated in European gardens and conjectured to be
from the East Indies) excepting in the shape of the leaves, which have the
lobes (often short) and sinuses acute instead of rounded. Guadalajara, culti-
vated; September (620).—The fruit, called “ cidra cayote ” or “ chila cayote,” is
about a foot in length, resembling a watermelon in appearance, with a hard
outer shell, the contents white and fibrous, and seeds black. It keeps for many
months without decay. A preserve is made of the inner fibrous portion. The
name “ cayote,” given to this and other cucurbitaceous species in Mexico, may
be the equivalent of the “chayote” of Cervantes and the “chayotli” of
Hernandez.*

1 Hewitt, Iroquoian Cosmology, p. 174.
2 Russell, The Pima Indians, p 332.
8 Watson, Contributions to American Botany, p. 414.

120 USES OF PLANTS BY INDIANS [ETH. ANN. 33

Crrrunius crrruttus (L.) Karst. Watermelon. (Pls. 29, 29A-)

Saka yutapi (Dakota), Santee dialect, eaten raw (saka, raw) ;

Yankton and Teton dialect, shpa"shni yulapi, eaten uncooked
(shpa'shni, uncooked).

Saka thide (Omaha-Ponea), or saka thata, eaten raw (saka, raw).

Wathaka ratdshe (Oto).

When I first inquired of the Omaha in regard to their ancient
cultivated crops, they named watermelons as one of the crops grown
from time immemorial. They said they had a kind of watermelon
which was small, round, and green, having a thin rind and red flesh,
with small, black, shining seeds; that it was different from the
melons now grown from seed introduced since the coming of white
men. I read the statement made by an early explorer coming up the
Missouri River that the Oto brought presents of watermelons to the
boat. I received from the Ponca, the Pawnee, and the Cheyenne
an account which was perfectly uniform with that I had from the
Omaha, even to the gestural description of the melon. Lastly, I
was told by a white man who was born in northern Texas and had
been familiar all his life with the natural characteristics of northern
Texas and southern Oklahoma, that he had often found and eaten
wild watermelons on the sand bars and banks of Red River, Pecos
River, and other streams of northwestern Texas. He said further
that his father had told him of finding them on still other streams
of that region. This man described the wild watermelons to me
exactly as all the tribes before mentioned had described their culti-
vated melons.

This hitherto unthought of probability of the presence on the
American continent of an indigenous species of Citru/lus caused me
to make search through the literature and to make inquiry by corre-
spondence, with the results I have here appended. The more I
searched into the matter the more unlikely it seemed to me that even
so desirable a fruit as the watermelon, should it be granted to have
been introduced by the Spaniards at the time of their very first set-
tlement, could have been disseminated with such astonishing rapidity
and thoroughness as to be found so common among so many tribes
of eastern North America from the Gulf of Mexico to the Great
Lakes, and from the Atlantic coast to the Great Plains. Such a
result would be all the more astonishing, considering the barriers to
be passed in its passage from tribe to tribe; barriers of racial an-
tagonism, of diverse languages, of climatic adaptation, and the ever-
present barrier of conservatism, of unwillingness of any people to
adopt a new thing. But if none of these barriers had intervened,
and if each tribe had zealously propagated and distributed as rapidly
as possible to its neighbors, it can scarcely be believed that time

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 29

a. STAMINATE AND PISTILLATE FLOWERS OF WATERMELON GROWN FROM
SEED OBTAINED FROM PENISHKA, AN OLD MAN OF THE PONCA TRIBE

b. UNIT OF VINE OF ABOVE

Photos by courtesy of W. E. Safford, U. S. Department of Agriculture

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GILMoRE] TAXONOMIC LIST OF PLANTS 121

enough had elapsed for this to be accomplished at the first contact
of the French and English explorers. The watermelons grown by
the various tribes seem to be of a variety distinct from any of the
many known varieties of European introduction.

I append here some quotations from literature which I have found
in various sources bearing on the subject.

J. M. Coulter (Cont. U. S. Nat. Herb., vol. m, p. 128, Botany of
Western Texas), after describing adds: “ Said by Dr. Havard to be
found wild in many places west of the Pecos.”

Concerning its origin, C. Conzatti, in “Los Géneros Vegetales
Mexicanos,” p. 348, states:

Es género introducido del Viejo Mundo, y de él se cultiva entre

nosotros una de las dos especies que conprende: C. vulgaris Schrad., 6 ‘ Cidra-
cayote.” *

According to De Bry the watermelon is—

Une plante dont l’origine est incertaine d’aprés les auteurs. Linné (Sp., p.
1435) dit: “ Habitat in Apulia, Calabria, Sicilia.” Seringe (Prodr., III, p. 301)
dit: “in Africa et India.” Puis il ajoute une variété décrite au Brésil par
‘Maregraf, ce qui complique encore la question, .. .

La planche et le texte de Marcgraf (Bras., p. 22) me paraissent bien s’ap-
pliquer 4 la Pastéque. D’un autre coté, rien ne prouve que la plante n’efit pas
été apportée au Brésil pas les Européens, si ce n’est le fait d’un nom vulgaire
Jaee, mais argument n’est pas fort. Marcgraf cite aussi des noms européens.
Tl ne dit pas que l’espéce ffit spontanée, ni trés genéralement cultivée. Sloane
Vindique comme cultivée 4 la Jamaique (I, p. 226), sans prétendre q’elle fit
américaine, et assurément le silence des premiers auteurs, sauf Marcgraf, le
rend bien peu probable.”

Je conclus de ce qui précéde que toutes les espéces de Citrullus énumérées
dans la synonymie que j’ai donnée ci-dessus n’en font qu’une; que cette espéce,
toujours annuelle, et par 14 facile 4 distinguer de la Coloquinte officinale, est
essentiellement africaine; qu’elle existe encore 4 l’état sauvage en Afrique, et
qu'elle est cultivée depuis un temps immémorial dans la vallée du Nil, d’ot
elle a passé, méme anciennement, chez la plupart des peuples civilises du bassin
méditerranéen Aujourd’hui, elle existe dans tous les pay chauds de la terre, et
comme les graines en sont jetées au hasard, partout o0 on la consomme, il n’y
a rien, d’étonnant qu’on la retrouve 4 demi-sauvage dans beaucoup de contrées
ot elie n’existait certainement pas primitivement.*

Saka¢ide uke¢i®, the common watermelon, was known to the Omahas before
the coming of the white men. It has a green rind, which is generally striped,
and the seeds are black. It is never dried, but is always eaten raw, hence
the name. They had no yellow saka¢ide till the whites came; but they do
not eat them.*

The Mahas [Omahas] seem very friendly to the whites, and cultivate corn,
beans, melons, squashes, and a small species of tobacco [Nicotiana quadri-
valvis].°

1Conzatti, Los Géneros Vegetales Mexicanos, p. 248.

*De Candolle, Geographie Botanique, Tome 2, p. 908.

*Naudin, Revue des Cucurbitacées, Annales des Sciences Naturelles, 4° Serie, Tome
X11, pp. 107-108.

4Dorsey, Omaha Sociology, p. 306.

5’ Bradbury, Travels in the Interior of America, p. 77.

122 USES GF PLANTS BY INDIANS [ETH. ANN. 33

Watermelous are cultivated in great plenty in the English and French-
American colonies, and there is hardly a peasant here who has not a field
planted with them. ... The Indians plant great quantities of watermelons
at present, but whether they have done it of old is not easily determined.
For an old Onidoe Indian (of the six Iroquese Nations) assured me that the
Indians did not know watermelons before the Europeans came into the
country and communicated them to the Indians. The French, on the other
hand, have assured me that the Illinois Indians have had abundance of this
fruit, when the French first came to them, and that they declare, they had
planted them since times immemorial. However, I do not remember having
read that the Europeans, who first came to North America, mention the
watermelons in speaking of the dishes of the Indians of that time.’

After several miles of marching along extensive and well-cultivated fields of
squashes, pumpkins, beans, melons, and corn the Dragoons reached the village.

Here then was the Toyash or Pawnee Pict village, the main goal of this ex-
pedition. . . . Col. Dodge encamped in a fine position about a mile from the
village, and the hungry Dragoons were soon enjoying the Indian hospitalities.
Dishes of corn and beans dressed with buffalo fat were placed before them.
For dessert the soldiers enjoyed liberal supplies of watermelons and wild plums.*

When Garces was among the Yumas in 1775 they were raising “countless”
calabashes and melons—calabazas y melones—perhaps better translated
squashes and cantaloupes, or pumpkins and muskmelons. The Piman and Yuman
tribes cultivated a full assortment of cucurbitaceous plants, not always easy to
identify by their old Spanish names. The Sandia was the watermelon invari-
ably ; the melon, usually a muskmelon, or cantaloupe; the calabaza, a calabash,
gourd, pumpkin, or squash of some sort, including one large, rough kind like
our crook-neck squash.” ®

MELONS AMONG THE NATCHEZ

Father Petit in a letter to Father d’Avauguor, from New Orleans,
July 12, 1730, writes, “Each year the people assemble to plant one
vast field with Indian corn, beans, pumpkins, and melons, and then
again they collect in the same way to gather the harvest.” 4

The vegetables they [the Iroquois] cultivate most are Maize, or Turkey corn,
French beans, gourds, and melons. They have a sort of gourd smaller than
ours, and which taste much of sugar [squashes]; they boil them whole in water,
or roast them under the ashes, and so eat them without any other preparation.
The Indians were acquainted, before our arrival in their country, with the com-
mon and water melon.®

Toute sorte de Melons croissent 4 souhait dans la Louisiane; ceux d’Espagne,
de France, et les melons Anglois, que l’on nomme melons blanes, y son infiniment
meilleurs que dans les Pays dont ils portent le nom: mais les plus excellens de
tous sont les melons d’eau. Comme ils sont peu connus en France, of l’on n’en
voit guéres que dans la Provence, encore sont-ils de la petite espéce, je crois que
lon ne donne trouvera point mauvais que j’en la description.

1Kalm, Travels into North America, vol. 2, p.,385.

2 Pelzer, Henry Dodge, p. 100.

®* Russell, The Pima Indians, p. 91.

4 Jesuit Relations, vol. 68, p. 137.

5 Charlevoix, Journal of a Voyage to North America, vol. 1, p. 250.

GILMoRE] TAXONOMIC LIST OF PLANTS 123

La tige de ce melon rampe comme celle des notres, et s’étend jusqu’A dix pieds
de Vendroit d’oti elle sort de terre. Elle est si délicate, que lorsqu’on l’écrase en
marchant dessus, le fruit meurt; et pour peu qu’on la froisse, il s’échaude. Les
feuilles sont trés découpées, d’un verd qui tire sur le verd de mer, et larges
comme la main quand elles sont ouvertes. Le fruit est ou rond comme les
potirons, ou long: il se trouve de bons melons de cotte derniére espéce; mais
ceux de la premiére espéce sont plus estimés, et meritent de l’étre. Le poids des
plus gros passe rarement trente livres; mais celui des plus petits est toujours au
dessus de dix livres. Leur céte et d’un verd pale, mélé de grandes taches
blanches, et la chair qui touche A cette cote est blanche, crue, et d’une verdeur
désagréable; aussi ne la mange t-on jamais. L’intérieur est rempli par une sub-
stance légere et brillante comme une neige, qui seroit de couleur de rose: elle
fond dans la bouche comme seroit la neige méme, et laisse un goft pareil &
celui de cette eau que l’on prépare pour les malades avec de la gelée de groseille.
Ce fruit ne peut done étre que trés rafraichissant, et il est si sain que de quelque
maladie que l’on soit attaqué, on peut en satisfaire son appétit sans crainte d’en
étre incommodé, Les melons d’eau d’Afrique ne sont point & beaucoup prés si
délicieux que ceux de la Louisiane.

La graine du melon d’eau est placée comme celle du melon de France; sa
figure est ovale, plate, aussi épaisse & ses extrémitiés que vers son centre, et
& environs six lignes de long sur quatre de large: les unes l’ont noire et les
autres rouge; mais la noire est la meilleure, et c’est celle qu’il convient de
sémer pour étre assuré d’avoir de bons fruits, pourvi qu’on ne la mette pas dans
des terres fortes, of elle dégénéreroit et deviendroit rouge.*

TRANSLATION

All kinds of melons grow admirably well in Louisiana. Those of Spain,
of France, of England, which last are called white melons, are there infi-
nitely finer than in the countries from which they have their name; but the
best of all-are the watermelons. As they are hardly known in France, except
in Provence, where a few of the small kind grow, I fancy a description of
them will not be disagreeable to the reader.

The stalk of this melon spreads like ours upon the ground, and extends
to the length of ten feet. It is so tender that when it is in any way bruised
by treading upon it the fruit dies; and if it is rubbed in the least it is
scorched. The leaves are very much divided, as broad as the hand when they
are spread out, and are somewhat of a sea-green colour. The fruit is either
round like a pompion, or long. There are some good melons of this last
kind, but the first sort are the most esteemed and deservedly so. The
weight of the largest rarely exceeds thirty pounds, but that of the smallest is
always about ten pounds. Their rind is of a pale green colour, interspersed
with large white spots. The substance that adheres to the rind is white,
erude, and of a disagreeable tartness, and is therefore never eaten. The
space within that is filled with a light and sparkling substance, that may
be called for its properties a rose-coloured snow. It melts in the mouth as
if it were actually snow, and leaves a taste like that of the water prepared
for sick people from currant jelly. This fruit cannot fail, therefore, of being
very refreshing, and is so wholesome that persons in all kinds of distempers
may satisfy their appetite with it, without any apprehension of being the
worse for it. The watermelons of Africa are not near so refreshing as those
of Louisiana.

1Le Page du Pratz, Histoire de la Louisiane, Tome 2, pp. 12-14.

124 USES OF PLANTS BY INDIANS [ETH, ANN. 33

The seeds of watermelons are like those of French melons. Their shape
is oval and flat, being as thick at the ends as towards the middle; their
length is about six lines, and their breadth four. Some are black and others
red; but the black are the best, and it is those you ought to chuse for sowing,
if you would wish to have the best fruit; which you can not fail of if they are
not planted in strong ground where they would degenerate and become red.

MELONS GROWN BY INDIANS OF VIRGINIA BEFORE THE COMING OF
WHITE MEN

... but none of the Toils of Husbandry were exercised by this happy
People, except the bare planting a little Corn and Melons, ... And indeed
all that the Hnglish have done since their going thither, has been only to
make some of these Native Pleasures more scarce... . hardly making Im-
provements equivalent to that Damage.’

MELONS FOUND BY LA SALLE IN TEXAS IN 1687

This instrument [wooden hoe] serves them instead of a hoe, or spade, for
they have no iron tools. When the land has been thus tilled, or broken up, the
women sow and plant the Indian corn, beans, pompions, watermelons and
other grain and garden ware, which is for their sustenance. [Account of the
Cenis, (Caddos), 1687.]?

... We met a company of Indians, with axes, going to fetch barks of trees
to cover their cottages. They were surprised to see us, but having made signs
to them to draw near, they came, caressed and presented us with some water-
melons they had... We halted in one of their cottages, ... There we met
several women who had brought bread, gourds, beans and watermelons, a sort
of fruit proper to quench thirst, the pulp of it being no better than water.®

WATERMELONS AMONG THE ILLINOIS

We continued some time in Fort Louis [on the Mississippi among the Illinois]
without receiving any news. Our business was, after haying heard mass, which
we had the good fortune to do every day, to divert ourselves the best way
we could. The Indian women daily brought in something fresh; we wanted
not for watermelons, bread made of Indian corn, baked in the embers, and
other such things, and we rewarded them by little presents in return.*

The natives of the country about (among the Poutouatannis [Pottawatomies]
which is half way to Michilimaquinay) till the land and sow Indian corn,
melons and gourds.® :

MELONS AND OTHER CULTIVATED PLANTS AMONG TRIBES OF WESTERN
PRAIRIES

The savage peoples who inhabit the prairies have life-long good-fortune;
animals and birds are found thee in great numbers, with numberless rivers
abounding in fish. Those people are naturally very industrious, and devote

1 Beverley, History of Virginia (1705), Book 11, p. 40.
2Cox, Journeys of La Salle, vol. 11, p. 139.

3Ibid., pp. 190-191.

“Tbid., p. 222.

5Ibid., p. 229.

GILMoRE] TAXONOMIC LIST OF PLANTS 125

themselves to the cultivation of the soil, which is very fertile for Indian corn.
It produces also beans, squashes (both small and large) of excellent flavor,
fruits, and many kinds of roots. They have in especial a certain method ot
preparing squashes with the Indian corn cooked while in its milk, which they
mix and cook together and then dry, a food which has a very sweet taste.
Finally, melons grow there which have a juice no less agreeable than re-
freshing.*

The relation of Marquette’s first voyage, 1673-1677, mentions ‘‘ melons, which
are excellent, especially those that have red seeds,’ among the Illinois.*

Thence we ascended to Montreal. . . . The latitude is about that of
Bordeaux, but the climate is very agreeable. The soil is excellent, and if the
Gardener but throw some Melon seeds on a bit of loosened earth among the
stones they are sure to grow without any attention on his part. Squashes are
raised there with still greater ease, but differ much from ours—some of them
having when cooked, almost the taste of apples or of pears.*

WATERMELONS AMONG CULTIVATED CROPS OF VIRGINIA INDIANS

Several Kinds of the Creeping Vines bearing Fruit, the Indians planted in
their Gardens or Fields, because they would have Plenty of them always. at
hand; such as Musk-melons, Watermelons, Pompions, Cushaws, Macocks and
Gourds.

1. Their Musk-melons resemble the large Jtalian Kind, and generally fill
Four or Five Quarts.

2. Their Water-melons were much more large, and of several Kinds, dis-
tinguished by the Colour of their Meat and Seed; some are red, some yellow,
and others white meated; and so of the Seed; some are yellow, some red, and
some black; but these are never of different colours in the same Melon. This
Fruit the Muscovites call Arpus; the Turks and Tartars Karpus, because they
are extremely cooling: The Persians call them Hindannes, because they had
the first Seed of them from the Indies. They are excellently good, and very
pleasant to the Taste, as also to the Eye; having the Rind of a lively green
colour, streak’d and water’d, the Meat of a Carnation and the Seed black and
shining, while it lies in the Melon.

8. Their Pompions I need not describe, but must say they are much larger and
finer, than any I ever heard of in England.

4, Their Cushaws are a kind of Pompion, of a bluish green Sccioar! streaked
with White, when they are fit for Use. They are larger than the Pompions,
and have a long, narrow Neck. Perhaps this may be the Heushaw of T.
Harriot.

5. Their Macocks are a sort of Melopepones, or lesser sort of Pompion or
cushaw. Of these they have great Variety; but the Indian Name Macock
serves for all, which Name is still retain’d among them. Yet the Clypeate
are sometimes called Cymnels, (as are some others also) from the Lenten Cake
of that Name, which many of them very much resemble. Squash, or Squanter-
Squash, is their Name among the Northern Indians, and so they are call’d in
New-York and New-England. These being boil’d whole, when the Apple is
young, and the Shell tender, and dished with Cream or Butter, relish yery

1 Perrot, Mémoire, in Blair, Indians of the Upper Mississippi, vol. 1, p. 113. (Writ-
ten probably during 1680 to 1718.)

2 Jesuit Relations, vol. 59, p. 129.

3 Relation of 1662-1663, in Jesuit Relations, vol. 48, p. 169.

126 USES OF PLANTS BY INDIANS [ETH. ANN. 33

~ well with all sorts of Butcher’s Meat, either fresh or salt. And whereas the
Pompion is never eaten till it be ripe, these are never eaten after they are ripe.

6. The Indians never eat the Gourds, but plant them for other uses
[They] use the Shells, instead of Flagons and Cups.

7. The Maracock, which is the Fruit of what we call the Passion-Flower, our
Natives did not take the Pains to plant, having enough of it growing every-
where; tho’ they eat it . . . this Fruit is about the Size of a Pullet’s Egg.

Besides all these, our Natives had originally amongst them, Jndian Corn,
Peas, Beans, Potatoes, and Tobacco. This Indian Corn was the Staff of Food,
upon which the Indians did ever depend.

There are Four Sorts of Indian Corn: Two of which are early ripe, and Two,
late ripe, all growing in the same manner; every single Grain of this when
planted, produces a tall, upright Stalk, which has several Ears hanging on the
Sides of it, from Six to Ten Inches long. Each Ear is wrapt up in a Cover of
many Folds, to protect it from the Injuries of the Weather. In every one of
these Ears are several rows of Grain, set close to one another, with no other
Partition, but a very thin Husk. So that oftentimes the Increase of this
Grain amounts to above a Thousand forsone.

The Two Sorts which are early ripe, are distinguish’d only by the Size, which
shows itself as well in the Grain as in the Ear and the Stalk. There is some
Difference also in the Time of ripening.

The lesser Size of Early ripe Corn yields an Ear not much larger than the
Handle of a Case Knife, and grows upon a Stalk between Three and Four Feet
high. Of this are commonly made Two Crops in a Year, and, perhaps, there
might be Heat enough in Hngland to ripen it.

The larger Sort differs from the former only in Largeness, the Ear of this
being Seven or Eight Inches long, as thick as a Child’s Leg, and growing upon
a Stalk Nine or Ten feet high. This is fit for eating about the latter End of
May, whereas the smaller Sort (generally speaking) affords Ears fit to roast
by the middle of May. The grains of both these Sorts are as plump and swell’d
as if the Skin were ready to burst.

The late ripe Corn is diversify’d by the Shape of the Grain only, without any
Respect to the accidental Differences in colour, some being blue, some red,
some yellow, some white, and some streak’d. That therefore which makes the
Distinction, is the Plumpness or Shriveling of the Grain; the one looks as
smooth, and as full as the early ripe Corn, and this they call Flint-Corn; the
other has a larger grain, and looks shrivell’d, with a Dent on the Back of the
Grain, as if it had never come to Perfection; and this they call She-Corn.
This is esteem’d by the Planters as the best for Increase, and is universally
chosen by them for planting; yet I can’t see but that this also produces the
Flint-Corn, accidentally among the other.

All these Sorts are planted alike, in Rows, Three, Four or Five Grains in a
Hill; the larger sort at Four or Five feet Distance, the lesser Sort nearer.
The Indians used to give it One or Two Weedings, and make a Hill about it,
and so the labour was done. They likewise plant a Bean in the same Hill
with the Corn, upon whose Stalk it sustains itself.

The Indians sow’d Peas sometimes in the Intervals of the Rows of Corn, but
more generally in a Patch of Ground by themselves. They have an unknown
Variety of them (but all of a Kidney-Shape), some of which I have met with
wild; but whence they had their Indian Corn I can give no Account; for I
don’t believe that it was spontaneous in those parts.

Their Potatoes are either red or white, about as long as a Boy’s Leg, and
sometimes as long and as big as both the Leg and Thigh of a young Child, and

GILatorE] TAXONOMIC LIST OF PLANTS 17

very much resembling it in Shape. I take these Kinds to be th2 same with
those, which are represented in the Herbals to be Spanish Potatoes. I am
sure, those call’d Hnglish or Irish Potatoes are nothing like these, either in
Shape, Colour, or Taste. The Way of progagating Potatoes there, is by cutting
the small ones to Pieces, and planting the Cuttings in Hills of loose Earth;
but they are so tender, that it is very difficult to preserve them in the Winter,
for the least Frost coming at them, rots and destroys them, and therefore
People bury ’em under Ground, near the Fire-Hearth all the Winter until the
Time comes, that their Seedings are to be set. ‘

How the /ndians order’d their Tobacco I am not certain, they now depending
chiefly upon the Hnglish for what they smoak; but I am inform’d they used
to let it all run to Seed, only succouring the Leaves ‘to keep the Sprouts from
growing upon, and starving them; and when it was ripe, they pull’d off the
Leaves, cured them in the Sun, and laid them up for Use. But the Planters
make a heavy Bustle with it now, and can’t please the Market neither.*

CULTIVATED CROPS, INDIANS OF VIRGINIA; MELONS

Pagatowr a kind of graine so called by the inhabitants; the same in the
West Indies is called Mayze; Englishmen call it Guinney-wheate or Turkie
wheate, according to the names of the countrey from whence the like hath been
brought. The graine is about the bignesse of our ordinary English peaze and
not much different in forme and shape: but of divers colours: some white,
some red, some yellow and some blew. All of them yeelde a very white and
sweete flowre being according to his kinde, at maketh a very good bread.
Wee made of the same in the countrey some mault, whereof was brued as good
ale as was to bee desired. So likewise by the help of hops thereof may bee
made as good Beere. .. .

Okindgier, called by us beanes, because in greatnesse and partly in shape
they are like to the Beanes of England, saving that they are flatter... .

Wickonzowr, called by us peaze, in respect of the beanes for distinction
sake, because they are much lesse; although in forme they little differ. . . .

Macocqwer, according to their severall formes, called by us, Pompions,
Mellions, and Gourdes, because they are of the like formes as those kindes in
England?

I have also seen, once, a plant similar to the Melon of India, with fruit the
size of a small lime.*

He does not state at what stage of growth he saw it “the size of
a small lime.” He mentions pumpkins in the same elation.

They [the Illinois Indians as seen by him on his first visit] “live by game,
which is abundant in this country, and on Indian corn [bled d’inde], of which
they always gather a good crop, so that they have never suffered by famine.
They also sow beans and melons, which are excellent, especially those with a
red seed. Their squashes are not of the best; they dry them in the sun to
eat in the winter and spring.‘

1 Beverley, History of Virginia, Book 11, p. 26 et seq.

*Hariot, A Briefe and True Report, pp. 13-14.

8 Bressani’s Relation, 1652-1653, in Jesuit Relations, vol. 38, p. 243.

‘Narrative of Father Marquette, in French, Histortcal Collections of Louisiana, pt. Iv,
p. 33.

128 USES OF PLANTS BY INDIANS [BTH, ANN. 33

DESCRIPTION OF DOMESTIC LIFE OF VIRGINIA INDIANS IN 1585; MENTION
OF MELONS.

From De Bry:

“Some of their towns ... are not inclosed with a palisade, and are much
more pleasant; Secotan, for example, here drawn from nature. The houses
are more scattered, and a greater degree of comfort and cultivation is ob-
served, with gardens in which tobacco... is cultivated, woods filled with
deer, and fields of corn. In the fields they erect a stage ...in which a
sentry is stationed to guard against the depredations of birds and thieves.
Their corn they plant in rows... , for it grows so large, with thick stalk
and broad leaves, that one plant would stint the other and it would never
arrive at maturity. They have also a curious place ... where they convene
with their neighbors at their feasts, ... and from which they go to the feast.
On the opposite side is their place of prayer... , and near to it the sepulcher
of their chiefs ... They have gardens for melons... anda place... where
they build their sacred fires. At a little distance from the town is the pond
... from which they obtain water.’ *

In the light of what I had heard from the Indians and what I
found in the writings of the first white men who came in contact
with the tribes, I wrote to several persons, whose replies follow; these
are self-explanatory.

... As to Shawnees raising watermelons before the advent of our white
brethren, I doubt it; I have never heard of their raising any melons except
those whose seed was first given them by the early Jesuit fathers when they
lived on the Wapakoneta in Ohio. However, they did raise a small pumpkin,
which they called by a name meaning “little pumpkin,’ from which T deduce
that they probably raised a larger variety, but of which they seem to have lost
the seed.

DECEMBER 4, 1914. PIERREPONT ALFORD,

Beontuchka, Okla.

I regret that I can not give you anything worth while about watermelons in
North America. I have met the plant throughout the eastern United States,
particularly in the Southern States, but only as an escape.

JANUARY 12, 1914. J. K. SMALL,

New York Botanic Garden,
Bronx Park, New York City.

We have the small round melon with the small black seed. We sell it under

the name of the Pickaninny. ... I don’t know anything about the origin of
this variety; we got it from a woman in Kansas.
JANUARY 13, 1914. Henry Fretp Seep Co.,

By Henry Fievp, President.

We have your favor of the 8th instant, and in reply mail you a copy of
Burpee’s Annual for 1914, and for small fruited variety of watermelon refer
you to the Baby Delight, described on page 21. We also have offered for
several seasons seed of Burpee’s Hungarian Honey watermelon, which is early,

1De Bry, quoted by Thomas, Mound Explorations, p. 622.

GILMoRE] TAXONOMIC LIST OF PLANTS 129

small in size, and has deep-red flesh of finest quality. . . . The seed of Baby
Delight, you will note, is not black, but of a light brown... .
JANUARY 14, 1914. W. ATLEE BurRPEE & Co.,

Philadelphia, Pa.

Your letter received. I did not answer at once because I wished to confer
with Prof. Thoburn, who has been absent from the university investigating
some mounds supposed to be of historical interest.

He agrees with me that the watermelons to which you refer in your letter
are what are popularly known as the “ volunteer melon.” I have a ranch in
an Indian neighborhood and the so-called “ pie melon” or citron is almost a
pest. The “volunteer melons.” are not unusual and they often hybridize
with the “pie melon.” This may account for the fact that the ‘“ volunteer
melon ” differs from the ordinary melon of commerce. While I have no proof
to sustain my statement, I do not believe that the melon is indigenous to
Oklahoma.

Should there develop any further information in regard to the subject I
shall be glad to communicate with you further. I shall be much interested
in the results of your investigation and hope to keep in touch with the work
which you are doing in this line.

JANUARY 23, 1914. A. H. VAN VLEET,

Professor of Biology and Dean of the Graduate
School, the University of Oklahoma.
Micrampenis topata (Michx.) Greene. Wild Cucumber.

Waknaknahecha (Dakota).

Wata"gtha (Omaha-Ponca), from wata", squash or melon, and

ingtha, ghost; ghost melon.

An Oglala said the seeds were used for beads.

CAMPANULACEAE

Lospeia cArpDINALIs L. Red Lobelia, Cardinal Flower, Red Betty.

This species is peculiar in its situation in Nebraska, in that it is
found in some isolated areas, all within the ancient domain of the
Pawnee Nation. These areas are far distant from any other region
in which the species is found. It is listed among “ Species peculiar
to the Republican District.”? Again “ Lobelia cardinalis and L.
iaflata, which are known for one or two stations in IIT [Sand Hill
region] along the southern edge of the State.” ?

In another part of the present work the suggestion is made that
the presence of this species in the Pawnee country may be due to
introduction by Pawnee medicine-men. This explanation is sug-
gested in view of the value placed on the mystic powers attributed
to the species by that people. One use of this plant was in the
composition of a love charm. The roots and flowers were the parts
used. Other plants combined with Lobelia in compounding this
charm were roots of Panax quinquefolium and Angelica* and the
seed of Cogswellia daucifolia.

1Clements and Pound, Phytogeography of Nebraska, p. 81.
*Tbid, p. 297.
*Sce discussion of Panac.

74936°—19—33 ETH 9

130 USES OF PLANTS BY INDIANS [ETH. ANN. 33
ComPposITak

Henrantuus annuus L. Sunflower.

Wakcha-zizi (Dakota), “ yellow flower ” (wadicha, flower ; Zizi, re-

duplication of 27, yellow).

Zha-zi (Omaha-Ponca), “ yellow weed” (zha, weed; 2, yellow).

Kirik-tara-kata (Pawnee), “ yellow-eyes” (kirik, eye; tara, hav-

ing; kata, yellow).

T can not find that the sunflower was ever cultivated by any of the
Nebraska tribes, although its culture among eastern tribes is re-
ported by explorers, and it was and still is cultivated by the Arikara,
Mandan, and Hidatsa in North Dakota. P. de Charlevoix, in a
letter written in April, 1721, mentions sunflowers as one of the crops
of the tribes of eastern Canada.

The soleil is another very common plant in the fields of the Indians, and
which rises to the height of seven or eight feet. Its flower, which is very
thick, has much the same figure with that of the marigold, and the seed is
disposed in the same manner; the Indians extract an oil from it by boiling,
with which they anoint their hair. *

Champlain observed the sunflower cultivated by Indians in Canada
in 1615.”

All the country where I went [vicinity of Lake Simcoe, Ontario] contains
some twenty to thirty leagues, is very fine, and situated in latitude 44° 30’.
It is very extensively cleared up. They plant in it a great quantity of Indian
corn, which grows there finely. They plant likewise squashes, and sunflowers,
from the seed of which they make oil, with which they anoint the head. . . .
There are many very good vines and plums, which are excellent, raspberries,
strawberries, little wild apples, nuts, and a kind of fruit of the form and color
of small lemons, with a similar taste, but having an interior which is very
good and almost like that of figs. The plant which bears this fruit is two and
a half feet high, with but three or four leaves at most, which are of the shape
of those of the fig tree, and each plant bears but two pieces of fruit. [Podo-
phylum peltatum, May apple?]

Among the Teton Dakota a remedy for pulmonary troubles was
made by boiling sunflower heads from which the involucral bracts
were first removed. The Teton had a saying that when the sunflowers
were tall and in full bloom the buffaloes were fat and the meat good.
A Pawnee said that the seeds pounded up with certain roots, the
identity of which is not yet ascertained, were taken in the dry form,
without further preparation, by women who became pregnant while
still suckling a child. This was done in order that the suckling child
should not become sick. The sunflower ,is mentioned in the Onon-
daga creation myth.*

1Charleyoix, Journal of a Voyage to North America, vol. 1, p. 250.
2Champlain'’s Voyages, vol. 111, p. 119.
8 Hewitt, Iroquoian Cosmology, p. 174.

GILMORE] TAXONOMIC LIST OF PLANTS ill

Hewiantuus ruserosus L. Jerusalem Artichoke. (PI. 30, b.)

Patgi (Dakota).

Parle (Omaha-Ponca).

Pathi (Winnebago).

Kisu-sit (Pawnee) ; kisu, tapering; sit, long.

The people of all the Nebraska tribes say they never cultivated
this plant, though they used its tubers for food. The Pawnee say
they ate them only raw, but the others, according to their own state-
ment, ate them either raw or boiled or roasted.

Champlain reports seeing Helianthus tuberosus under cultivation
by Indians near Cape Cod in 1605 and again at Gloucester in 1606."

Rartipipa conpumnartis (Sims) D. Don.
Watlicha-zi chikala (Dakota), little wakcha-zi (chikala, little).
An Oglala said the leaves and cylindrical heads of this plant were
used to make a beverage like tea.

Ecurinacea AncustirotiA DC. Narrow-leaved Purple Cone Flower,
Comb Plant. (PI. 30, a.)

Ichalipe-hu (Dakota), “ whip plant ” (échalipe, whip).

Mika-hi (Omaha-Poncea), “ comb plant ” (mzka, comb) ; also called
thigahai, to comb; also called i"shtogalite-hi, referring to its use
for an eye-wash (@"shta, eye).

Ksapitahako (Pawnee), from zksa, hand; pitahako, to whirl. The
name refers to its use by children in play when they take two
stalks of it and whirl one round the other, the two stalks touch-
ing by the two heads. Also called Saparidu kahts, mushroom
medicine, so called from the form of the head, compared to a
mushroom (saparidu).

This plant was universally used as an antidote for snake bite and
other venomous bites and stings and poisonous conditions, Lchi-
nacea seems to have been used as a remedy for more ailments than
any other plant. It was employed in the smoke treatment for head-
ache in persons and distemper in horses. It was used also as a
remedy for toothache, a piece being kept on the painful tooth until
there was relief, and for enlarged glands, as in mumps. It was
said that jugglers bathed their hands and arms in the juice of this
plant so that they could take out a piece of meat from a boiling kettle
with the bare hand without suffering pain, to the wonderment of
onlookers. A Winnebago said he had often used the plant to make
his mouth insensible to heat, so that for show he could take a live
coal into his mouth. Burns were bathed with the juice to give relief
from the pain, and the plant was used in the steam bath to render
the great heat endurable.

1Champlain’s Voyages, pp. 82, 112.

132 USES OF PLANTS BY INDIANS (ETH. ANN. 23

Smpuium rerrouiatum L. Cup-plant, Square-stem, Angle-stem.

Zha tanga (Omaha-Ponea), big-weed, because of its size; ashude-
kithe because of the use of root stocks in the smoke treatment;
and zha-baho-hi, weed with angled stem (zha, weed; baho, hav-
ing corners; Az, plant body).

Rake-ni-ozhu (Winnebago), weed that holds water (rake, weed; ni,
water; ozhu, in, full or containing). Another name is rake-
paraparatsh, square-weed (paraparatsh, square).

The root stock of this plant was very commonly used in the smoke
treatment for cold in the head, neuralgia, and rheumatism. It was
used also in the vapor bath. A Winnebago medicine-man said a
decoction was made from the root stock which was used as an emetic
in preparatory cleansing and lustration before going on the buffalo
hunt or on any other important undertaking. It was thus used
also for cleansing from ceremonial defilement incident to accidental
proximity to a woman during her menstrual period.

Smzpurum Lacrniarum L. Pilot Weed, Compass Plant, Gum Weed,
Rosin Weed.

Cha"shinshitla (Dakota), Teton dialect, cha"shilshilya.

Zha-pa (Omaha-Ponea), bitter weed (zha, weed; pa, bitter), and

maka"-tanga, big medicine, or root.

Shoka"wa-hu (Winnebago), gum plant (shoko"wa, gum).

Kahts-tawas (Pawnee), rough medicine (/ahtsu, medicine;

tawas, rough); also called nakisokwt or nakisu-kiitsu (nakisu,
pine; kzitsu, water).

The children gathered chewing gum from the upper parts of the
stem, wheye the gum exudes, forming large lumps. The Omaha and
Ponca say that where this plant abounds lightning is very prevalent,
so they will never make camp in such a place. The dried root was
burned during electrical storms that its smoke might act as a charm
to avert lightning stroke. According to a Pawnee a decoction made
from the pounded root was taken for general debility. This prep-
aration was given to horses as a tonic by the Omaha and Ponca, and
a Santee Dakota said his people used it as a vermifuge for horses.

Amprosta ELATIOR L. Ragweed.

White Horse, an Omaha medicine-man, said that this plant was
an Oto remedy for nausea. In the treatment the surface of the
abdomen of the patient was first scarified and a dressing of the
bruised leaves was laid thereon.

Borsera PApposa (Vent.) Rydb. Fetid Marigold, Prairie-dog Food.
Pizpiza-ta-wote (Dakota), prairie-dog food (pizpiza, prairie dog;
wote, food; ta, genitive sign).
Pezhe piazhi (Omaha-Ponca), vile weed, referring to its odor
(pezhe, herb; piazhi, bad, mean, vile).
Askutstat (Pawnee).

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 30

a. ECHINACEA ANGUSTIFOLIA INTERSPERSED WITH STIPA SPARTEA

Photo by courtesy of Department of Botany, lowa State Agricultural College

b. TOPS AND TUBERS OF HELIANTHUS TUBEROSUS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 30A

;

ie

i

LACINARIA SCARIOSA

GILMonE] TAXONOMIC LIST OF PLANTS 133

The Teton Dakota say that this plant is always found in prairie-
dog towns, and that these animals eat it. A decoction of Boebera
together with oe is used as a medicine for coughs in
horses.

According to the Omaha it will cause nosebleed and they use it
for that purpose to relieve headache. The leaves and tops, pulver-
ized, were snuffed up the nostrils.

GUTIERREZIA SAROTHRAE (Pursh) Britton & Rusby. Broom-weed.

A decoction of the herb was given to horses as a remedy for too
lax a condition of the bowels. They were induced to drink the bit-
ter preparation by preventing them access to any other drink.

GRINDELIA sQuARROSA (Pursh) Dunal. Sticky Head.
Pte-ichi-yukia (Dakota), curly buffalo (pte, buffalo; ichi, together ;
yuka, curly, frizzly).
Pezhe-wasek (Omaha-Ponca), strong herb (wasek, ee
Bakskitits (Pawnee), stick-head (bak, head; shitits, sticky).
Among the Teton Dakota a decoction of the plant was given to
children as a remedy for colic. A Ponea said this was given also for
consumption. The tops and leaves were boiled, according to a
Pawnee informant, to make a wash for saddle galls and sores on
horses’ backs.

Soriaco sp. Goldenrod.

Zha-sage-zi (Omaha-Ponca), hard yellow-weed (zha, weed; sage,

hard; 27, yellow).

Goldenrod served the Omaha as a mark or sign in their floral
calendar. They said that its time of blooming was synchronous with
the ripening of the corn; so when they were on the summer buffalo .
hunt on the Platte River or the Republican River, far from their
homes and fields, the sight of the goldenrod as it began to bloom
caused them to say, “ Now our corn is beginning to ripen at home.”

Asver sp. Prairie Aster.

An unidentified prairie aster was declared by a Pawnee to be the
best material for moxa. The stems were reduced to charcoal which,
in pieces a few millimeters in length, was set on the skin over the
affected part and fired.

Lacrniarra scartosa (L.) Hill. Blazing Star. (PI. 30 A.)
Ao"tashe (Omaha-Poncea) ; also called maka"-sagi, hard medicine.
Kahtsu-dawidu or kahtsu-rawidu (Pawnee), round medicine

(kahtsu, medicine; rawidu or dawidu, round).
A Pawnee said the leaves and corm were boiled together and the
decoction was given to children for diarrhea. An Omaha made the
statement that the corm after being chewed was blown into the

134 USES OF PLANTS BY INDIANS [BTH. ANN. 33

nostrils of horses to enable them to run well without getting out of
breath. It was supposed to strengthen and help them. The flower
heads mixed with shelled corn were fed to horses to make them
swift and put them in good condition.

AcHILLEA MILLEFoLIUM L. Yarrow, Milfoil.
Ha*k-sintsh (Winnebago), woodchuck tail (ha"k, woodchuck ;
sintsh, tail). Named from the appearance of the leaf.
An infusion of this herb was used by the Winnebago to bathe
swellings. For earache a wad of the leaves, also the infusion, was
put into the ear.

ARTEMISIA DRACUNCULOIDES Pursh. Fuzzy-weed.

Thasata-hi (Omaha-Ponca).

Rake-hitshek (Winnebago), bushy weed, or fuzzy weed (rake,

weed; hi"shek, bushy, fuzzy).

Kihapiliwus (Pawnee), broom (kiharu, broom; piliwus, to sweep).

Among the Winnebago the chewed root was put on the clothes
as a love charm and hunting charm. The effect was supposed to be
secured by getting to windward of the object of desire, allowing the
wind to waft the odor of the herb thither. The Omaha ascribed the
same powers to this species and used it in the same ways as they did
the gray species of this genus next mentioned. It was used also in
the smoke treatment. A Winnebago medicine-man said a handful
of the tops of this species dipped into warm water served as a
sprinkler for the body to relieve fevers. According to a Pawnee in-
formant a decoction made of the tops was used for bathing as a
remedy for rheumatism. Brooms for sweeping the lodge floor were
made by binding together firmly a bundle of the tops. From this
use comes its Pawnee name. The plant was liked for this purpose
because of its agreeable, wholesome odor.

Artemisia rricipa Willd. Little Wild Sage.

Wia-ta-pezhihuta (Dakota), woman’s medicine (wia, woman; ta,
genitive sign; pezhihuta, medicine). The name refers to its use
as explained farther on.

Pezhe-lota zhinga (Omaha-Ponca), little gray herb (pezhi, herb;
Kiota, gray; zhinga, little).
riéwokki (Pawnee).

A decoction of this species was used for bathing and was also taken
internally by women when menstruation was irregular; hence the
Dakota name.

ARTEMISIA GNAPHALODES Nutt. Wild Sage.

Pezhikota blaska (Dakota), flat pezhihota.

Pezhe-liota (Omaha-Ponea), gray herb.

ciLmore] TAXONOMIC LIST OF PLANTS 135

Ha*witska (Winnebago), white herb (Aa"wi", herb; ska, white).

Kiwaut (Pawnee).

All that is said of this species applies in general to all species of
Artemisia,

A bunch of Artemisia was sometimes used for a towel in old times.
A decoction of the plant was taken for stomach troubles and many
other kinds of ailments. It was used also for bathing. A person who
had unwittingly broken some taboo or had, touched any sacred
object must bathe with Avtemisia. The immaterial essence or, to
use the Dakota word, the to”, of Artemisia was believed to be effec-
tual as a protection against maleficent powers; therefore it was
always proper to begin any ceremonial by using Artemisia in order
to drive away any evil influences. As an example of the use among
the Omaha of Artemisia to avert calamity it is related that two
horses ran wild in the camp, knocking down the Sacred Tent. Two
old men, having caught the horses, rubbed them all over with wild
sage, and said to the young son of their owner, “If you let them do
that again, the buffaloes shall gore them.”

In the ceremonies of the installation of a chief among the Omaha
wild sage was used as a bed for the sacred pipes.2. One of the per-
sonal names of men in the Ze-sinde gens of the Omaha tribe is
Pezhe-hota.? ‘

It has already been mentioned that the various species of Arte-
mista were used in old times as incense for the purpose of exorcising
evil powers. It has also been stated that cedar twigs or sweet grass,
either one, were used as incense to attract good powers. Some
Christian Indians also still employ all these species as incense for
these specific purposes, in church services, especially at Christmas,
Easter, Pentecost, and on occasion of funerals. The writer has
seen the use of Avtemésia as an incense before a church door just
before the body was carried into the church. A small fire was made
before the steps of the church, Artemisia tops being used to raise a
cloud of smoke.

Arctium minus Schk. Burdock.

This plant is a European introduction, probably not earlier than
the time of the first overland traffic by horses, mules, and oxen. It
is even now found commonly only along or near the old military
roads. It has been adopted by the Indians for medicinal use.
White Horse, of the Omaha, gave information, which he had obtained
from the Oto, of a decoction of the root being used as a remedy
for pleurisy.

1 Dorsey, Omaha Sociology, p. 235.
2Tbid., p. 359.
*Tbid., p. 244.

136 USES OF PLANTS BY INDIANS [ETH. ANN. 33

LycopEesM1A JUNCEA (Pursh) D. Don. Skeleton Weed.

The Omaha and Ponca made an infusion of the stems of Lygo-
desmia for sore eyes. Mothers having a scanty supply of milk also
drank this infusion in order to increase the flow.

In the north where Silphiuwm laciniatum is not found Lygodesmia
was used for producing chewing gum. ‘The stems were gathered
and cut into pieces to cause the juice to exude. When this hardened it
was collected and used for chewing.

ANCIENT AND MODERN PHYTOCULTURE BY THE
TRIBES

In former times the plants cultivated by the tribes inhabiting the
region which has become the State of Nebraska comprised maize,
beans, squashes, pumpkins, gourds, watermelons, and tobacco. I
have not found evidence of more than one variety each of tobacco
and watermelons. By disturbance of their industries and institu-
tions incident to the European incursion they have lost the seed of
the larger number of the crop plants they formerly grew. By search
among several tribes I have been able to collect seed of many more
varieties than any one tribe could furnish at the present time of the
crops once grown by all these tribes. Of maize (Zea mays) they
cultivated all the general types, dent corn, flint corn, flour corn,
sweet corn, and pop corn; each of these in several varieties. Of beans
(Phaseolus vulgaris) they had 15 or more varieties, and at least 8
varieties of pumpkins and squashes (Pepo sp.).

After diligent inquiry, the only cultivated crop plants of which I
am able to get evidence are corn, beans, squashes and pumpkins,
tobacco, and sunflowers. ‘These are all of native origin in the South-
west, having come from Mexico by way of Texas. But a large num-
ber of plants growing wild, either indigenous or introduced by human
agency, designedly or undesignedly, were utilized for many purposes.
No evidence appears that any attempt was ever made looking to the
domestication of any of these plants. The reason for this is that the
necessary incentive was lacking, in that the natural product of each
useful native plant was always available. In their semiannual hunt-
ing trips to the outlying parts of their domains, the Indians could
gather the products belonging to each phytogeographic province.
The crop plants which they cultivated, however, were exotics, and
hence supplemented their natural resources, thereby forcing a dis-
tinct adjunct to the supply cf provision for their needs.

But since the advent of Europeans the incentive is present to
domesticate certain native plants which were found useful. This
incentive arises from the fact that the influx of population has
greatly reduced or almost exterminated certain species, and, even if

¢

GILMorr] CONCLUSION 137

the natural supply should suffice, the present restriction in range
and movements of the Indians would prevent them from obtaining
adequate quantities. This restriction results from the changed con-
ditions of life and occupation, which necessitate their remaining
at home attending to the staple agricultural crops or working at
whatever other regular employment they have chosen. As a con-
sequence, I have found in every tribe the incipient stage of domesti-
cation of certain wild fruits, roots, and other plant products for
food or medicinal use, for smoking, or perfume. I have thus been
privileged to see the beginnings of culture of certain plants which
in future time may yield staple crops. In this way a lively con-
ception can be formed of the factors which in prehistoric time
brought about the domestication in Europe and Asia of our present
well-known cultivated plants.

CONCLUSION

From this partial survey of the botanical lore of the tribes of
the region under consideration we may fairly infer, from the general
popular knowledge of the indigenous plants, that the tribes found
here at the European advent had been settled here already for
many generations and that they had given close attention to the
floral life of the region. From the number of species from the
mountain region, on one hand, and the woodland region, on the
other, and also from the distant southwestern desert region, which
they imported for various uses, we know they must have traveled
extensively.

The several cultivated crops grown by the tribes of Nebraska are
all of southwestern origin, probably all indigenous to Mexico. From
this fact we can see that there was widely extended borrowing of
culture from tribe to tribe.

The present study suggests the human agency as the efficient factor
in the migration of some species of wild plants, or plants growing
without cultivation. If this be the true explanation it affords the key
to the heretofore puzzling isolation of areas occupied by certain
species.

From the floral nomenclature of each tribe we find that they had
at least the meager beginning of taxonomy. The names applied to
plants show in many instances a faint sense of relationship of species
to species.

My informants generally showed keen powers of perception of
the structure, habits, and local distribution of plants throughout a
wide range of observation, thus manifesting the incipiency of phyto-
geography, plant ecology, and morphology. The large number of

.

138 USES OF PLANTS BY INDIANS [BTH. ANN. 33

species used and their many uses show considerable development of
practical plant economy, or economic botany.

All these considerations of the relations between the aboriginal
human population and the flora of the region are instructive to us
as indicative of what must have been the early stages in the develop-
ment of our own present highly differentiated botanical science. In
this study of ethnic botany we have opportunity to observe the be-
ginnings of a system of natural science which never came to maturity,
being cut off in its infancy by the superposition of a more advanced
stage of culture by an alien race upon the people who had attained
the degree of culture we have here seen,

139

NAMES

GLOSSARY OF PLANT

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Fa idsiet SP RBO pane yotsapyy [ociet tess ceecc ests ecee esse s|eeeeeeeeeee esse ups empupyg focctcctctct tes cepdemn puppy [ooo ooo ummeypors 100y
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‘ *(ubpey y
soypsg [ttttttttrctet ett ysoyey [oocctstetttett woyz-ey eqn, | -yser, oste) eyysnysueyg [eos - + a cserstemeetare qepje xog frvcrttttt --opungou 100
‘OUILU SOLANGE | “oMeU OFBqQOuUT A, “OULU VITBUTG, “OUeU BIOECT “oUIbU YSsT]sUG, WOMIMIOD “OUBU OYTZUOTIG

GWVN OIMILNGIOS HUAANOD ATTIVOILEAVAHdITVY CADNVUUV

HdVUYSONOPT SIH [, NI GHNOILNGY SAWVN' LNVId dO AUVSSO'TIL)

LETH. ANN. 33

INDIANS

USES OF PLANTS BY

140

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oyeyeyidusy

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nyeqstd yen

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pes cinncen's BYBUYS-dYI-Opuby

(1U-0} 48307 Ysuy OSTR) 1Y-e ATW

efaryzun
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poeta ny ETIZVYuvU BINYZIT

Sones se-o--=-9]0an By ezIdzey
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Saag aeesissanicices ysnu Stumoag
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paes eAory
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ere cisisnresese 5 a.e Arreq yon yy
pale eras eercge qooMsIoq EL
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eae STULIOJ TOG ay BUTI AI GL
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“eTTOJIIsNsue BoowuTyo
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Bieeie es ‘BLIBMest] BIIGIMoNyD
EIS et ta) ds sngevqeig
Nn aaa ate: eUvoTIeMIe SN[AIOD
ree cohen BIOJTHOTOIS SNUIOD
pire ee Rlorer ee a ‘eTfoyuedse snii0g
pte eer ee sacs UINMOUIe SNuIOD
Bo aee BYOsIONep BIT[AMSsz0—5
FERS R A Snes “snq[naj1 snyqnayio
uinqye wintpodousy)
Fehas caaot epost [Adioas eoAsovureyD
Femrclearig nets strequep1000 sueD
OS EICOOCEL SUePUBIS STLIYSPIAD.
Ssaairieeme SnUBOTIONIG SNYOURAL)
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pes cemener BI BION[OAUT GOYA [2D

OCT arc esodded viaqe0 gq

pes cteee seats siayuAded enjog
Eee “-ByeojoRIq BISYdeg
peers euBlTUTOreS snyeseljsy
ar enisise SE ‘Bsolaqn} svideposy

‘ome OFBqoOUTT AA

“OUIEU BYU

“OUIBU BIOYVC

“OULU YST[sUG WOUIMIOD

penUyAOO—ANVN OIIIZNAIOS UAGNOD ATIVOILLUAVHd TY GHONVUUV

ponulu0pj—ydpisouowu sry} UL pauotjUuow sawou yuvjid fo havsso]H

*oumeu OYTZUAIOg

141

OF PLANT NAMES

LOSSARY

]
7

G

GILMORE]

“S}ISqe]

“MPTASP-NSYEM
“OYBSICABL
TyBIYRS

“PTANNY-S} Ye
“qUOYTPEPLIS

“nstrysyedyeg

“4ISUSTS
“RyBY-LAC]-YLIM
“synyoL,

“SUIPISABE
yseynssyP[esnyeyey aL
"SI

“OXCUPIM
“npeimy-nivdy
“TIBINYTYV

eae taba eae a eyoys-20 A
BIE I eftoq-yurmoyy

an Yysynys-0} pea

wenn eee cee eee eee eee ee eee cence ence eens edyayo-1ysyoH | yequmg [7-777 uinyeurures uopsedooA'T

Seager TSS py pel SO a I a ICIS AI IIS III Co y.Nsh ay! |] AO IoC gi ayers] gg gHovseh lols (aleya slot

ePIC IE AIO SSO OO II 3 eS SE OIE AO IO ICS EG “JOAMOT] [BUTPIO SeITEqO] pay |~ ~~~ "~~ **"*"~“st[euTpsvo eIjeqoT

cote eens eee eeetee eens Toetizugy |e oe en seein anne ane asl TOO dD MAN Fs 2a SUAUSOUGO DIM MLS sO] a

otter eee n eee e eee e eee eel ee eee eee e eee e cece renee neal ane e enw w memento Apipomeyy [77-7777 aNgeyjequin wanyrT

Be eters PENN Wy-uquny-og, |---| = noo; gtaqey |7-"->-- 77> ByBq1dvo ezepedserT

mS SCTE apryzem-ofoyuoyz, |--*- 77-77 eynd-eyouryyseyy |--*77 77 ++ 77 =" Auseq opeyng |~~*~~~~** > wayuesie vordsredeT

poerentecae SUBD, IS-TIQuiRy [7-7-9220 gec rss] eed qooms PIIM |7-7 7°77 7" "7 “snyBIIO snaATyET,
TpWeN Mpp-edeanye MA

---(GSes-eHeIV Ost) ayseqoy | ‘vyoyeA TyoDPedemnyem |--7777 7 qeqs Sumepg | PESO WBORS MUTE OuaT

dicta cine cue Selma ciemien Weeyy sorcteress=222"==--3Bp99 Poy ~“eueTUIdItA sniedtans

Sia a elareib's a aisles waiolats Sar, asepL scceseererees*santiem HOBIE * BIdTU SUB[SN LE

weno tanec cin wiam AUIVIS-ubyCIL Pree RE ERI er yc) end "*****JO[OOISIOA STIT

pet vewcen lice cwswstscituceesaes ° As0]3-SuTas0 ur ysngy “ey[{ydojdey voomody

m ~-Jelios deays * BOOB[OTA ST[BXOUOT,

bzccteceeeeonee : -jou-eUI-YON0} PITAL ~epyred sueyeduay

IYI TYS-uBYRIV --eANAT-uBYyO | Sat Canren eee Ory RUBOTIOUIB Sn[NUIA A,

“"ISu0N |* “TsuBy) ~-- £10 yor |" *""BYUBAO BIIOOTH

BYyeUl-Vqeyz, ope, “qyoorsearvaq ‘druszed Mop |7--*-""- "> ~ WInj}eUur] UNe[oe1e}

oo “BYBIYO wBYVyy |” STG A OMATLTIO FM | janie atau mat epidsiy eulospay

“oyut "7" 1Bueg |” *-JaMoyuns snoreqny, |7""-*-""** Snsosoqny snyyueyeyy

“WRU, VAY Al:1+(0)0 (1). mati a a Sas TOMA [LULLG)) | eis s cee aaa snnuue snyyue roe

SVOT[OUGN |p smcecaereca ae UTM AA | ome oe 901} oayjoo AYonjuey |" 7-77" BOOP Snpepoouurd y

Bin OCIS OOS OCU IUCI SEC ISOC OON | FS II I OBINJOIVS VIZOIIOTNH

WaaseaDoseneS eyysopyeyormy | Arleqasoor |-**-"* SISUALMOSSTUL BLIB[NSsOIy

weeeeeeeeeeeeessyocpmeoumag [octcct tt eynd-yoy oy | peer Ayo |7°77°*7 7+ "BsoseNbs erepuy

bebe eces exces Sees wrwouray [777 teamoaTT pIEAN [777777777 eIOprdey eznyAhoATD

ceeeee sees (o[q WoO4oy,) Op |°777 7777777777 OYeJod werpuy [777777777777 777 “sot oUTOATDH

se seeeeeess-9--opunyseeyrpy, [octtcctcccc ce 9]0M B10. | ~-wNd punosd ‘vad ofeyng |° ~~~ wndzeolsse10 uouMMIdoay

cree eee ee ees sees guggd-ne ny [octtccccc cece ce ee eee eeescee|ssececeeccres “janbnoq ,serpey |" 7°77 7777 TAaMIO gy] wNyeDH

pan SoS SeC SSDS ae alyges [ote ttt crrcc set ysy |o777 77 woraeaAsuued snurrengy

BORO SS a5 eypazysnyze MA |77 77777777 ATIOQMRIYS PIT [7°77 7 BUBTUTSITA BIIEse IT

OOOO PIII aquiyiqulAy |- "7 *77* 7 -BYDTUTIO BY. BYR [7 areeq pumMody |-~-** "=" BSOMIOD BY BO[B

pO per eg aaen tn anesetrs Snr cccr sap ce se saens Sonera SSISICEOS OOS hy she ni(ols -- "mM esoyoosour tuntuOIyy AIG,

Peer ar ricns allJuOUl-T-BYubUe AL \" srortrcessesseeeseserseeseres)- Tend OOyBM fYysnq suTuINg |**~**~ vomndsmdosjze snwuAuong

[ETH. ANN. 33

USES OF PLANTS BY INDIANS

142

Oo a he tA ROS serrrtesesreseceserss copa ay [e-*"*aNtIyBAA JO unmese Ay |**-****"-**ysenbs furydum,y |**-- “eurxeur ode; ‘oded odeg
BEE ARAEEEB SC 0 sec eeeeeeeeees|seceeeeess ss ueyBUEBSTYSBIN: [tect t et eyngzed unumeseyy feces panos pyray [ooo 77727 RaIssrprjooy oda
BB 6 Onrecdoencrscbno sacha lbGcspoboer SoODISASaOscS SQDS SSH POOHOSeOaO G00 eae since fates Cog ssreptseonemac eAopaxos pray [ooo stuoprpuead WoTIA4s;Ue,7
SASH Si Saag A IY Sa SIS OASIS LNG |e eae pM BI-ZUY-CYYBay [ote = odaaio Braisat\ |" * eyojonbummb snsstaoueyqyse gq
RES SOROS OREO CD CREIS COR 2h.dr| Ponce tconannDEinoe: SomOc seetece|eeeeecerereeeessspq-pqnygap [ccectcccrcerr ree eeeeesee sees ees espe Bpasort
SE ARUBA SHEDS REREO Sec nohcdood |poabooDntEeooLoCoan staeeeeeece| eee eeeec eects eeeeeeecereeeeeee| ceeecersererererseesSnoguty [orcs ++ tnojonbumb xeueg
*ed.ieo
*synieeyeu-1deeyeN |---"* "77" * DT | haeiie ee kcacaea BsUTYZ BAuBN | 92557275 Smee s YBCn BUC) hme ne ae Ado YOYN w19}sa\\ | -OuUB[ouL snpey ‘eueu snpe.yT
ssngeyeptg |occccetteeeret eee feeee BCObOLRAmC copnbcnellanecbosegsonete ccc ppayoyag |r geod <pyouy [ttre vsnjtamy eyundo
“(epnu
ph aaa ta sta Da) a ae | ee soreeseesscgdadny BO, |-7 ttc) Broz} uly mAs) BPO BYleIqUN
SOS RSE C OC CROSS SEES USC SSCS BEt BaSonCoede Roper Cobre ciaCoocrile pecnlorecraoboceacoserace.Jcaq|jodocar sodas cecpusimancocosaced acre -=s9 229" = poINSNI BURTIODIN
Soon siosei a aineiSinlnceaitietn Sie Siecle © 5) Rein. 2h01 5918 My SiSIR CS aes eho | lade Taek (T[uBy) 1090T,) puByD |r e else STATBALIDBND BUBIJOOIN,
| *snyoy ued
STPACUH TUT: 4 | Se ee sci ae si iag OdBIOUS Ip = ves ek Se ee OMBYIOL -odemay | -uomy furdenburjpo J0y7e -- peqyny] OquINjaN,
Mi esieieseaieis odtew ems citic aah eels sie Seas oye semaine oe “** *Te1O J “-RyUeTNosea B[TOYOIOW
Cry-es-ory ny | “(Agoura
“n4sosL, eo +ceceecceenareercenwcrens Buz] Os[e) vautsy Bd-eyz0q “BUTO}YSBA-Ad iB AL ““euUe}YyseA, | JUBISeI)) Bso[Njsy epBUO|L
“OOM BY
nyesns = ~-ed-yzoq | vyByaH :vynyzed uy eyeyoH [tt Lyon qu Ghai 0) ¢ [i [ora eso[Njsy BpsBUoW
= -* 2Y3-we78 AA “YOY BUYCUYBM |277 5255255555 Joqumono prt |-7 7 77* Byeqo] Syedure1o Ty
“NILBYBATY-,SIYC IM. q S MOU? CT NROUZO ef eases sues oe nea ete eee ie BHVTUOW| Tee os ee Thaqeses 70) Qu4\| [pone aS SISUaPRUBO BYLUATT
“qnyByVyL : S281 ETZBU-O USUI aula hae a ace = eee aaa ape sae ain |= aera ee alee peasuooyy |--*-* esuaptuRs WnULedsTueyy
“RSUBIBA OdTB AA,
seerist scicinclee sace sa baigscis seb erssnsisess4 ubso-v4suoz-oyz0g | ‘ByOoyooAT edueyoeay [77777777777 TOAOTA4oOALG |~7 7777 BQTB SNAOT TOIT
RacconceR CAD BOO ues AACEDAGSa4 sy aprys-ueyeyy |tccctcccc crest eeceece eee |eec ees eee kunaq euryg |ooeeet os yotuepoze vray
OS aah aa aise cae clea ictal ots Sea ale srrctissosss"--eanyzod 8} eyodep |- "°°" "ALOT [BUT STR] poy | ~~ ~*~ ~~ * WneuTIV09 UIN.AYSBAleWy
SCO OO ee iS GCC OT oO OY! || sss sss sre sr taste ese arcs soe lb os Sco Kc esa] Ud pid BOAO Th | oouienmens aa anmeetSTS OO RED HNL
pisietaloinielaigic Sicis cleieie nisiehcie 2/e'e16 7p cis) Snes </° Piet ciCric rere ayes vo coi ulysulysuvyo eyeyy |7-777 7777 paaat WoyeToyg |--**7-""**** Boounl eruseposé'T
| |

“OWICU DOLE

“ourvU OFLqoUUT A,

“OUleU VYCULG

‘UIGU ORV

‘OULU Yst[sUq WoUTUIOD

“OUIVU OYT}UOIIg

penuyyUOD—AWVN OIILNGIOS YHONO ATIVOILEAVHdTY GHONVUUVY

ponutu0pH—ydnusouow svjqz ur pauoywou saupnu qunjd fo fidpssol1pD

GLOSSARY OF PLANT NAMES 143

GILMORE]

(q1PIOs

“THEN OSTB) sBAvE} .SIqe
4RqSIS
“TIBET

NUBILES
‘oyedei ry

“qu

“yey vad syyey

Ttuedy
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“qeyeg vyeyeN
TABARION Ye

“ByYOINS}O,T
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“QURYBAIN,
“NIBeYeIBN

“WV

“qUISBMVY-SNATIG-ey ry

eens Hnysty-yed

es (Bsuey, weyeyy ose) edeyz

“APTUZeM

- n0YsuNYSeyseq-ue yey,

a ee ee een ewe wenn ewww een eee eee cene ysnqest-og
we tere eee ree ee eee MuTUORT p70 oS ut qurey
es os ST aha | tne pat eR ae SLE YE 8 MEN

“(ermystrus
-ubYD 0049,L,) Cpulsulysuby

be teten ces eseisee een nyndeyo
EOE edod-adye
Set ePIC aS += = gous.

eyooyut yey,
‘BMJulyZul Zul)
ezey By dey
gsr esr 12-08 YO)

PrRetcS Geer aes sess eyooAT ys)

pppeechsanccserecreceeesene alcrresiecce sche 225s ehctnidee sees jor ttt -edueyQ MsyoH
Mees ape nee seek ereencny| seer eres ccs ns sce secs sence sat eeaeeeer seaeee eyorueyory,

“(BpIsdul, woz
-8L) PUutIsduly, JO BUuIsdTy,
~-(eyurjsey osye) rdesocn0y

Sele ABACSS ASO BIE.) uBlO-BIE AA.
terete ener eee vduvu-uty)

~-queyd sseduioa ‘pao tansy
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Pra ek eee ae joorpoo[g.
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are tanyeraoey wMTy 1S
eine an asia see snpTea sndiig
i ree a) BYCIOPO VUBISBABS
nears sisueptueo tuvumsueg

<9 ene BIOITIB] BIILIYIIVg
3 “snyedesouemAy xounyy
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sieer se gee giee ane Biqni snosent)
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Rebees sneak BIO YIN} Ba[BIOS, [

Re Easel Sesse BJ UETNOse VaTeIOST
po ee in léasseq snunig:
PopFsesegesss vireo ewe sNUNI
Retes st escoses Tyuesues snqndog
pe oL OR IOJOOISINA SNJONSATO TL
sceteecssesasnes Joleu ofejuel
prseeececceless euvAR LMU SNUTT
isis Sie aie BuO ee BodR[OJAY
erseereeets Byeloooury stTesAt
esececeeas eAydosojoy syesAy
erst Gie emits; SUBS[NA snjoasey.
“WINPIPUB MINUII}SO[LIA T
‘umemdimd wmurejsojeje7

[ETH. ANN. 33

USES OF PLANTS BY INDIANS

144

“StSBADLY

*SISBYTN

“4BYe J OFVS}IEL
“BYR L OFBSPICL
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seeeee tree TTA,

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macs eyysunye ynunysoy,
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pecoS eS Seaaae vromeL eydAT,

ase ssecas ROTUISILA BIYUBOSOPBLL,
Ce winiajrarod wofAxoT,
* WOPUeIPODIX0} UOIPUEpPoOdTXOT,
Siig pobre seins BUBOLIOWL BILL,
pe Sean eOsIqmoY stsdoursety y,
sieehers wundavoAsep tins4oTey,L
“~-s1/ejuepjoo0 sodivowoydurAs
‘sod
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Sa seeasetes sess soqinds edyg
ettee ess euerneyom turds
sie Sey peceete gee eee ds o8epyjog
PERG D ELT en ReoRqJ1oy Xe[TIg

Sie si sa wingeroysied winmdyig

‘OMIBU YSTsUG, UOTUUIO,

“OUIeE OYT}WOTNgG

PynayAO)N—ANVN OIIILINGIOS YHaNnt

ATIVOILUAVHdTY GHONVUUV

penulyUuoj—ydoIHoUoUul sry] UL poworjwaw saunu punjd fo fupssoly

GLOSSARY OF PLANT NAMES 145

GILMORE]

‘SIEIIN
“s}ISexeH

“ns}qeM ePPiMGO

“4LOYTPEPLIS
-eqeeL SIGE
“synsEy

wee e ween e ccc ee rece eenee alg [otcrcttttt to eputaea\atg

Cee ae | ae eS bss eqBUeAL
wee emnemensnewenaecmein==erie=|- == en ae~ ni eyyeuyyeg woUZ
PROS CEC ANIC OD GOCE Sart 2 4 Merge ep Ose a: TH-CANPRANC
ee gues epeH
eee ee eee Pee ee nnn uByLyy esueyg
CI EEUU REY. [5 Se ae ee,

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Be DORT IOIO O-7I Ol PIIM [7777 BoQeNbSe VUVzZ1Z
BOSC OCHO SOIR IOS gO C1 wiog [roceestreet resets sour Baz
coors ss-yse Appoug |*** “Winuvoyeure UM[AxoqjueZ,
“gouoAeq ystuedg |--"" "7" "7-770 T To" ones Boon L
-*-JaqJ0S POOM MOTIAA [77777777777 BIOLIJS STVXOYJUR NX

pa ere scan: oe ae eqynyzedueyy |” sres-s"-*"KT9010 Joomg |" ""*
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“= sqAys]uoy rUOYZUTYSE MA

oe eer BOIOIO SIJTA

snyndo wmuimqrA

10

74936° —19—33 ETH

146

USES OF PLANTS BY

INDIANS

[ETH. ANN. 33

Glossary of plant names mentioned in this monograph—Continued
ARRANGED ALPHABETICALLY UNDER DAKOTA NAME

Dakota name.

Scientific name.

Dakota name.

Aoryeyapi (also Hasta»-
ka).

Chasdi (Teton dialect
Charli).

Chathaloga Pezhuta.....

Chan-ha sa"

Cha» Pezhuta...........

Chas-shasha hi»chaka. ..

Cha*-shasha.........-.--

Cha*shisshila (Teton
dialect Chasshilshilya)-

Chasshushka (also Tash-
kada®).

Hastatharka...........-
Haste (or Haste sha) ....
Hastatka .25 5-2 s-ccsns <0
Heliaka ta pezhuta......
Heyoka ta pezhuta......
Histe-chan..............
Hupestolasisc.22-22-5=5
Ichalipe-hu............. 2

Mashti»cha-pute......--
Mdo (Teton blo)

efe-itazipan.cses-<e sence
P’e-tututupa
Pezhi-hota-bl
Pezhihuta Zi.

.| Artemisia gnaphalodes.

.| Sagittaria latifolia.

Prunus besseyi.
Nicotiana quadrivalvis.

Verbena hastata.
Acer saccharum,
Humulus americana.
Polystictus versicolor.
Padus nana; Padus me-
lanocarpa.
Washingtonia longistylis.
Cornus stolonifera.
Cornus amomum.
Silphium laciniatum.

Acer negundo.

Usnea barbata.

Ribes americanum.
Sambucus canadensis.
Hicoria ovata.

Rhus glabra.

Mentha canadensis.
Vitis cinerea.
Juniperus virginiana.
Prunus besseyi.
Monarda fistulosa.
Malvastrum coccineum.
Tilia americana.
Juglans nigra.

Yucca glauca.
Echinacea angustifolia.
Prunus americana,
Lygodesmia juncea.
Hedeoma hispida.
Faleata comosa.
Lepargyrea argentea.
Glycine apios.
Viburnum lentago.
Phaseolus vulgaris.
Rosa pratincola.
Helianthus tuberosus.
Ulmus americana.
Ulmus thomasi.
Ulmus fulva.

Dasystephana puberula.
Callirrhoe involucrata.
Parosela aurea.

Boebera papposa.
Allionia nyctaginea.
Scirpus validus.
Fraxinus sp.

Allium mutabile.

Zizania aquatica.

Scientific name.

Pte-ichi-yulha...........
Pte ta wote.........---.

Saka yutapi..........-..
Shiakipi.o-- J.2.-.-.c.oe
Siskpe ta wote..
Wad OSS Seacer cc se cece eee
MANAG Oo ses coc=~ scene

Tamaniohipa............

Ta»pa (Teton Cha»-ha
sa").

Tashkada® (also Cha-
shushka).

Uskuyecha......-.-.-.-.
Uta...
Wiachanpals..-.-.2s2s-6
Wachanga iyechecha
(also Watpe
changa).
Waga-cha2
Walicha toto;
mdu_ toto.
Wakcha-zi chikala......
Walicha-zizie--2-------
Wagamur pezhuta
Watinahinahecha......-..
Walinaling..........-..-
Walipe popa......-.----
Walpe toto: --------=-
Walpe wachanga (also
Wachanga iyechecha).
Wahpe washtemna......

wa-

TIcha-

(Teton

Wamnaheza
Wagmeza).
Wamnuha..

Grindelia squarrosa.
Geoprumnon
pum.
Citrullus citrullus.
Rumex crispus.
Acorus calamus.
Heracleum lanatum.
Acer saccharinum.
Rubus occidentalis.
Physalis heterophylla.
Betula papyrifera.

crassicar-

Acer negundo.

Crategus sp.
Nelumbo lutea.
Psoralea tenuiflora.
Psoralea esculenta.
Nuttallia nuda.
Opuntia humifusa.
Corylus americana.
Quercus macrocarpa.
Quercus rubra.
Savastana odorata.
Melilotus alba.

Populus sargentii.
Tradescantia virginica.

Ratibida columnaris.
Helianthus annuus.
Pepo foetidissima.
Micrampelis lobata.
Gymnocladus.dioica.
Salix sp.
Chenopodium album.
Melilotus alba.

Monarda fistulosa (fra-
grant variety).

Pepo pepo; Pepo maxi-
ma.

Zea mays.

Cucurbita lagenaria.

Petalostemum purpure-
um; Petalostemum can-
didum.

Fragaria virginiana.

Pinus sp.

Thalictrum dasycarpum.

Artemisia frigida.

Grossularia missourien-

sis.

| Typha latifolia.

GILMORE]

GLOSSARY OF PLANT NAMES

147

Glossary of plant names mentioned in this monograph—Continued
ARRANGED ALPHABETICALLY UNDER DAKOTA NAME—Continued

Dakota name.

Scientific name.

Dakota name.

Scientific name.

Winawizi..............-
Wipazuka.
Yamnumnugapi........
Zuzecha ta wote.........

Glyeyrhiza lepidota.
Amelanchier alnifolia.
Celtis occidentalis.
Celastrus scandens.

Zuzecha ta wote sapsapa.

Symphoricarpos sym-
phoricarpos; Symphor-
icarpos occidentalis.

ARRANGED ALPHABETICALLY UNDER OMAHA

NAME

Omaha name.

Scientific name.

Omaha name.

Scientific name.

Agthaimungi.............
AG6stashi (also Makin-

(2007 ee orem nn ion

Ezho»-zhidé (or Ezhon-
gthigthidé).

Gansithose2 <<. 2 3 teen

Gubé.

PPbinbthinpesse en en ae
Hinbthi-si-tanga.......-.
Hinde-hi

Hanuga-hi (also Mana-
zhiha-hi).

Hiade-bthaska..........-

Hade-sathé.............

Inubthorkithe-sabé-hi. . -
Iashtogahte-hi..........

Izna-kithe-iga-hi
Pezhe-pa mixga.

(also

Kiu-maka» (also Makan-
saka).
Maa-zhor, .

Rubus occidentalis.
Laciniaria seariosa.

Fragaria virginiana.
Lithospermum canescens
Quercus rubra.

Yucca glauca.

Ulmus sp.

Ulmus americana.
Ulmus thomasi.

Ulmus fulva.

Astragalus caroliniana.

Celtis occidentalis.

Vitis cinerea.

Falcata comosa.

Phaseolus vulgaris.

Lathyrus ornatus.

Tilia americana.

Toxicodendron
dendron.

Urtica gracilis.

toxico-

Cogswellia daucifolia.

Tonoxalis violacea; Xan-
thoxalis stricta.

Andropogon furcatus.

Parthenocissus quinque-
folia.

Menispermum cana-
dense.

Aquilegia canadensis.

Symphoricarpos sym-
phoricarpos; Sympho-
ricarpos occidentalis.

Monarda fistulosa var.

, Prunus americana.
Asclepias tuberosa.

Populus sargentii.
Juniperus virginiana.
Equisetum sp.

Malena. Cacmese tacsske Lophophora will_amsii.

Maka»-bashashésshor. . .

Maka»-ninida...........

Maka-sagi (also Aon-
tashe).

Maka-saka (also Kiu-
maka").

Maka»- skithe

Maka»-skithe...........

Makas-skithe...........

Maka»-tanga............
Makan-wasek........-..-
Maka»-zhide............
Maka»-zhide sabe

te-hi).

Physalis lanceolata.
Acorus calamus.
Laciniaria scariosa.

Asclepias tuberosa.

Humulus americana.
Iris versicolor.
Petalostemum purpur-
eum; YVetalostemum
candidum.
Siliphium laciniatum.
Allionia nyctaginea.
Erythrina flabelliformis.
Melia azedarach.

.| Cornus asperifolia.

Allium mutabile.
Rhus glabra.
Echinacea angustifolia.

Stipa spartea.
Arisaema triphyllum.

Minigathe-maka»-wati _-
Nanpa Tanga......--..--
Na»pa Zhinga

Niashiga Maka*.........
Ninigalie-liti..-.......--
Ninigahe Zhide-
NGStG 6-H eo se aaete sera siced

Pezhi Bthasha. .
Pezhe lota........
Pezhe-hote Zhinga. -
Pezhe Piazhi...........-
Pezhe-gasatho...,....-.-
Pezhe-makan............

Sanguinaria canadensis.

Prunus besseyi.

Padus nana; Padus me-
lanocarpa.

Viburnum lentago.

Gymnocladus dioica.

Chamaesyce serpyllifolia.

Pepo foetidissima.

Cornus stolonifera.

-| Cornus amomum.

Thalictrum dasycarpum.
Hicoria ovata.

Glycine aplos.

Psoralea esculenta.
Helianthus tuberosus.
Cucurbita lagenaria.

.-| Cogswellia daucifolia.
.| Artemisia gnaphalodes.

Artemisia frigida.
Boebera papposa.
Acuan illinoensis.
Verbena has tata.

’

148

USES OF PLANTS BY INDIANS

[BTH. ANN. 38

Glossary of plant names mentioned in this monograph—Continued

ARRANGRD ALPHABETICALLY UNDER OMAHA NAME—Continued

Omaha name.

Scientific name.

Pezhe Zonsta.....-..-.--
Pezhe-zonsta ega
Pezhe-wasek

Te-hu*to»-hi Nuga
Tethawe

Mentha canadensis.
Monarda fistulosa.
Monarda fistulosa (fra-
grant variety).
Savastana odorata.
Melilotus alba.
Grindelia squarrosa.
Physalis heterophylla.
Grossularia missourien-
sis.
Ribes americanum.
Scirpus validus.
Citrullus citrullus.
Washingtonia longisty-
lis.
Malus ioensis.
Plantago major.
Sagittaria latifolia.
Zizania aquatica.
Ceanothus americana.
Quercus macrocarpa.
Fraxinus sp.
Crataegus sp.
Geoprumnon
pum.
Baptisia bracteata.
Juglans nigra.
Amorpha canescens.
Lespedeza capitata.
Nelumbo lutea.
Anemone canadensis.

crassicar-

Omaha name.

Scientific name.

Thihe-sage-hi.._.........
Unzhingay.....2..52-- 2-2

Wahabigaskonthe. ......
Wahaba-hthi........-...

Watangtha..........-...
Wathibaba maka»......
Wialltpezhe: -.-:=---s-n-
Wenu shabethe hi-......

Zha-pa
tanga).

(also. Makan-

Zho»-zi-zhu
Zhu - nakada - tanga -
maka.

Artemisia
loides.

Salix sp.

Corylus americana.

Sambucus canadensis.

Zea mays.

Typha latifolia.

Ustilago maydis.

Asclepias syriaca.

Euonymusatropurpurea,

Pepo pepo; Pepo maxi-
ma.

Micrampelis lobata.

Anemone cylindrica.

Galium triflorum.

Acer saccharinum.

Rosa pratincola.

Heracleum lanatum.

Acer negundo.

Silphium laciniatum.

_ dracuncu-

Solidago sp.

Silphium perfoliatum.

Helianthus annuus.

Lepargyrea argentea.

Amelanchier alnifolia.

Zanthoxylum america-
num.

Toxylon pomi‘erum.

Caulophyllum thalic-
troides.

ARRANGED ALPHABETICALLY UNDER WINNEBAGO NAME

Winnebago name.

Scientific name.

Winnebago name.

Hank-sintsh...........--
Ha»pok-hischasu. .....--
‘Hap-sintsh®==2. == sse-=
Hawis-ska......-.-..--

Juglans nigra.

Quercus macrocarpa.

Crataegus sp.

Achillea millefolium.

Physalis lanceolata.

Vitis cinerea.

Artemisia gnaphalodes.

Rhus glabra.

Grossularia missourien-
sis.

Fragaria virginiana.

Amelanchier alnifolia.

Lepargyrea argentea.

Erythronium mesochore-
um. :

Tilia americana.

Maka»-chahiwi-cho.
Maka»-kerehi

Na»pashakanak
Napsatke oe ee emneecee

Scientific name.

Phaseolus vulgaris.
Falcata comosa.
Corylus americana.
Prunus americana.
Typha latifolia.
Asclepias syriaca.
Dasystephana puberula.
Acorus calamus.
Savastana odorata.
Cornus asperifolia.

Acer negundo.
Gymnocladus dioica.
Acer saccharum.
Hicoria ovata.
Helianthus tuberosus.
Sanguinaria canadensis.

GILMORE]

GLOSSARY OF PLANT NAMES

149

Glossary of plant names mentioned in this monograph—Continued

ARRANGED ALPHABETICALLY UNDER WINNEBAGO NAME—Continued

Winnebago name.

Raké-ni-ozhu (also Raké-
paraparatsh).

Sin...
Sinporosse.cs2sses se <2:

ARRANGED ALPHABETICALLY UNDER PAWNEE

|
Pawnee name. |

Scientific name.

Winnebago name.

Scientific name.

Fraxinus sp.

Artemisia
loides.

Silphium perfoliatum.

dracuncu-

Salix sp.

Cornus amomum.
Allium mutabile.
Silphium laciniatum.
Zizania aquatica.
Sagittaria latifolia.

Tdokewihi
Toshunuk-aliunshke -

Tsherape@.-.-----.----.--
Waké-warutsh. .......--

Glycine apios.

Psoralea esculenta.

Smilax herbacea.

Nelumbo lutea.

Celtis occidentalis.

Ulmus fulva.

Menispermum cana-
dense.

Acer saccharinum.

.| Viburnum lentago-

NAME

Scientific name.

Pawnee name.

Scientific name.

(Adciwasash 4. <--tc2-.2-2¢ |

Hakastah-kata..... a
Hawahawa (also Kirit-
tacharush).

Kahts’ pira kari..--.....
Kahts’ Takat_.........-

Kahts’-Tawas (also Na-
kisokiit).
Kahts’-tuwiriki.......--

Kiha-piliwus-hawastat -.

Kirik-tara-kata..........

Viburnum lentago.
Rubus occidentalis.
Fragaria virginiana.
Boebera papposa.
Phaseolus vulgaris.
Faleata comosa.
Acuan illinoensis.

Grindelia squarrosa.

Yucca glauca.

Menispermum cana-
dense,

Zanthoxylum america-
num.

Cuscuta paradoxa.

Typha latifolia.

Glycine apios.

Celtis occidentalis.
Acorus calamus.

Mentha canadensis.
Laciniaria scariosa.
Rumex hymenosepalus.
Allionia nyctaginea.
Washingtonia longistylis.
Silphium laciniatum.

Tpomoea leptophylla.

Asclepias syriaca.

Dichrophyllum margina-
tum.

Savastana odorata.

Fraxinus sp.

Artemisia dracunculoi-
des.

Petalostemum purpur-
eum; P. candidum.

Helianthus annuus.

MGT gt Oe eto nse aoe
Kirit-tacharush
Hawahawa).

Kitapato.
Kitsitsaris (also Atika-

Ksapitahako....-.-..---
Kus aparu karuts......-
Laritsits) -o-sses2eess225
Nahaapi nakaaruts

Nakipistatu_.........---
Wakttskuecsse-s--sccee-

Nikso korérik kahtsu
nitawali.
Niwaharit......-.-

Osidiwa

Osidiwa (or

Pithahatusakits Tsuhast

Sagittaria latifolia.
Typha latifolia,

Helianthus tuberosus.
Vitis cinerea.

Salix sp.

Acuan illinoensis,

Chenopodium album.
Amorpha fruticosa.
Artemisia frigida.
Echinacea angustifolia.
Prunus besseyi.
Lepargyrea argentea.
Padus nana; P. melano-
carpa.
Quercus rubra.
Uva-ursi uva-ursi.
Cornus stolonifera.
Toxylon pomiferum.
Populus sargentii.
Physalis heterophylla.
Zea mays.
Arisaema triphyllum.

Prunus americana.
Rhus glabra.

Acer negundo.
Allium mutabile.

Rosa pratincola.
Equisetum sp.
Lespedeza capitata.
Quercus macrocarpa.
Psoralea esculenta.
Opuntia humifusa.
Baptisia bracteata.
Glycyrhiza lepidota.

150

USES OF PLANTS BY INDIANS

(ETH. ANN. 33

Glossary of plant names mentioned in this monograph—Continued
ARRANGED ALPHABETICALLY UNDER PAWNEE NAME—Continued

Pawnee name. Scientific name. Pawnee name. Scientific name.
Pitsuts:....<0<.secosnse Stipa spartea. Taltsakos-.sseseateeeee Ulmus sp.
Rapahat..-<-s.-soseee Cornus amomum. Taitsako pahat.......... Ulmus fulva.
Sahpakskiisu...-........ Hicoria ovata. Taitsako taka........... Ulmus americana.
Sahtaku . . .-| Juglans nigra. Tawatsaako.--..--.s..25 Juniperus virginiana.
Sistat ./..:.ciseceee reese Scirpus validus. RONWES=s20 occ access see Gymnocladus dioica.
wKAGIKS! 2. seeeeeeeeeee Thalictrum dasycarpum. || Tsostu..............-.-- Monarda fistulosa (fra-
Skali-katit..... .-| Aquilegia canadensis. grant variety).
Skidadihorit............ Tonoxalis violacea; Xan- || Tsusahtu..............- Monarda fistulosa.

thoxalis stricta. | Dukawiu- 2... 2 eo. Nelumbo lutea.
Skiraritteonee con. os =sss Sambucus canadensis.

Common English name.

Scientific name.

American elm..........-
American lotus...-.-...-
Anemone......
Angle stem...

Arrowleaf
Bearberry.
Beaver root. .....
Big milkweed
Birch, paper
Bittersweet
Black ‘haw 222205 .222<:
Black rattle pod-
Black walnut .......-...
Blazing star. 2--2.222-6--
Bloodroot

Blue joint grass; blue
stem grass.

Box elder...

Buck brush

Buffalo pea

Buffalo berry
Bulrush-2---c+ -sscesee ee

Bush morning-giory..-...
Butterfly weed.......---
Calamus
Canaigre
Cardinal flower-...-...-.--
Cat-tail..
Cedar. ...
China berry........--.--

Ulmus americana.
Nelumbo lutea.

-| Anemone canadensis

| Silphium perfoiiatum.
Fraxipus pennsylva-
nica.
Sagittaria latifolia.
Phaseolus vulgaris.
Uva-ursi uva-ursi.
Heracleum lanatum.
Asclepias syriaca.
Betula papyrifera.
Celastrus scandens.
Viburnum lentago.
Baptisia bracteata.
Juglans nigra.
Laciniaria seariosa.
Sanguinaria canadensis.
Podophyllum peltatum.
Tris versicolor.
Andropogon fureatus.

Acer negundo.
Symphoricarpos occiden-
talis.

Geoprumnon crassicar-
pum.
Lepargyrea argentea.

Scirpus validus.
Arctium minus.

Euonymus atropurpu-
rea.
Ipomoea leptophylla.

Asclepias tuberosa.
Acorus calamus.
Rumex hymenosepalus.
Lobelia cardinalis.
Typha latifolia.

.| Juniperus virginiana.

Melia azedarach.

Common English name.

Chokecherry ....-......
Comb plant
Compass plant
Corn

Corn smut
Cottonwood...
Cow parsnip
Cup plante-e--.-------:
Coralberry . ..... Cepesss

.

Dodder.........

False lupine.-...
Fetid marigold

ARRANGED ALPHABETICALLY UNDER COMMON ENGLISH NAME

Scientific name.

-| Padus nana; Padus me-

lanocarpa.

-| Echinacea angustifolia.

Silphium laciniatum.

-| Zea mays.

-| Ustilago maydis.

Populus sargentii.

-| Heracleum lanatum.

| Silphium perfoliatum.

-| Symphoricarpos
phoricarpos.

Cuscuta paradoxa.

Sambucus canadensis.

Ulmus.

Thermopsis rhombifolia.

Boebera papposa.

sym-

Mlameiilyeesseeeesse=- Lilium umbellatum.

Fragrant bedstraw ....-- Galium triflorum.

Fuzzy weed.......-..- --| Artemisia dracunculoi-
des.

Gentian-eeeee se enone Dasystephana puberula.

Ginsenge=eise---seeee=
Goldenrod . .
Gooseberry

Ground bean..........
Ground cherry .-
Ground plum

Gum weed
Hackberry
Hard maple. ...
Hazelnut
Mickory;=---4-=

Horsemint . ...
Indian potato
Indian tea

Iowa crabapple........-

-| Panax quinquefolium.
-| Solidago.

Grossularia missourien-
sis.

Cucurbita lagenaria.

Faleata comosa.

-| Physalis heterophylla.

| Geoprumnon
pum.

Silphium laciniatum.

Celtis occidentalis.

Acer saccharum.

Corylus americana.

-| Hicoria ovata.

-| Humulus americana.

Monarda fistulosa.

-| Glycine apios.

-| Ceanothus americana.

Malus ioensis.

crassicar-

GILMORE]

GLOSSARY OF PLANT NAMES

151

Glossary of plant names mentioned in this monograph—Continued
ARRANGED ALPHABETICALLY UNDER COMMON ENGLISH NAME—Continued

Common English name.

Mi secre cease Sane Bees
Jack-in-the-pulpit
PUNEHeMYee ok ance =a
“Jerusalem artichoke’’..
Kentucky coffee tree...

Ladies’ bouquet... ....-
Lamb’s-quarters .

Scientific name.

Osage orange.
Paper birch)---ss=<-=--=-
Pasque flower.......-.--
Pembina--ss5.2--s5-22-

Pokeberry =. -25----cee=
Porcupine grass ........-
Prairie-dog fennel
Prairie wild rose... .....
Prairie clover.........--

Sagebrush. .

.| Callirrhoe involucrata.
-| Lespedeza capitata.
.| Ambrosia elatior.

Tris versicolor.
Arisaema triphyllum.
Amelanchier alnifolia.
Helianthus tuberosus.
Gymnocladus dioica.
Cornus amomum; Cornus
stolonifera.
Galium triflorum.
Chenopodium album.
Usnea barbata.
Tilia americana.
Astragalus caroliniana.
Lobelia cardinalis.
Cogswellia daucifolia.
Cuscuta paradoxa,
Menispermum cana-
dense. ©
Stipa spartea.
Urtica gracilis.
Toxylon pomiferum.
Betula papyrifera.
Pulsatilla patens.
Viburnum opulus.
Hedeoma hispida.
Lophophora williamsii.
Pinus murrayana.
Plantago major.
Toxicodendron
dendron.
Phytolacca americana.
Stipa spartea.
Boepera papposa.

toxico-

Rosa pratincola.
Petalostemum purpu-
reum; Petalostemum
eandidum.
Zanthoxylum
canum.
Opuntia humifusa.
Lithospermum
cens.
Lycoperdon gemmatum.
Pepo pepo.
Echinacea angustifolia.

ameri-

canes-

Malvastrum coccineum.

Ulmus fulva.

Crataegus.

Quercus rubra.

Ceanothus americana.

Ulmus thomasi.

Artemisia cana; Artemi-
sia tridentata.

Common English name.

Scientific name.

Sand cherry...-.....----
Saskatoon...........-.--

Sheepberry.-...----------
Sheep sorrel.......-.----
Shoestring. ..--....-.--.
Skeleton weed__....--.--
Slippery elm
Slough grass........-----
Smooth sumac

Snowberryp---s- === ==
Snow-on-the-mountain. .

Soft maple. .......-.-...
Sauridock=s 2: sess. a=
Spanish bayonet......-.
Spider bean.........-..-
Spiderwort.........
Spider lily
Spring lily

IR@OIGARS\comee seeio eee

Tuberous sunflower -... .
Twin flower......----.--

Washtemna.............
'
Water chinquapin..._...
Watermelon.............
Water string. ...........
White elm. -.--.-.-..-.-
Wild black raspberry - - -
Wild blue verbena .
Wild columbine.........

Prunus besseyi.
Amelanchieralnifolia.
Equisetum.
Quercus macrocarpa.
Viburnum lentago.
Tonoxalis violacea.
Amorpha canescens.
Lygodesmia juncea.
Ulmus fulva.
Spartina michauxiana.
Rhus glabra.
Symphoricarpos occiden-
talis.
Dicrophyllum
natum.
Acer saccharinum.
Rumex crispus.
Yucca glauca.
Acuan illinoensis.

margl-

.| Tradescantia virginica,

Tradescantia virginica.

Erythronium mesocho-
reum.

Silphium perfoliatum.

Pepo maxima.

Grindelia squarrosa.

Helianthus annuus.

Melilotus alba.

Washingtonia longisty-
lis.

Acorus calamus.

Savastana odorata.

Panicum virgatum.

Crataegus.

Psoralea esculenta.

-| Nicotiana quadrivalvis;

Nicotianarustica; Nico-
tiana tabacum.
Polystictus versicolor.
Helianthus tuberosus.
Pulsatilla patens.
Parthenocissus quinque-
folia.
Euonymus
reus..
Monarda fistulosa (fra-
grant variety).
Nelumbo lutea.
Citrullus citrullus.
Amorpha fruticosa.
Ulmus americana.
Ribes americanum.
Rubus occidentalis.

atropurpu-

.| Verbena hastata.

Aquilegia canadensis.

152

USES OF PLANTS BY INDIANS

[ETH. ANN. 33

Glossary of plant names mentioned in this monograph—Continued

ARRANGED ALPHABETICALLY UNDER COMMON ENGLISH NAME—Continued

Common English name.

Scientific name.

Common English name.

Wild crab apple.........
Wild cucumber .........

Wild foxglove...........
Wild gourd.
Wild grape......--..--..
Wildiliconeere--ss-—4-—c
Wild'mint==------------
WWildonion:25-2:.:...---
Wild red raspberry... -.-
Wildtplonit=--.-0-----=-
Wild rice...

Malus ioensis.
Micrampelis lobata.
Allionia nyctaginea.
Pentstemon grandiflorus.

.| Pepo foetidissima.

Vitis cinerea.
Glycyrhiza lepidota.
Mentha canadensis.
Allium mutabile.
Rubus strigosus.
Prunus americana.
Zizania aquatica.

Wild rose, prairie. ---...
Wild sage, big.......-...
Wild sage, little.........
Wild strawberry . .......

Wild sweet pea......----
Wild touch-me-not. .....

Scientific name.

Rosa pratineola.
Artemisia gnaphalodes.
Artemisia frigida.
Fragaria virginiana; Fra-
garia americana.
Lathyrus ornatus.
Impatiens pallida.
Salix.
Anemone canadensis.
Achillea millefolium.
Xanthoxalis stricta.
Thalictrum dasycarpum.

BIBLIOGRAPHY

Beverty, Ropert. The history and present state of Virginia, by a native and
inhabitant. London, 1705. E

Briain, Emma, tr. and ed. The Indian tribes of the Upper Mississippi Valley
and region of the Great Lakes as described by Nicolas Perrot, Bacqueville
de la Potherie, Morrell Marston, and Thomas Forsyth. Vols. rm. Cleveland,
1911-12.

Brappury, JOHN. Travels in the interior of America in the years 1809, 1810,
and 1811. 2d ed. London, 1819.

CANDOLLE, ALPH. DE, Geographie botanique. Tome 2. Paris and Geneva, 1855.

- CHAMPLAIN, SAMUEL DE, Voyages of Samuel de Champlain. Translated from
the French by Charles Pomeroy Otis, with memoir by Edmund F. Slafter.
3 vols. Boston, 1878-1882. (Prince Society Publications, vols. xi, xii, and
XIII.)

CHARLEVOIX, PIERRE DE. Journal of a voyage to North-America. Vols. 1-11.
London, 1761.

CHITTENDEN, Hiram Martin, and RicHarpson, ALFRED T. Life, letters, and
travels of Father Pierre-Jean De Smet, 8S. J., 1801-1873. Vols. Hiv. New
York, 1905.

CLEMENTS, FREDERIC E. See Pounp, Roscor, and CLEMENTS.

Conzatti, C. Los géneros vegetales Mexicanos. Mexico, 1903.

Courter, JoHN M. Botany of Western Texas. Cont. U. S. Nat. Herb., vol. 0,
Washington, 1891-94.

Cox, Isaac Jostin, ed. The journeys of Rene Robert Cavelier Sieur de La
Salle. Vols. rar. New York, 1905.

DeENsMorE, FRANcES. Chippewa music. Part II. Bull. 53, Bur. Amer. Ethn.,
Washington, 1913.

De Smet, Prerre-JEAN. See CHITTENDEN and RICHARDSON.

Dorsey, JAMES Owen. Omaha sociology. In Third Ann. Rept. Bur. Ethn.,
pp. 205-370, Washington, 1884. ;

. The Gegiha language. Cont. to N. Amer. Ethn., vol. v1, Washington,

1890.

A study of Siouan cults. In ZLleventh Ann. Rept. Bur. Ethn., pp.
361-544, Washington, 1894.

Du Pratz. See Le PAGE DU PRATZ.

FEWKES, JESSE WALTER. Two summers’ work in Pueblo ruins. In Tiwenty-
second Rept. Bur. Amer. Ethn., pt. 1, pp. 3-195, Washington, 1904.

FLETCHER, ALICE V. The Hako. Twenty-second Ann. Rept. Bur, Amer. Ethn.,
pt. 2, Washington, 1904.

and La FrescHe, Francis. The Omaha tribe. Twenty-seventh Ann.
Rept. Bur. Amer. Ethn., Washington, 1911,

food products of the North American Indians. In Report of the Commissioner
of Agriculture for 1870, Washington, 1871.

FrencH, B. F. Historical collections of Louisiana. Part 1v. New York, 1852.

Harror, THomAs. A brief and true report of the new found land of Virginia.
Francoforti, 1590. Reprinted, New York, 1872.

AARSHBERGER, JOHN W. Phytogeographic influences in the arts and industries
of American aborigines. In Bull. Geog. Soc. Phila., vol. tv, no. 3, pp. 25-41.
Phila., 1906.

153

154 USES OF PLANTS BY INDIANS [BTH. ANN. 33

Havarp, V. Food plants of the North American Indians. In Bull. Torrey Bot.
Club, vol, xxi, no. 3, pp. 98-120, Lancaster, Pa., March, 1895.

Hewirr, J. N. B. Iroquoian cosmology. In Twenty-first Ann. Rept. Bur. Amer.
Bthn., pp. 127-339, Washington, 1903.

Jenks, Atpert Ernest. The wild rice gatherers of the upper lakes. In Nine-
teenth Ann. Rept. Bur. Amer. Ethn., pt. 2, pp. 1019-1187, Washington, 1900.

Jesuit relations and allied documents. Edited by Reuben Gold Thwaites.
Vols. VI, XXXVIII, XLVI, LIX, LXxvitt, Cleveland, 1897-1900.

KatM, Perer. Travels into North America. Translated by John Reinhold
Forster. Vols. 1. London, 1772.

La FiescHe, Francis. Sce FLETCHER and LA FLESCHE.

LA Satie. See Cox, Isaac, ed.

Le PAGE pu PRATZ, ANTOINE S. Histoire de la Louisiane, Vols. I-11. Paris,
1758.

MAXIMILLIAN, ALEX. Puintipp (Prinz zu Wied). Reise in das innere Nord-
America in den Jahren 1832 bis 1834. B. tt, Coblenz, 1889-1841.

Naupin, Cu. Revue des cucurbitacés. In Annales des Sciences Naturelles,
4th ser., vol. x11, Botanique, pp. 79-164, Paris, 1859.

Nutratt, THomas. Collections towards a flora of the Territory of Arkansas.
In Trans. Amer. Philos. Soc., 0. s., vol. v, pp. 189-203, Phila., 1837.

Outlook, vol. 104, no. 2, New York, May 10, 1913.

Prizer, Lours. Henry Dodge. Iowa Biographical Series, State Hist. Soc. Iowa,
Towa City, 1911.

Perrot, Nicotas. See Bratr, Emma, translator and editor.

PICKERING, CHARLES. Chronological history of plants. Boston, 1879.

Piso, WitteM. Historiae naturalis & medicae. Amsterdam, 1658.

Pounpb, Roscor, and CLEMENTS, FREDERIC E. The phytogeography of Nebraska.
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Riees, StEPHEN Return. A Dakota-English dictionary. Cont. N. Amer. Ethn.,
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RusseE.Lit, Frank. The Pima Indians. In Twenty-sirth Ann. Rept. Bur. Amer.
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StracHey, WinttAmM. The historie of travaile into Virginia Britannia. Hakluyt
Society Pub., vol. v1, London, 1849.

Tuomas, Cyrus. Report on the mound explorations of the Bureau of Ethnology.
Twelfth Ann. Rept. Bur. Amer. Ethn., Washington, 1894.

Watson, SERENO. Contributions to American botany. In Proc. Am. Acad. Arts
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WILLIAMSON, JoHN P, An English-Dakota dictionary. New York, 1902.

PRELIMINARY ACCOUNT OF THE ANTIQUITIES
OF THE REGION BETWEEN THE MANCOS AND LA
PLATA RIVERS IN SOUTHWESTERN COLORADO

BY

EARL H. MORRIS

CONTENTS

TenglOD. So. 2 Se Sn RSC ee ROBE Deena ere eric Ss Far. eee
Deserrpiion (of the rerionsseresi--=-6 a= <= ete eens tae OS Shae MYLES
Taethe Gliti-nuins/ ol ObnsOn\ Cay ONs: \a2= aos] a2 «er oem ts eet = ==

TIT hae Ko) eFet=-0) 1 OW Ol aD RA aeO ES aerer ens ne ce ece sort. Waeet
Ruins at mouthor spring Canyon toes sseis= eae eee = =

2. In Lion Canyon. -..-..-.-- BLL Geeta h Ads AER eae SEN bee) BOISE. .2
Maple INestpEGUse <n cece oe cee aie ae ttre Ea a=
IR NOW 0 Meiens = ate = ates eis ame x.cteefearty qe a toe ee ee, eS et ce

POtben Verses ce see See aie a sola sie as Se ieee sist aoe ATR oie oem alate
SS URUUG ULI sete rays as, oye, sca ea Sts eels scl ee NEE AO IPED Sc a aye. ne
Gonlswanene 2ryeros 2 = cc oy esa 3 1 eee pene chess ow issn
IPLaIRYSNOOUN WAl@ = srs.2 << = 1<.< > <--s OPIEe A eS «orm a2 2x
Decorated smooth: wares/2--2 7422 2st a eee Sacer cs
12Y ele ee aa ORS BORER See Be one neh. 0Lt, se Bee eeenee
[Roiteny mending irs assis «se 2c 2e -= Se en i ee ere te = ee
fROttenyad CSLOWS sees eee ae see oe a se 2 oiele = eels eee erate ai=

Stoneamplemaentsees = ses == a= -a ee- = oe eee ae ene areca =
(Gia TG bie eai| Mon ees Sane RPE ESE ORE oo Ae Sha stiens Soacemerc

Tey Bier lysis oe ae, do sees Gone eee: aaccooe sepa
iene shear Gian poeeg soe Soe no ae ee ese eb acsaauaanco soeeesnecos
(W@SCIGING) 5 Se ioe ce Acne ae Anew ose Cerarnetres haere oaesset ae

POE TORU ers. cs arte oe twee oe is ye aie Stee aS aya) ata Ee oe tee
IW Eni 5 eos Goer SEER ROE AR OO Bren eS Re SEAr eck 4 2 Samo eee
Weatherclotihs ey <2 = 62252 fas s see Sees + oe ne Oe Mee ee see

158 CONTENTS

Page

I's Ruinsionthe mesas’ <a. Fes sk se sete ele eee see toss oe ee) dares eee 182
Bul dingstan a yy loro inchs ewer ae eee eee 182
1. Ruins ear Manecos|Spning ey sect 4 ee eer oe seen eae aetee iets 182
Ru. NO: Orcs. Secrets saad sas shoe tons Re ee pe ee ee eer 182
Ruinsati SitegNow Os er: gees 2 - se ae eee: eee 186
RiuinsatiSiterNon Ws... 152.51-.2is)ato As see oe een ieet 187
RummylNoodi2t See aacteantecctins acne. aemeein os ne= BSE eee eee 188
Rum N Gel 88 iors coe ac sees ce ee oe eee tise Oe eee EES 188

2. Ruins on the divide between Salt and Grass Canyons......---.-. 188
Shrine atiSite: No. 14:55 fee BP aioe ssc je eee ae 188
VUIMN(O: bo a2 6.2 See ae eee eee sie os ae 189
FRUIDSINO: 165 orc iccine, hee ere afar ee ee 189
Rain NOs? sdeiasehe sass adoeees Sse: suse ese eee eee 190

3° Ruins south: of (Red) Horse Gulche2-—-.-5.-.-..-- essen e seer 192
Ruin Nos 1822. -ckc scence eee ee epsail hg ee stent. YSenteess Fas 192

4: "Ruins at. Red) Mesa. o.\.. 22 sesnonee aes. + a2: 25 22s eee 192
Ruinsjat Site’No: 19). ..25 2.2222 -.2cess-: hes 1) eee ee 192
Stone ruin at Site No. 20........ pepe ben leptons ee es heeh ~ =. 2. 192
Roundtoweriat Site Nos 20s se eee 2. ee 194

5. Ruins below the mouth of Long Hollow....................-..--- 194
Ruins at/Site\NO.22* <2. sce es seas! ee eee oe 194
Ririns at: SiteiN oo. 23... 420)-,2 2 eee. <6 63 Se eee ery 194
PArtifa Gt ee 3s ats ras sha yas= ora at) et Ol slats oa al = =a 195
Pottery o\< Jae 5c0 es Ss hoes esate ip eee mene oes as at eee eee 195
Sirictunes ese eae Ane nob nc be AS Ceee ae dst os SESS 195
FRONTS, SA cassia chor ae era ee ena tee eR ec yar 2053 5> Sao 196
Hood bowls :.2e.s.s0..-ss55555secce eee See 22 3 2 eee 196
Globular bowls) ..2--. 3. 2. 4. Stee a 2 ae SREY «eee 196
Bowllwilth perforated (ears. - 22-22. --2-5----. --= ee eee 196

Bowl with double flare................:-. nates tees = 196
Globular vessels with wide mouths........:.......++.------ 196
Undecorated! waterijars= > 5..s--o- eee wee eee ee 197
Gourd=shaped bottles: 227-5 - 3-2 eee eset se 197

Dadlles:. 22st silence cccnicd cote oe ase Ree oe eee eee 198
Spoon-;or paddle... 5. . 202s. esos peep es. seagate oe 198
Bird-form) svase a. Sasaciss6 stern. tee ERE Ree ee ee 198
Rine-bottomed! vases 2-2 4ec se a- ee tee cea ee 198

Lamp (2) scece scone oe 2s ee 2 oe oe 2 ee oe teeta ws oe 198
Mountain-sheep effigy). 2. 2.22.22: 4 see ae ee eee 198
Gloudiblowerssszanis seers eesti wand gts Sey. cps eee 198

Colofiy-. 250 sesesen sees 2585 hoes ase Se eee ee eee 198
Decoration: -<a.5 4: ascseesesee se eek sa eae tees eee 199
Stoneamplements 5. eee ase Jib. Stec2 Sect eo eee 200
Grinding stones. s5= -sacssassce. sness bss enoset eae ee eee 200
Slabsjot undecidedidtinction::.- 5. =2.--55+-= 0-2 eee eee 201
Axes and hammers............-- ones aoe was she haps atcha A 201
Pottery: smoother.y.- 6: 5o5.-cesd see eh coe ree ne eee 201
Pounding stohesseo. 2c. - a ec ats s bg ae eee eee sat 201
Chipped artifacts: - oc. 25s o. ales cau eee ee eee 201
Boneamplements:----en. ee see eee 2 35/s ene hae dae cetinasshe 202
SUMMA Asse seca 0 202
Coneclusiongpeeé <2 552) isin soso osein ce 7 eee see Sree sta s= SPP es 204

Bibliographiys =o 2e2 5 ns oe See eee ae eee eee ocr sic he ie es 206

3l.
32.
33.
34.

35.

36.
37.
38.
39.
40.
41.
42.
43,
44,
45.
46.
47,

48.
4).
50.
51.
52.
53.
54.

55.

56.
57.
58.
59.
60.
61.

62.

63.
64.

ILLUSTRATIONS

PLATES

Page
Map indicating sites mentioned in the text..............-----.---------- 164
Eagle Nest House from mouth of Lion Canyon... .. oF a abe ne oO RTE SEE 166
Eagle Nest House from foot of cliff at west end...........-.........----- 166

a, Stone ax with handle of skunk bush. b, Section of wall from Ruin No. 2.
c, Incised tracings on wall of kiva in Eagle Nest House..........-..-.- 168

a, Kiva in Eagle Nest House showing pottery in situ. 6, Kiva in Eagle
IN (Gs: ELOURG faa eens = Bais otccts sist ode eae See a eens dee seeme 168
RVTLUTION 2s Ooo ere setae tA SS JES os meee ee carats 172
VUE We ns rect nee er Pam ae fale te OP cee ena ate Bed a as ls 172
Woileware ollas!2scsesete ns a ee ae dt ee eee C rose a oeee seas seceeyersecs 172
Coilzware Ollas)*eeeecesiose 2 aculasie Be ee ansies Rese Sere Se elena 172
@) Plates 6, Waterjbottle, ‘c}d,/e, Coil-ware olla. = - 22-2 2). = 176
Black-and-whitelwasese)5...> «tien cach Seas oe aay aoe ae ais he ee aint 176
a, Black-and-red bowl. 6, c, Black-and-white bowls............-..-.---- 176
Bigck-and=wiittenwaber Jalon crers a cee ee tele eee. ayretare ane Scieiseeiapsisieicie 176
Wood enlOb]ecismeemee san secant see see sees cee nee cae cise lees eee 178
Bone implementa gee. Ho so ae | a Se ese eee ae se Be Se ee SERS 178
Gs Rush yma Moms OS EVCCGaqULV Clas si) rs tates aclaias Sei ee ISe | ele Sin oie 178

a, Fire sticks and tinder. 6, Hairbrush of pine needles. c, Fragment of
SUA AS OG pee rete cate PS che ayo rapa ow ares rors Se eecvajars thal oteyarare inte beteyatase Olsens Seelee 178
JE CLS ee I Ae Pie meee, ic ela io Stas Se ie MER RO Oe cise 3 Gow ae 180
ambleather clothe bo; Mathie e+. socese cate ot See ee emote oan ene 180
Sand aia wees ea. Sein Sek as te oneness ye ee te ewes Pace ised 180
Gand all ae sever ey. shee ne cnt aes Sei ance ther eee Sane tee mete 180
IMipcelllAncousiOb] CC ta seave cae tee eyes ee rescence Sea eee ee 180
Mascellaneous:obj CCtesiars.-ae as Doe chs se cases oo = ane esa eeeeee es 180

a, Ball of yucca. 6, A twist of yucca. c, Chain of yucca. d, e, Twists of
yuccaseey, IbundleObberbserc cc's some sas scents cece cic oe eee ce 180

a, Portion of plaited band in two colors. 6b, Twist of yucca. c, Chain of

yucca. d, Loop of split willow tied with yucca. e, Fragment of
coarse rush mat. f, Corncobs tied together with yucca.........-.-.- 180
SUITE Om Ob setae a oye Se inte Bice easine arama Ree: ees isis eiere = eelow cee siemens 182
Gravenmy Evia N OO bocce oo mite oe a sels eres ase eae eee eiinese cmeeercin: 184
Pi TOO MMINVERVUILUN OFL7 3, SAjstoen oe ce tote as Sores Soon eee eR ee 190
Wile wane NON 17a: sc a asemecercracecine (ochre che ceeeine Soames ce Sas 190
NA iba Mirnyi ae See eee ee eee eeE oe ae er eee coe cee sat coeee cree 190

a, Grave below mouth of Long Hollow, Ruin No. 23. 6, Grave at head of
Sila CE en ors Iai INO Theses Jae eae = RSS AN EE Se ee ee 190

a, Stone ruin at mouth of Cherry Creek, Ruin No. 20. 6, Masonry in
BLONE ULI av SAteUIN OL 20 ices oe a ee Saye tao eee ct ree See real O2,
Ibet reese 5 cathe ott) TS Ree eee aCe SIE iets te ee ee 196
GO GND OWS Seats sees mbps ears sos ois iv SISA Ea bs UES AEs cee en 196

160 ILLUSTRATIONS

ADD
NOD

NIVWIIAIDS
Powe SS ow

I
or

Pe
HB SODINATAHON YE

SN God bowls o13seeec sad cela decease eee ene Seer ace ben ee eee eee eer
x Undecorated ‘wasesisst ieee eee hc 2 re ene SE eee seer ei
. WUndecoratediwaterijarsSance seers =e 222 oe ee eee eee ean eee eee ee
. Cooking vessels with banded necks: - -.--- .< <<2 Ge 22222 oe ates sine
. a, Bowl mended with yucca ties. 5, c, d, e, f, Pottery............----.----

> LONE ObIeCisee ee cee ce ook eee oe eee eee aoe etn eee eee
Ohippedwmplements ss... p a) ee eee eee ae eee eee
. Chipped implements and polished ornaments. ......-....---------------

TEXT FIGURES

. Ground: planvot Magle Nest ELOuse sp ere cis as = oa ane erator
SeBurial mound sat Lowney NOS. Osco. eee eer re cna oe eee
= Ground planvothin NOs jee cee see ee eee set ooo. see eee
exGroundyplanro keene NO 2 er cee =e eee ee oe a ao eee ears
*QOutlines:otjcourd=shaped vesselst9 1. speeers=e- Se sce cee eee eens
* Meta teiandimanoumasseae tees sce eee ete oo: cc ceeee eects

Design on bow] from mouth of Long Hollow... ......--.----------------

. Design on bow! from mouth of Long Hollow. ...........--.---.---------
. Design on bowl from mouth of Long Hollow. ..........-.--.--.---------
. Design on bowl from mouth of Long Hollow. ..........-.-----.---------
. Design on bowl from mouth of Long Hollow. ............-.-------------

PREFACE

In the spring of 1913, at the suggestion of Dr. Edgar L. Hewett,
director of the School of American Archeology, the Board of Re-
gents of the University of Colorado placed in my hands the means
with which to conduct excavations among the ruins in the region be-
tween the Mancos and La Plata Rivers. The permit from the Sec-
retary of the Interior was obtained through the School of American
Archeology, hence the work during the summer of 1913 is officially
recorded as having been done in collaboration with that institution.*

As a result of the first season’s explorations, I was sent back to
the same field, where I conducted excavations during part of the
summer of 1914. In this research the School of American Archvol-
ogy did not collaborate.

Because of limited means, the explorations were not so thorough
nor so extended as it would be desirable to have made them. Time
could not be spared to draw plans of all the ruins visited, and those
which are given are compiled from measurements taken with a tape-
line. In many places it has been necessary to use the terms “ about,”
“roughly,” and “approximately ” where exact determinations could
have been made only by the expenditure of considerable time and
money.

Whatever of worth was accomplished depended largely upon
those who assisted me, and I wish here to express my thanks to
William E. Ross, E. K. Hill, and J. H. Lavery, all of Farmington,
New Mexico, for their faithfulness to the work in hand under all cir-
cumstances. Mr. Ralph Linton, of Swarthmore, Pennsylvania, con-
tributed his services during part of the summer of 1913. Mr. A. B.
Hardin, of Denver, Colorado, directed me to several of the most
important ruins and furnished valuable information as to the loca-
tion of springs and trails.

1 Bulletin of the Archeological Institute of America, Vol. IV, Nos. II and III, p. 41.
74936°—_19—33 rrH—11 161

162 ANTIQUITIES OF SOUTHWESTERN COLORADO [xTH. ANN. 33

I am especially indebted to Prof. Junius Henderson, curator of
the Museum of the University of Colorado, for the use of his office
and photographie equipment while preparing this report, as well as
for many other services which he has rendered.

Since the excavations had to do with two very different types of
ruins, I have treated each separately. By describing each type of
building and the artifacts therefrom as a unit, a much better com-
parison of the culture of the ruins in the cliffs with that of the ruins
on the mesas can be made than, would otherwise have been possible.

PRELIMINARY ACCOUNT OF THE ANTIQUITIES OF
THE REGION BETWEEN THE MANCOS AND LA PLATA
RIVERS IN SOUTHWESTERN COLORADO

By Eart H. Morris

DESCRIPTION OF THE REGION

The region here dealt with consists of a triangular plateau bounded
on the west by the Mancos Canyon, on the east by the La Plata
River, and on the south by the Colorado-New Mexico line. Its ele-
vation varies from 6,000 to 7,000 feet above the sea. It is traversed
from northeast to southwest by a low divide composed of a series
of broken hills. The canyons which drain to the Mancos are exceed-
ingly deep and rough, rivaling those on the opposite side of the
river. The arroyos running to the La Plata are less precipitous and
much of the country on that side of the divide is a rolling tableland.

An unusually dense forest of pifion and cedar covers much of the
region, and the parts not covered by forests are overgrown with
sagebrush. Along the watercourses are cottonwoods and willows,
and in the canyons draining to the Mancos quaking aspens, wild goose-
berries, and chokecherries are of common occurrence. A few rock
pines stand at the heads of the canyons, and along the foot of cliffs
and in the deep coves are numerous spruce trees, some of them of
large size. It appears that the pines, spruces, and aspens, together
with the other plants common to the associations in which these are
predominant, are being slowly crowded out by more xerophytic
forms, a condition indicating that there is a less abundant rainfall
than there was in times past.

Until the coming of the whites, deer, elk, bear, and mountain lions,
as well as smaller mammals, were plentiful, and even at present they
are occasionally encountered in the fastnesses of the canyons.

The sagebrush glades interspersed through the heavy timber fur-
nished the aboriginal inhabitants with abundant and fertile land
for cultivation. In the summer of 1914 corn could have been grown
successfully without irrigation upon these mesas. Thus it appears
that the region offered all the conditions indispensable to primitive
culture. To-day it is uninhabited except for a few “dry farmers,”
who are endeavoring to reclaim the lands west of Cherry Creek.

163

I. THE CLIFF-RUINS OF JOHNSON CANYON

Johnson Canyon is probably the largest of the eastern tributaries
of the Mancos Canyon. It begins as a draw at the divide which
forms the boundary between La Plata and Montezuma Counties,
and 2 miles farther west drops down between perpendicular cliffs.
From this point the bottom is a V-like gorge, often rendered impass-
able by great blocks of stone which have broken away from the
rim rock and crashed into the watercourse below. Where such is
the case the dim trail ascends the steep talus slope, winds along
precarious ledges, and, as soon as there is an opportunity, descends
to the canyon floor.

In describing the cliff-dwellings of Mancos Canyon neither Jack-
son’ nor Holmes? mentions the ruins in this canyon. Nordenskidld
speaks of them as follows: *

The system of canons southeast of this river [the Mancos] also contains
numerous cliff-dwellings of considerable size. I did not carry out any exca-
vations there but only photographed a number of the most important ruins,
namely, those in Johnson Canon.

Prudden does not refer directly to the Johnson Canyon ruins but
locates several of them on his map of the prehistoric ruins of the
San Juan watershed.*

Possibly three-quarters of a mile from the beginning of the box
canyon the first fork of any considerable size runs off to the north.
In it is located Mancos Spring. We found no other permanent
water supply between the La Plata and the Mancos which is acces-
sible, and in consequence this spring served as a base for all our
operations in the vicinity. There is a large spring some 3 miles
down the canyon, but its water is green and unpleasant to the taste.
There are also numerous small drips at the base of the rim rock,
which doubtless were used by the aborigines.

1[Bighth] Ann. Rept. of the Hayden Surv. for 1874, p. 369, 1876.
2Tenth Ann. Rept. of the Hayden Sury. for 1876, p. 393, 1878.
*The Cliff-dwellers of the Mesa Verde, p. 69.
4The Prehistoric Ruins of the San Juan Watershed, pl. xvi.

164

THIRTY-THIRD ANNUAL REPORT PLATE 31

BUREAU OF AMERICAN ETHNOLOGY

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morris] THE CLIFF-RUINS OF JOHNSON CANYON 165
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1. IN JOHNSON CANYON

A short distance below the head of the box canyon an ancient trail
scales the north wall. It consists of a number of steps or toe holds
cut into the rock, which greatly facilitate the ascent of the sloping
surface.

Under the first arch of considerable size, also on the northern
side of the canyon, are two depressions, with a capacity of about
3 gallons each, pecked into the rock floor of the cave. They are
arranged to catch the drip from the cliff, and a very inconsequential
rain is sufficient to fill them.

Ruins at mouth of Spring Canyon—At this place are the ruins
marked Nos. 1 and 2 on the map (pl. 31). Both are in a poor state
of preservation. The one on the southern side of Johnson Canyon
consists of six rooms built in a crevice which can be entered from the
east end. The walls are poorly constructed. In one place they are
built entirely of mud into which have been thrust many small frag-
ments of stone (pl. 34, &), and in another they contain no stone what-
ever, but are thickly chinked with broken pottery. They stand upon
the edge of the cliff and reach to the roof of the cave. A passage
runs the length of the crevice behind the apartments.

Below the mouth of Spring Canyon practically every available site
contains the remains of a small building. Few of these could have
been used as dwellings, the majority probably having served as stor-
age places for the crops raised on the mesas. The finding in one of
them of several bushels of corncobs strengthens this conclusion. In
the first 5 miles below Spring Canyon the party counted 15 of these
ledge houses, and it is probable that there are many more hidden by
the line of spruces which skirts the rim rock and concealed in the
numerous ramifications which branch off from the main gorge on both
sides.

Ruin No. 3—Under a high arch on the north side of the canyon
are the remains of the first building of noteworthy size (No. 3 on
the map, pl. 31). An ascent of 300 feet brings one to the level of
the cave in which it stands. The débris and ruined walls extend
along the cliff for 150 feet. Four kivas form the most conspicuous
feature, three of them at the western end of the cave, the other well
toward its eastern extremity. In the central part of the rear of the
cave a crack was walled up, and the five rooms thus formed are in-
tact. Upon a detached bowlder at the front and near the western
end perches a tower 7 feet square and 6 feet in height. The features
of the rest of the building can not be determined, since even the bases
of the walls have been disturbed.

166 ANTIQUITIES OF SOUTHWESTERN COLORADO [nTH. ANN. 33

Several sandals, jar rests, and pieces of matting, besides the frag-
ments of two pottery bowls (pl. 42, a, c) were gathered up among
the fallen stones, a condition indicating that had there been previous
visitors to the cave, they were not in search of relics. The red bowl
(pl. 42, a) is of particular interest because it so closely resembles
the one found by Nordenskidld in Spring House.

At least four burials had been made beneath the shelving rocks
which litter the floor of the cave.* These had been pawed out by
animals, and whatever offerings had been placed with them were
scattered and destroyed. In one was found the front of a feather-
cloth jacket, part of which is shown in plate 49, a

In the kiva, at the eastern end of the building, were the fragments
of a strangely shaped vessel (pl. 41, 6, c) and a small water bottle
(pl. 40, 6), as well as several bone implements. In a rat’s nest, under
a great slab of stone which had fallen from the cliff into the northern
side of the kiva, were sections of rush matting evidently taken from
a large mat cut to pieces by the rodents. (PI. 49, 6.)

The easternmost of the three kivas, at the western end of the cave,
had been dismantled and used as a dumping place. The floor was
covered to a depth of 18 inches with house sweepings, turkey drop-
pings, innumerable bits of string, knotted strips of yucca leaves,
feathers, and fragments of pottery. In one of the banquettes were a
few fragments of the red bowl mentioned above. In the next kiva
a beautiful bowl was found (pl. 42, 0), but seepage had destroyed
any perishable objects which the room may have contained. Because
of dampness the fourth kiva was not disturbed.

The kivas present no unusual features, so I shall not describe
them, letting the one in Eagle Nest House stand as a type for all
those in Johnson Canyon.

2. IN LION CANYON

Eagle Nest House—Ahbout three-quarters of a mile below Ruin
No. 3 Johnson Canyon is joined from the north by a short and very
rugged tributary known locally as Lion Canyon. At the junction
the canyons are 500 feet deep. Where the west wall of Lion Can-
von rounds off and merges into the north wall of Johnson Canyon
the rim rock forms a high arch, which shelters a cave of consider-
able proportions. Some 60 feet from the bottom a shelf crosses the
rear wall of the cave. It is 20 feet wide at the east end, becoming
gradually narrower toward the west until it runs out against the
per pendicular cliff. Upon the shelf stands Eagle Nest House. No
ruin in the Mesa Verde presents a more picturesque and majestic

1 The Cliff-dwellers of the Mesa Verde, pl. xxxIII and p. 84.
2? Nordenskiéld mentions such burials (op. cit., pp. 46, 47).

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 32

EAGLE NEST HOUSE FROM MOUTH OF LION CANYON

PLATE 33

THIRTY-THIRD ANNUAL REPORT

BUREAU OF AMERICAN ETHNOLOGY

EAGLE NEST HOUSE FROM FOOT OF CLIFF AT WEST END

MORRIS] THE CLIFF-RUINS OF JOHNSON CANYON 167

appearance than does this building, when on rounding the bold
promontory, at the fork of the canyons, it bursts upon the view,
perched like the nest of a bird upon the precarious ledge. (Pl. 32.)

Nordenskiéld shows this structure, to which he refers thus: “A
figure of one of them is given here (fig. 40) as an example of an
inaccessible, or at least almost inaccessible, cliff dwelling.” *

So much was I impressed with the nestlike appearance of the
ruin that I named it Eagle Nest House, and so refer to it in all my
notes. I have found no mention of it except that made by Norden-
skiéld, and I do not believe any name had been previously applied
to it.

A hard but not dangerous climb of 400 feet brings one to the
base of the cliff below the ruin. Here the observer is impressed
with the force of Nordenskiéld’s statement, for the ruin seems indeed
inaccessible (pl. 33). The cliff overhangs above and below the
shelf which supports it, and as the distance is too great to permit

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the casting of a rope over one of the protruding beams, direct access
is impossible. However, from the east end of the ledge a crevice
continues along the cliff for some distance. Near its end the wall
below drops back to perpendicular. Here two large poles had been
leaned against the cliff and fastened to the stump of a cedar which
had grown conveniently at the bottom. I climbed to the end of
these, pushing a.pole ahead of me until only 3 feet of it overlapped
the top of the first pair; after lashing this to them and binding
another pole beside it I clambered up these and repeated the process.
The top of the fourth pair of poles reached to the ledge. Even
after they had been securely fastened at the top it was not until
the next day that my workmen could be prevailed upon to attempt
the ascent.

The ruin contains 12 rooms and a kiva (fig. 1). At the east end
the outside wall of the house widens into a stout pillar built from

1Op. cit., p. 69.

168 ANTIQUITIES OF SOUTHWESTERN COLORADO _ [5TH. ANN. 38

the ledge to the rock above. Behind the pillar, inclosed by the
outer wall of the house on the left and by the front wall of room 11
on the right, is a passage or entry which ends in a series of steps
leading up to what was the level of the kiva roof. This and the
space which is dotted in the plan constituted a plaza quite large
and commodious in view of the small proportions of the building.
It is probable that the roof of room 11 was part of the plaza also.
The open side of the court is flanked by a parapet 24 feet high.

From the plaza a T-shaped doorway leads into room 1, which,
being in as perfect a state of preservation as any room in the Mesa
Verde, is worthy of description. Its inner dimensions are, parallel
to the cliff, 5 feet 6 inches by 6 feet 6 inches in the opposite direc-
tion. The height to the ceiling is 5 feet 7 inches. The walls bear
successive coats of brown plaster, a new coat having been added,
seemingly, when the one beneath became covered with soot and dirt.
The roof is supported by two comparatively heavy beams, which
run the long way of the room and are set into the walls. Upon
these at right angles rest four smaller poles, which are covered by
a layer of closely placed split sticks. and above them is a layer of
indurated mud.

In the southeast corner is a fire pit 18 inches in diameter. There
is a smoke hole in the roof immediately above it, and the walls in
that corner are black with smoke. Upon the roof is a flat slab,
which was used to close the opening when there was no fire on the
hearth. ¥

In the south wall 1 foot 9 inches from the west wall and 2 feet 10
inches above the floor is a neatly plastered niche 34 inches in di-
ameter and 4 inches deep. In the southwest’ corner near the top
of the south wall is a somewhat larger niche, and there is still an-
other in the north wall 1 foot 7 inches from the northeast corner
and 1 foot 6 inches up from the floor.

In the northeast corner a small osier eyelet protruded from the
wall through which was looped a long strand of yucca cord. Upon
the floor were two bone needles.

Between the rear wall of room 7 and the cliff were the remains
of a burial, which had been disturbed by some agency. A few frag-
ments of matting were with the bones. Rooms 8 and 9 contained
grinding stones, fragments of pottery, bits of string, and a few
bone implements. Room 11 seems to have been the kitchen. Upon
the floor were three sets of millstones, and against the west wall
were the remains of at least five coil-ware cooking pots, one of which
is shown restored in plate 38, 6. In the rubbish were the fragments
of a baking slab.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 34

a. STONE AX WITH HANDLE OF SKUNK BUSH

b. SECTION OF WALL FROM RUIN NO. 2

c. INCISED TRACINGS ON WALL OF KIVA IN EAGLE NEST HOUSE

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 35

a. KIVA IN EAGLE NEST HOUSE SHOWING POTTERY IN SITU

b. KIVA IN EAGLE NEST HOUSE

MORRIS] THE CLIFF-RUINS OF JOHNSON CANYON 169

From the fire pit were taken a hairbrush (pl. 47, 6) and three
sandals. Behind the bench which crosses the east end of the chamber
and beneath the southeast corner of the wall was a stone ax (pl.
34, a), with its skunk-bush (Schmalizia trilobata) handle still
attached.

The small room at the east end was a storehouse. The walls
extend to the rock above, and so little light enters through the small
door in the east end that the interior is always dark.

It appears that much labor was expended to retain the subter-
ranean character of the kiva. As the presence of the ledge made
excavation impossible, the space from the foot of the steps to the
west wall of room 1 and back to the cliff was filled with loose rock
and débris in order that the roof of the kiva might be on a level
with the floors of the surrounding rooms. This does not apply
to room 11, but doubtless there was a limit beyond which economy
of space would not allow the builders to go, even though in conse-
quence custom had to be somewhat violated.

The kiva was constructed as follows: Except on the north, where
the cliff interfered, two walls were built, one within the other. The
outer wall was carried up to the desired level of the plaza, while the
other was brought up only 24 feet. Upon it were erected the ped-
estals which separate the banquettes and serve to support the roof.
The outer wall forms a back for the banquettes and functions as a
brace for the pedestals. The roof had fallen, but the beams were
sufficiently in place to show that it had been constructed in the
same manner as the one figured by Dr. Fewkes,’ so I shall not de-
scribe it here. Otherwise the kiva was in an almost perfect state of
preservation.

In removing the débris three coil-ware jars (pls. 38, a; 40, c, d)
were found against the west wall (pl. 35, a). The largest of these
was in fragments, but the others were unbroken. With them were
parts of two other large pots and toward the center of the room were
two small dipper bowls.

The measurements of the kiva are: Height, 8 feet 3 inches; diam-
eter, 12 feet 9 inches; height of floor to banquettes, 2 feet 6 inches;
height to top of pedestals, 4 feet 8 inches; width of banquettes above
horizontal passage, 4 feet 5 inches; width of other banquettes, 3 feet ;
depth of banquettes, 114 inches; width of pedestals, 1 foot 8 inches;
distance of deflector from wall, 2 feet 2 inches; height of deflector,
2 feet; length of deflector, 2 feet; thickness of deflector, 8 inches;
distance of fire pit from inside of deflector, 2 feet; diameter of fire
pit, 1 foot 10 inches; first sipapu, 9 inches from pit; second, 9 inches
from first; height of horizontal passage, 1 foot 5 inches; width, 1

1 Bull., 41, Bur. Amer. Hthn., pl. 15.

170 ANTIQUITIES OF SOUTHWESTERN COLORADO [ETH. ANN. 33

foot 2 inches; bottom, 4 inches above floor; length of horizontal
passage, 2 feet 3 inches; depth of ventilator shaft, 8 feet 3 inches.

Two sticks crossed at right angles are set into the masonry just
below the top of the air shaft. Resting upon these was a block of
stone which closed the opening and came almost flush with the level
of the plaza.

In the east wall a few inches above the floor is a niche or “ cubby-
hole” large enough to contain a fair-sized jar (pl. 35, 6). An
unusual feature is the presence of a small niche in the fireward side
of the deflector. I have found no mention of a nithe similarly
placed in any kiva in the Mesa Verde. The presence of the two
sipapu seems to render the kiva rather unusual, as only one other
instance of the kind is on record.1. Somewhat more than a foot to
the east of the first sipapu a mano was tightly plastered into the
floor.

The floor and the first 17 inches of the walls are plastered with
brown clay. Higher up the walls are white and show few evidences
of smoke. At the junction of the two zones is a dado like the one
figured by Dr. Fewkes from the third story of the square tower
in Chiff Palace.? (See pl. 35.) Beneath each banquette three clay-
colored triangles extend up into the white, and between the series
of large triangles are 29 to 34 smaller figures, such as could be made
by a single dab of a brush. Nordenskidld shows practically the same
decoration from a kiva in a ruin in Cliff Canyon and mentions
having observed it also in two other ruins.’

There are numerous incised tracings in the white plaster of the
upper walls. Those in the surface of a pedestal at the west side are
shown in plate 34, c. In order to photograph these I traced them
with charcoal, taking care not to add anything to the original.

The masonry of Eagle Nest House is in places good, in others
mediocre. Some of the walls toward the western end give evidence
of hasty or careless construction. However, room 1 is as well built
as are the better parts of Cliff Palace. The T-shaped doorway in
the east end excites one’s admiration. The sides are so smooth and
the angles so true that they might well be the work of a modern
mason with his chisels and square. It appears that the stones were
rubbed smooth after they were put in place.
~ It is doubtful whether there can be found in any of the subdivi-
sions of Mancos Canyon a better example of a “unit-type” cliff-
dwelling than is present by Eagle Nest House.* The alignment

1Pewkes Bull. 41, Bur. Amer. Ethn., p. 18.

2 Bull. 51, Bur. Amer. Hthn., pl. 13, a.

3Op. cit., p. 16.

4A definition and explanation of this term may be found in Prudden, Prehistoric
Ruins of the San Juan Watershed, p. 234.

MORRIS] THE CLIFF-RUINS OF JOHNSON CANYON fal

of dwelling rooms, kiva, and refuse heap found in buildings in the
open is not preserved here, since by force of necessity the builders
were compelled to conform their plans to the site upon which they
built. The ruin is a “ unit-type ” dwelling adapted to a special site.
It presents all the essential features: A kiva subterranean in signifi-
cance if not in fact, and a series of chambers, part of them living
rooms, and the rest used for storage purposes. It seems that the
ratio here presented is: Living rooms, 11; storeroom, 1; kiva, 1.
However, certain of the 11 rooms may have been, and probably
, Were, used as storerooms. From the broken pottery strewn down the
slope below, it appears that the refuse was cast over the cliff. It is
impossible to say what disposition was made of the dead.

Ruin No. 5—There are four other ruins in Lion Canyon worthy
of mention. Following the base of the rim rock 10 minutes’ wall
from Eagle Nest House one arrives at the site of Ruin No. 5. This
stands under a high but shallow arch, which does not protect all
parts of it from the elements.. Four rooms exhibiting very good
masonry stand at the foot of the cliff, and the presence of large
quantities of worked stone, as well as of roof beams and floor beams,
scattered down the slope indicates that these rooms represent but a
small part of the original building. The one kiva visible is at the
northern end of the cave. Rains have beaten in upon it until the
walls are denuded of plaster and mortar, and it is more than half
full of débris from the walls and roofs of neighboring rooms. The
parts which extend above the wreckage indicate that this kiva varies
in no particular from the one just described.

Some 20 feet above the lower ruin a ledge extends around the
entire are of the cave. At the south end, where this is slightly
broader than at any other part of its length, stands a cluster of 10 or
11 rooms. From these a rough, mortarless wall continues to the
north end of the crevice. It is probable that the inhabitants of the
lower dwelling intended to add to the house begun at the south end
and hoisted the rack of loose stone to the ledge for that purpose.

Ruin No. 6—This ruin (pl. 36), the largest cliff dwelling in John-
son Canyon or any of its tributaries, is on the same side of the canyon,
a few hundred yards above Ruin No. 5. The lodse and unstable
condition of the detritus upon which it is built and the easy approach
to the ruin account for its deplorable condition. It extends along
the cliff for more than 200 feet and contains 6 traceable kivas and
31 rectangular rooms. The floor of the cave is very uneven and the
walls have been built around and upon detached masses of stone, in
many cases on sloping surfaces, with great care and considerable
skill. In places they rise to a height of three stories, and marks on

1Fewkes, Bull. 41, Amer. Ethn., p. 8.

i, ANTIQUITIES OF SOUTHWESTERN COLORADO [2TH. ANN. 33

the cliff above show that originally they were surmounted by a fourth
story. The great piles of fallen masonry indicate that the entire
building was two or more stories in height and probably contained
us many as 80 rooms. Because of the great quantity of accumulated
débris, the determination of the features of the building and the
relation of its parts was too great a task for the expedition to under-
take because of its limited funds.

The deflectors in two of the six kivas examined are constructed
of poles 1 to 2 inches in diameter set into the floor and bound to-
gether with willows. These are heavily coated with plaster. Nor-
denskidld writes as follows:+

As far as I could ascertain by a hurried investigation, the ruins in Johnson
Canon differ in no essential respect from the other cliff dwellings on the Mesa
Verde. Estufas are present in all the larger ruins and preserve in all respects
the ordinary type. I observed one single exception which affected only an un-
important detail. In one estufa the low wall . . . consisted not of stone,
as is usually the case, but of thick stakes driven into the ground close to each
other and fastened at the top with osiers. On the side nearest to the hearth
this wooden screen was covered with a thick layer of mortar, probably to protect
the timber from the heat.

It is probable that Nordenskidld refers to one of the kivas in this
ruin. The deflector in Kiva K, Cliff Palace, is constructed in the
same manner.”

The ruin had been thoroughly ransacked by relic hunters many
years before it was visited by the author. Although practically every
nook and cranny had been pried into, a few good finds were made.
At the southern end a kiva is built in between large bowlders, which
have broken away from the cliff above. On top of one of the pilasters
and scattered over the débris beneath were many fragments of a
large water jar. The floor was cleared in an effort to find enough
sherds to make possible a restoration (pl. 41, @). When tapped with
a shovel handle the south half of the floor sounded hollow. The
plaster when broken through was found to be resting upon a mass of
dry grass and twigs. Evidently refuse had been thrown into the
south side of the room to bring the floor up to the level necessitated
by the presence of a shelving rock on the north. From the trash were
recovered six sandals, a quiver, several jar rests, a wooden hoop with
a netlike attachment, some fragments of a most excellent basket,
and about 2 quarts of corn, the germs of which had not been destroyed
by mice or weevils.

“A square room was perched on the top of a large bowlder west of
the kiva. Hidden beneath the floor in the northwest corner were two
large coil-ware ollas (pl. 39). Over the tops of both were thin stone
slabs and across the neck of one corncobs had been placed, the ends

1Op. cit:, p. 70.
2Fewkes, Bull. 51, Bur. Amer. Ethn., p. 57.

9°ON NINU

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BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 37

RAT LRAL/NINE, Si3)

THIRTY-THIRD ANNUAL REP¢

BUREAU OF AMERICAN ETHNOLOGY

COIL-WARE OLLAS

THIRTY-THIRD ANNUAL REPORT PLATE 39

ETHNOLOGY

BUREAU OF AMERICAN

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COIL-WARE OLLAS

morRIS] THE CLIFF-RUINS OF JOHNSON CANYON 175)

resting against the flare of the neck. The space above these was filled
with clay. Within was about a quart of fine dust not derived from
any organic material; hence the reason for sealing the jar is difficult
to imagine. The transportation of these large pots down the pre-
cipitous cliff and back to camp at Mancos Spring was no small under-
taking, asa slight blow would have reduced them to fragments. One
was tied in a gunny sack and the other in a shirt, and after much labor
they were deposited safe at camp.

Ruin No. 7.—Ruin No. 7 is in a deep pocketlike cavern less than a
quarter of a mile up the canyon from the ruin just described. The
building consists of four groups of rooms somewhat separated from
one another. The first to be reached on approaching the ruin from
the south contains six rooms, which have been formed by walling up
and partitioning off a deep crevice. The walls, which are intact,
reach up to the rock.

Eighty feet farther north is the central and most important part
of the ruin. In this are seven rectangular rooms and two kivas. As
may be seen in plate 37, 6, one room is in the second story, the walls
reaching to the top of the cave. The floor dividing the stories has
fallen. A short distance below the top of the walls four stout beams
are set into the masonry, forming a square slightly smaller than the
room itself. Some object seems to have been suspended from these
beams, but there is nothing to indicate what this may have been.

The kiva which appears in the foreground is nearly filled with
débris; this was not excavated. The inclosure between the kiva and
the two-storied part of the ruin is of exceptional interest, as it is a
rectangular room which in many features resembles a kiva. The
corners were filled to a height of about 3 feet with masonry, giving
the room an oval instead of a rectangular form. Against the outside
of the east wall a buttress of masonry was constructed, into which
the horizontal opening extends and through which the ventilator
shaft rises. The deflector, a slab of stone, had been broken down,
but the fire pit was in the usual position. No sipapu was observed,
but as the floor was much broken, it may once have been present.
There is no trace of banquettes or pilasters, unless the tops of the
triangles of masonry in the corners served as banquettes. The entire
south wall and considerable sections of those on the east and west
had fallen, so it was impossible to determine all the features of this
singular apartment. This is the only instance observed in any of
the ruins in Johnson Canyon in which a kiva differed from the one
in Eagle Nest House in any but minor details.

The third section of the ruin is about 100 feet farther along the
cliff, where the latter has swung eastward toward the main canyon
(pl. 37, a). It consists of a two-story tower, the cliff forming the
rear wall, and a series of three rooms extending eastward in line

174 ANTIQUITIES OF SOUTHWESTERN COLORADO _ [£TH. ANN. 33

with the upper half of the tower. The floor between the stories has
been burned away, and the floor of the lower room has been dis-
turbed by relic hunters.

The fourth group of rooms is situated in a large crevice high
above sections 1 and 2. Just north of the first cluster of rooms is a
considerable space almost closed in front by a huge block of stone.
In the dust and refuse which partially fill it several burials were
made. Previous visitors had looted the graves, but part of one
skeleton remained in the walled pit in which it had been interred,
and bones of others were scattered about. It would appear that the
first despoilers found many specimens, for large fragments of beau-
tiful pottery, parts of a basket, some bits of feather cloth, and part
of a split-willow burial mat were picked up among the trash.

In the northwest corner of the oval kiva was the greater part of
a splendid water jar, a restoration of which is shown in plate 43.

Upon a sloping rock in front of the first group of chambers a
human hand and a few other pictographs are pecked into the smooth
surface. These are figured by Nordenskidld.2. Although there are
in Johnson Canyon rock surfaces which offered excellent oppor-
tunities for the execution of pictographs, these are the only ones
observed. In many places there are grooves and depressions caused
by the grinding of axes and awls, but pictographs are notably few.

Ruin No. 8—In a deep cove close-grown with majestic spruces,
almost directly across the canyon from Ruin No. 5, Ruin No. 8 is
situated. It is small and presents only one feature worthy of men-
tion. The walls of one room are built of poles set upright, bound
together with osiers, and thickly coated with adobe plaster. This is
a very unusual method of construction in cliff-dwellings of the Mesa
Verde, but in northeastern Arizona it is common.’ It is of particular
interest here, since, as I shall show later, the walls of the houses on
the mesas were built almost entirely in this manner.

Tf there are any ruins of note in the main gorge below the mouth
of Lion Canyon, our party failed to find them.*

ARTIFACTS

POTTERY

Structure.—The pottery from Johnson Canyon is of three types—
coil ware, plain smooth ware, and decorated smooth ware. It

1One of the ruins in this canyon was the site of the phenomenal find made by the
Wetherills and described by Nordenski6ld, op. cit., pp. 46—47.

=Tbid pla xx, 2:

*Fewkes, Bull. 50, Bur. Amer. Ethn., ‘p. 14.

4In September, 1915, Mr. N. C. Nelson and the writer found a ruin containing over 40
rooms and 8 kivas at the head of a long but shallow canyon parallel to and west of
Lion Canyon.

MORRIS] THE CLIFF-RUINS OF JOHNSON CANYON gts

appears that all types were constructed by the: coiling process, the
resulting undulations having been obliterated, except upon the exte-
riors of vessels of the first type.

Coil Ware.—The seven coil-ware jars shown in plates 38, 39, and
40, varying in height from 6 to 15 inches, constitute an excellent
series. The typical shape is marked by a globular base tapering
toward the top and surmounted by a recurved lip upon which the
coils have been erased. It is interesting to note that the coil-ware
vases never have the concave bottoms found almost without excep-
tion in the large black-and-white vessels of the Mesa Verde area.
Although decorations other than the crenulations due to structure
are seldom found, coiled fillets of clay applied over the ridges appear
in plates 38, 5, and 39, b.

Plain Smooth Ware—The plain smooth ware is illustrated by plate
40, a. I was at a loss to know what to call this vessel. It is a thick-
walled, friable, shallow bowl, upon the interior of which is a layer
of indurated ashes growing thicker from the rim to the bottom of the
dish. It calls to mind baskets coated with clay which were used by
some southwestern tribes as roasters. The material to be parched
was placed in the dish together with live coals, after which the re-
ceptacle was rotated and the ashes blown out with the breath. In
the ruins of the Pajarito Plateau are found similar objects, which
served as molds for the bases of large ollas.

Decorated Smooth Ware.—Decorated smooth ware is the dominant
type of pottery and offers the greatest variety of shapes. In many
cases a wash of light-colored earth was applied over the darker
paste of the vessel. By rubbing with a smooth stone or lke object
an extremely fine, often glossy, surface was produced. Upon it
designs were traced, which were made permanent by firing.

Bowls comprise the most typical form, of which those appearing
in plate 42, 6, c, are characteristic examples. The rims are not
tapering or recurved.

The large asymmetrical vase shown in plate 41, 6, c, is a unique
specimen. The mouth is oval instead of round and the base is
deeply concave. Just beneath the rim (pl. 41, 0) the coils are still
apparent. The surface is not covered with a slip.

In plate 48 is shown a water jar with pinkish-yellow and very
friable paste. The slip is as white as chalk and superbly polished.
The base of this vessel, as well as that of the other large water jar
(pl. 41, a), is concave. It would be difficult to find a more beautiful
example of the ceramic art of the Mesa Verde.

Red Pottery.—Red pottery is extremely rare in the cliff-dwellings
of the Mesa Verde. From a few fragments recovered from Ruin

176 ANTIQUITIES OF SOUTHWESTERN COLORADO [nTH. ANN. 33

No. 3, most of which fortunately fitted together, I restored the bowl
shown in plate 42, @ The paste is slate-gray in the center, be-
coming yellow toward the surface. The slip is a dark brilliant red.
The design, traced in black, is a combination of the rain-cloud and
bird patterns, or at least of the symbols which are so interpreted
on pottery from ruins known to be closely connected with recent
Pueblo culture.

These deep-red bowls with incurving sides and slightly flaring
rims seem to be of a type widely distributed over the Southwest.
Hough! figures one from Blue River, Arizona, identical in shape,
and bearing a design resembling that upon the one here shown.?
Nordenskiédld* recovered the fragments of another from the débris
in Spring House, and the author found a segment of one in a refuse
heap near Farmington, New Mexico. It is obvious that red vessels
were highly prized, and it is probable that they were used for cere-
monial purposes, a fact which would tend to make them still more
precious. For such reasons they would be carried in trade far
beyond the boundaries of the ceramic area to which they rightfully
pertain.

Pottery Mending—The high regard in which the ancients of
Johnson Canyon held their pottery is shown by the fact that several
of the vessels are carefully mended. The olla figured in plate 39, a,
has a long crack across its bottom. Along this opposite sets of holes
were drilled and yucca thongs were inserted to bind the seam to-
gether, some of these still being in place. In the bottom of the pot
shown in plate 40, d, are several small holes stopped with a mixture
of pitch and dust. Plate 69, a, shows a bowl mended with yucca
ties.

Pottery Designs —The collection does not contain a sufficient series
of designs to warrant much generalization on the symbols used in
decoration. To judge from the numerous fragments, the absence of
zoic forms and the predominance of geometric devices, consisting
principally of terraced figures, sinistral and dextral volutes, and
combinations based on the triangle, characterize the painted elements.

STONE IMPLEMENTS
Grinding Stones—Some of the metates are bowlders from the river

gravel, rubbed smooth or slightly concave on one side, and others
are blocks of hard sandstone. The manos are usually of igneous

1 Culture of the Ancient Pueblos of the Upper Gila River Region, pl. 10.

2The writer has since found a brown-red bowl of the same shape, and having the same
decoration, with an exterior ornamentation of white, at Aztec, New Mexico.

3 QOp. cit., pl, xxxIIL.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 40
=3)

d e€
a. PLATE. b. WATER BOTTLE. c,d, ec, COIL-WARE OLLAS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 41

BLACK-AND-WHITE VASES

PLATE 42

THIRTY-THIRD ANNUAL REPORT

BUREAU OF AMERICAN ETHNOLOGY

BLACK-AND-RED BOWL.

a.

b,c.

BLACK-AND-WHITE BOWLS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 43

BLACK-AND-WHITE WATER JAR

MORRIS ] THE CLIFF-RUINS OF JOHNSON CANYON net

rock, also obtained from the gravel in the stream beds. Corn was
reduced by being rubbed between the two stones. No true milling
rooms, in which the metates are arranged in bins, as are described
by Dr. Fewkes,1 were found in Johnson Canyon. It is probable,
however, that these once existed, but were rendered undistinguishable
by those who sacked the ruins in an undiscriminating search for
relics,

Awes.—The axes are small and well sharpened. The one shown
in plate 34, a, illustrates the characteristic method of hafting. The
grooves are not bounded by ridges or ferrules. The beveled edges
were secured by long-continued rubbing upon the blocks and ledges
of sandstone about the caves, in many of which are considerable
depressions worn in this way. No hammers or mauls were collected.

Potlids and Griddles—Round stone slabs which functioned as lids
for jars were found in considerable numbers. The two ollas shown
in plate 39 had covers of this type when found.

In room 11 of Eagle Nest House were the fragments of a thin
rectangular slab, polished as smooth as glass on one side, and burned
to a glossy black. It seems evident that it was a griddle upon which
meal cakes were fried. The Zufi use, or did use until very recently,
a similar stone for this purpose, the interesting preparation of which
is described by Mrs. Stevenson.?

BONE IMPLEMENTS

The collection of bone implements consists of needles, scrapers, and
a knife (pl. 45). The pointed instruments were made from the bones
of birds and mammals. These were sharpened in the same manner
as were the axes. The scrapers are parts of large mammal bones,
the trochanters having served as handles. In each case the shaft
of the bone was cut across diagonally, and the edge thus left was
worn smooth. The knife is a flat piece of bone with sharpened
point and edges. Probably it was set in a wooden handle.

WOODEN OBJECTS

The articles of wood are shown in plate 44. A represents an
object of unknown use similar to the one Dr. Fewkes calls a billet.*
One of these was found in each of the kivas excavated. B is a hoop
of willow bound together with yucca, which may have been used in
the hoop-and-pole game.* Cis a digging stick of extremely heavy
wood. The blunt end is shaped to afford a comfortable grip for the

1 Bull, 51, Bur. Amer, Ethn., p. 37.
*The Zuni Indians, pp. 361-362.

3 Bull. 51, Bur. Amer. Ethn., p. 73.

* Bull. 41, Bur. Amer, Ethn., p. 50.

74936°—_19—33 E1H 12

178 ANTIQUITIES OF SOUTHWESTERN COLORADO [ETH. ANN. 33

hand, and the blade is beveled to an edge. / and ¢ are of unknown
function. They are flat chips which have a curved edge, apparently
the result of rubbing. / is a stick resembling some of the pahos
figured by Dr. Hough.t. G@ and g’ are wooden objects whose use is
undetermined. /Z is the head of a reed arrow. The notch for the
cord and the sinew holding the stubs of the feathers are easily dis-
tinguishable. J is the tip of a similar arrow. <A hard wooden
point has been set into the hollow reed and securely bound with
sinew. /J/ isa stick with neatly cut ends, the use of which is entirely
problematical. The other sticks appear to have been arrows. The
notch for the cord shows in every case, but often the opposite ends
are misshapen and out of plumb, so that they would have been prac-
tically useless as arrows.

FIRE STICKS

A fire-making set is shown in plate 47, a. The bottom stick is of
light, punky wood. Upon it the long stick of hardwood was held
upright and rotated, in time wearing out the conical pits which
show in the cut. The ignited dust ran out through a groove in the
side of the pit onto a small bundle of cedar bark or corn husks,
either of which could easily be fanned into a blaze.

QUIVER

The object represented plate 46, 6, is unlike anything I have
seen described from the Mesa Verde. It is a long, cylindrical basket
made of reeds, prebably Phragmites phragmites. Interlaced strips
of yucca hold it together, and the bottom is closed with a wad of
corn husks. Although it is known that most of the quivers used by
the cliff-dwellers were made of skin, it is difficult to assign any other
function to the object in question.

HAIRBRUSH

A hairbrush made of the needles of the rock pine (Pinus scopu-
lorum) was found in Eagle Nest House (pl. 47, 6). It is bound
about the middle with a three-strand cord of twisted human hair,
and still contains a liberal quantity of black and dark-brown
combings.

POT RESTS

In plate 48 are shown five hoops which were used as rests for the
bases of large jars. They are made of willow, cedar bark, corn
husks, some of shredded yucca leaves, bound together with strips of
yucea.

1Op. cit., pl. 20.

SLOAradO NAGOOM

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BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 45

BONE IMPLEMENTS

THIRTY-THIRD ANNUAL REPORT PLATE 46

BUREAU OF AMERICAN ETHNOLOGY

b. REED QUIVER

a, RUSH MATTING

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 47

L
a FIRE STICKS AND TINDER. b, HAIRBRUSH OF PINE NEEDLES. c. FRAGMENT OF A BASKET

MORRIS] THE CLIFF-RUINS OF JOHNSON CANYON 179
MATTING

The collection contains several pieces of rush matting, the largest
of which are shown in plate 49, 6. The mats are beautifully plaited
and the ends of the strands are turned under and back braided to
form a heavy, durable border.

Matting of another variety was made by lacing the stems of rushes
together with fine yucca cords. The resulting fabric is much thicker
than the plaited mats, and can easily be made into a roll. The
fragment shown in plate 46, 2, was found beneath a shelving rock
in Ruin No. 3, and appears to have been part of the wrapping: of a
body.

FEATHER CLOTH

Feather-cloth jackets seem to have been much worn by the people
of Johnson Canyon, to judge from the fragments which are strewn
about through the débris (pl. 49, a). The down of feathers was
stripped from the quills, then wrapped and bound around yucea cords,
which were woyen into a thick and warm, though rather cumber-
some, garment. From a disturbed grave in Ruin No. 7 was taken
part of a moccasin made from the same material. The weaving of
the jackets and the manner in which they were worn are described
in detail and figured by Dr. Hough.?

CLOTH

Although no large pieces were recovered, a shred of finely woven
cotton cloth found in Ruin No. 3 indicates that this textile was not
unknown to the inhabitants of Johnson Canyon.

BASKETS

Plate 47, c, shows part of an extremely well-made basket, which
resembles in every particular the beautiful specimens figured by
Nordenskiéld. An entire basket of this type when impregnated
with moisture would hold water as well as an ordinary porous jar.

SANDALS

The sandals consist without exception of a flat sole of plaited
yucca with a more or less complex lacing of thongs to pass over the
foot. Some of them are excellently made, the closely woven strands
being one-sixteenth to one-twelfth of an inch across (pl. 51, a),
while others are loosely constructed of rough strips of yucca as much

1Op. cit., p. 72, figs. 149-150.

180 ANTIQUITIES OF SOUTHWESTERN COLORADO [ETH. ANN. 33

as five-eighths of an inch in breadth (pl. 50, 6). Several of them
have a cord looped across near the back through which the heel of
the wearer protruded. From the top of this a thong passed around
the ankle. On the front end are two or more loops, which passed
over certain of the toes.

In one specimen (pl. 50, @) the cords are numerous, inclosing the
foot like a meshwork slipper drawn together over the instep. In-
side the lacing of one sandal corn husks have been arranged to form
a covering for the foot comparable to the upper of a shoe. All the
sandals show considerable wear, and several have been skillfully
patched in the regions of the heel and the ball of the big toe.

Of 20 specimens 8 show the offset on one side near the front
described by Dr. Fewkes from a sandal found in Chiff Palace.

MISCELLANEOUS ARTICLES

Plate 52. A is the neck of a basket of rather unusual weave and
shape. B is a wooden hoop with a netlike attachment of yucca.
It resembles the guards sometimes woven about coil-ware jars, but
it is rather small to have been put to such a use. C is a torch of
cedar bark wrapped with strips of yucca. One end has been -
consumed.

Plate 58. A is a bundle of feathers, presumably a prayer plume,
and 6 a section of rush matting. C consists of the stubs of a number
of ears of corn threaded upon a yucca cord. The Pueblos still
string ears of green corn in this fashion and hang them up to dry.
When an ear is wanted for use it is broken off, and when all have
Leen consumed the string with the stubs attached is thrown away.
DP is a bundle of corn husks of unknown use. Such bundles are
very common.

Plates 54, 55. Plate 54, a, is a small ball of finely divided yucca
with a minute quantity of yellow earth in the center; 54, 6, is a
twist of yucca; 54, c, and 55, c, are chains of yucca; 54, d, e, and: 55,
b, are twists of the same material; 54, 7, is a bundle of herbs which
thus far I have not been able to identify; 55, a, is a portion of a
plaited band done in two colors; 55, d, is a loop of split willow tied
across with yucca; 55, e, is a fragment of a coarse rush mat; 55, f,
is a number of corncobs tied together with yucca. The use of none
of these is known.

SumMary

From the foregoing discussion it appears that there existed in
Johnson Canyon a typical example of the rather restricted culture

1 Bull. 51, Bur. Amer. Ethn., pp. 72-73.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 48

JAR RESTS

THIRTY-THIRD ANNUAL REPORT PLATE 49

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BUREAU OF AMERICAN ETHNOLOC

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FEATHER CLOTH

a,

b. MATTING

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 50

SANDALS

THIRTY-THIRD ANNUAL REPORT PLATE 51

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BUREAU OF AMERICAN ETHNOLO¢

SANDALS

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BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 54

a, BALL OF YUCCA. b. A TWIST OF YUCCA. c. CHAIN OF YUCCA. d,c¢. TWISTS OF YUCCA.
f. BUNDLE OF HERBS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 55

——!

a. PORTION OF PLAITED BAND IN TWO COLORS. b. TWIST OF YUCCA. c. CHAIN OF YUCCA.
d. LOOP OF SPLIT WILLOW TIED WITH YUCCA. ec. FRAGMENT OF COARSE RUSH MAT.
f. CORNCOBS TIED TOGETHER WITH YUCCA.

Morgis] THE CLIFF-RUINS OF JOHNSON CANYON 181

characteristic of the Mesa Verde region. The materials for build-
ing, weaving, and pottery making were procured in the immediate
vicinity, and the fruits of wild trees and plants, as well as the
cultivated crops, came with few exceptions from the near-by can-
yons and mesas. The general characters of the masonry, the struc-
tural features of the kivas and secular rooms, the methods of burial,
and the pottery and other artifacts indicate that the cliff-dwellings
in this canyon southeast of the Mancos River are culturally and
approximately chronologically contemporaneous with the large ruins
of the Mesa Verde National Park

II. RUINS ON THE MESAS

For a number of years it has been a growing conviction with the
author that the failure to investigate the badly weathered and ap-
parently very ancient ruins which dot the mesas of northwestern
New Mexico and southwestern Colorado has left unwerked one of
the richest mines of information concerning the prehistoric inhabi-
tants of the Southwest. Naturally the first scientific explorations
have centered about the large and more spectacular ruins, as Cliff
Palace and Spruce-tree House, but these most important sites should
not crowd from the mind of the archeologist the other types of
remains, which may contain data of the utmost importance in estab-
lishing the chronology of the various types of ruins, the trend of
migration of the ancient people, and the relationships among the
inhabitants of different parts of the country. Such considerations
impelled me to begin excavations among the inconspicuous ruins
which are numerous in the upper La Plata Valley and upon the
mesas westward to Mancos Canyon. These have been entirely over-
looked by the relic hunters who have worked such havoc among the
aboriginal remains in neighboring localities.

No earlier writer mentions the ruins in the upper La Plata Valley.
The first of which Holmes? speaks are on the bench between the La
Plata River and McDermott Arroyo, well below the New Mexico
line, and Prudden? located but one ruin north of the State line.
The Geological Survey’s maps of Soda Canyon and Red Mesa quad-
rangles locate many of them, but these maps are far from complete
in this respect.

Bumprncs anv Burran Mounps
1. RUINS NEAR MANCOS SPRING

Ruin No. 9.—For convenience I shall begin with the remains crown-
ing the high divide northwest of Mancos Spring. Upon the crest of
a knoll, which, if cleared of timber, would command a view of the

1Tenth Ann. Rept. of the Hayden Survey for 1876, p. 387.
2Op. cit., p. 255.

182

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 56

we Bh. wy x

RUIN NO. 9

MORRIS] RUINS ON THE MESAS 183

country for a considerable distance in every direction, are the remains
of a rectangular building roughly 195 feet from east to west by 90
feet from north to south (pl. 56, 6). A mound, in no part more
than 4 feet high, marks the site. The dense surrounding growth of
pifon and cedar has encroached somewhat upon the ruin, and a few
large trees have gained a foothold in its midst. The areas not cov-
ered by trees are heavily overgrown with sagebrush. No masonry
appeared at the surface, although in several quarters rows of stone
slabs protruded a few inches from the soil, outlining square or
rectangular inclosures.

Where a burrowing animal had brought up considerable quantities
of charcoal, near the western end, excavations were begun, and an
area 20 by 30 feet was dug over. From 18 to 30 inches below the sur-
face hard, smooth floors of burned mud were encountered. In many
places the bounding walls of the rooms were hard to locate, the
transition from one chamber to another being indicated by a change
in the floor level. Such walls as were unmistakable were of two
types. The first consisted of clay plastered directly upon the walls
of the pits, which had been excavated slightly into the natural soil;
the second, of dividing walls composed of thin slabs of stone set on
edge, some of a single row, others of two or more rows parallel to
each other and crossed at intervals by other flat stones set at right
angles to them. The interstices were filled with mud, and apparently
the same material had been applied as plaster to the exposed faces
of the slabs.

The one room of which all four sides were distinguishable was 44
by 54 feet. From the amount of charcoal present in the soil and the
flimsy character of the bases of the walls it appeared that the upper
parts must have been built of wood, but the manner of construction
was not discovered at this time.

One small extremely crude pot (pl. 66, ¢) was the only object of
interest taken from the excavations at this end of the building. ;

The northeast corner of the ruin was also opened. Here were
encountered the bases of several walls built of small sandstone
spalls, which at one time had been held together with adobe mud.
These walls, which were very poorly constructed, bounded rooms
about 6 feet square. The relatively small quantity of fallen stone
indicated that, as at the other end of the building, the upper walls
had been constructed of other material. Beneath the walls were
about 2 feet of soil filled with pottery and charcoal, showing that
the site was occupied long before the stone walls were built. In a
corner of one of the rooms was the water bottle shown in plate 70, d.
Because of the dilapidated condition of the ruin, operations in the
building itself were abandoned.

184 ANTIQUITIES OF SOUTHWESTERN COLORADO _ [kTH. ANN. 88

A short distance south of the ruin stands a nearly circular burial
and refuse mound 70 feet in diameter and 5 feet high in the central
part (pl. 56, a). Many trees were growing upon it, although it
was less densely timbered than the surrounding country. No sage-
brush had taken root in the black soil, but in it chapparal flourished,
and it is noticeable that ruins and refuse mounds are the only places
in the entire region where this thorny bush abounds. The surface

°” 6’ yo
SCALE
Fig. 2.—Burial mound at Ruin No. 9.

was littered with an almost unbelievable amount of broken pottery
and about 30 arrowheads were picked up while the brush and timber
were being removed.

Excavations were begun at the southern edge of the mound. The
soil was as light as flour and appeared to be composed of inter-
mingled ashes and house sweepings. It-contained many broken
stones, nearly all of which showed the action of fire, and scattered

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 57

GRAVE IN RUIN NO. 9

=

Morris] RUINS ON THE MESAS 185

fragments of metates and stone axes. From the beginning detached
human bones were plentiful, but a week elapsed before the first grave
was found. Some 8 feet below the surface, well toward the center
of the mound, a slab of stone was lying horizontal, and beneath it
was the skull of a person who had not reached maturity. The other
bones were not in place or had not been buried with the skull. (See
fig. 2.) A few feet toward the north was the skeleton of an adult
lying upon the left side with knees drawn up against the chest and
arms at the sides. The head pointed toward the southeast, and in
front of the face was a small one-eared pot. Just east of this grave
was the body of another adult with exception of the skull. The
position was undeterminable.

Six feet to the southeast were found some of the large bones of an
adult, which had been much disturbed. At length a beautiful red
bowl, a femur, and one side of the innominatum were found together
(pl. 57, 6), and a short distance farther on was the nearly toothless
skull of an old man (pl. 57,a). Some freak of refraction shows two
skulls in the negative; the one at the right is the original. This skull
is strongly flattened at the back and through the right mastoid
process is an aperture 1 inch long and one-fourth inch wide, probably
inflicted by a stone spear or arrow.

Five feet to the north was a pit 44 feet deep containing the bones
of the right leg of an adult, surrounded by stones and charcoal.

To the southeast of No. 4 was a large skeleton lying on its back
with knees: drawn up and to the left, and head teward the west. At
the left of the head were two small bowls (pl. 64, 6 and d) and a
spoon or paddle (pl. 69, d), and at the right was a globular wide-
mouthed pot with a heavily banded neck (pl. 68, 6). North and
east of this was the grave of a small infant in the usual flexed posi-
tion. ;

After finding these bodies the excavations were continued for
several days without further results. A surprising quantity of bones
and potsherds were mingled with the earth. Numerous badger holes,
some of them large enough to admit the body of a man, appeared
at the surface of the mound. After extending downward for a
short distance they ramified, and an examination showed that prac-
tically every cubic foot of the mound at some time had been worked
over by the animals. In tunneling they disturbed the bodies and
broke the pottery into bits or brought it to the surface, where it was
soon reduced to fragments by the action of the elements. Every
burial mound subsequently examined had suffered the same fate.
Thus can be explained the dearth of pottery to be obtained from the
mounds.

186 ANTIQUITIES OF SOUTHWESTERN COLORADO [BTH. ANN. 33

When it was determined that practically everything in the burial
mound had been destroyed, its excavation was not carried to com-
pletion.

Although the explorations in this ruin and its burial mound form
but one of the steps leading to the conclusions which will be drawn
at the end of this paper, I shall here mention some of the points
which should be presented with special emphasis to the mind of the
reader. The building was a rectangular block of rooms showing no
evidence of having been more than one story in height. The walls
consisted of bases of natural earth or of stone slabs plastered together,
surmounted by a wooden structure.

The pottery presents many features which differentiate it from that
of the cliff-dwellings. These differences are of form and color as
well as of decoration. Fragments of the characteristic coil ware were
rarely observed, and perhaps 10 per cent of the sherds were of a
ground color varying from an orange to a deep red. The decorations
are in general crude in form and execution. All these features will
be dealt with at length in their proper places.

Perhaps the most significant fact is that nowhere about the ruin
were there remains of any structure resembling a kiva.

Ruins at Site No. 10.—The backbone of the long ridge which limits
the northern drainage of Johnson Canyon bears an almost continuous
line of ruins. I followed it from a point somewhat northwest of the
ruin just described to the head of Lion Canyon, and was rarely ever
out of sight of fragments of pottery and chips of flint. The ma-
jority of the remains are elevations from 6 inches to 2 feet higher than
the level of the ridge marking the sites of small buildings of the
same type as the one above Mancos Spring; a short distance south of
most of them are refuse mounds, many of which are larger and
higher than the mounds marking the ruins themselves.

Circular depressions surrounded by low, much-eroded banks of
earth, and varying from a few feet to as much as 50 feet in diameter,
are of frequent occurrence. It is probable that these depressions are
the remains not of reservoirs, as many suppose, but of circular pit
rooms. This conclusion is not based on excavations in that particular
region, but is drawn from observations on pre-Pueblo ruins situated
between the San Juan River and the continental divide, 70 miles east
of the La Plata. In that vicinity, near, and even in the midst of the
jacal structures, the pit rooms extend from 3 to 6 feet below the
surface. The plastered clay walls slope outward, and in them at
nearly regular intervals are to be found the stumps of the heavy
posts which supported the roof. Near the center of each room is a
fire pit, and dug into the walls, the bottoms extending somewhat
below the level of the floor, are receptacles probably analogous in
function to the bins so common in the later buildings.

morris] RUINS ON THE MESAS 187

It may well be that the circular pit houses constitute the prototype
of the kiva, although the only essential features of the kiva discernible
in those examined were the circular form and the fire pit.

The writer believes that future investigation will show most of the
depressions in and about the pre-Pueblo ruins west of the La Plata
to be the remains of pit rooms.

Near a small ruin I observed a number of fragments of an archaic
type of coil ware lying on the ground approximately in the form
of a circle, as if a vessel had been broken on the spot. In carefully
gathering these I found a large fragment protruding from the soil.
It developed that the surface fragments composed the neck of a
large vessel, the greater part of which was embedded in the hard
red clay. It is shown completely restored in plate 63, a.

Ruins at Site No. 11—About a mile slightly north of east from the
building first described, upon a level-topped divide east of Spring
Canyon, is another group of small ruins, some 8 or 10 in number.
It was in-one of these that the method of constructing the houses on
the mesas was first definitely determined. Excavations laid bare
three of the walls of a room, which had been erected as follows:
Shallow trenches were dug where it was desired to place the walls.
In these poles averaging about 4 inches in diameter were set side by
side, and held upright by stones wedged into the trenches on both
sides of their butts. The poles were then coated with mud till they
were almost, if not quite, hidden, and a strong wall superficially
resembling one of adobe was formed. It is probable that the roof
consisted of beams, twigs, and bark covered with clay. The presence
of the charred stumps of the poles still resting in the trenches be-
tween the rows of stones, and the large quantities of plaster burned
to a bricklike consistency, smooth on one surface and bearing upon
the other the distinct imprints of poles, twigs, and knots, with the
finger prints of the primitive masons, shows these mesa dwellings
to have been the structural analogues of the modern post houses of
the Mexicans.

In a pottery-strewn space we found a Jone burial. The decomposed
skeleton was in the usual flexed position not more than 4 inches
below the surface. In front of the face were a small bowl and a
rude globular bottle, both without decoration (pls. 64, ¢; 72, 6).

A refuse mound on the same divide yielded an interesting grave.
Some animal had dug out a calcaneum and a tibia at the east edge
of the circular heap, and other leg bones were found just beneath
the surface. Three feet below these was the complete skeleton of an
adult. The grave proved to be a conical pit, in which the body
had been placed in a sitting posture, facing southwest. By the
right side were the two bowls shown in plate 64, e and /, and a

188 ANTIQUITIES OF SOUTHWESTERN COLORADO [nTH. ANN. 33

fragment of a large red bowl. The pit was filled with mortar made
from the red clay of the mesa mixed with charcoal and ashes.

Ruin No, 12.—Two miles southeast of Mancos Spring, on a thickly
timbered ridge between the forks of Johnson Canyon, are the re-
mains of two long rectangular buildings. Both are so badly eroded
that it is impossible to estimate their original dimensions. Their
long axes extend east and west. The more easterly of these struc-
tures was built entirely of poles and mud, while parts of the other
are of stone. There is not enough fallen masonry to indicate that
the stone sections of the walls were more than 3 or 4 feet in height.

South of the eastern ruin was a burial mound like the one at
Ruin No. 9, except that it was smaller, being only 45 feet in diameter.
On being excavated this was found not to differ markedly from the
one already described. It had been ransacked from one end to the
other by badgers and everything in the central part destroyed.
Around the south edge, where there were many stones mixed with
the soil, the animals had operated less extensively, and here were
found 11 distinct graves, every one of which, however, had been to
some extent disturbed. All were flexed, but there was no deter-
minable uniformity of orientation. Two of the bodies lay beneath
large sandstone slabs. From one grave was taken the small undeco-
rated bird-form vase shown in plate 71, a. Besides a few arrow-
heads and a bone awl this was the only artifact recovered from the
mound.

The bones of some of the bodies, particularly those of one child,
show an advanced stage of disease, the articular surfaces being
deeply pitted and in some cases nearly eaten away.

Ruin No. 13—Upon the mesa separating Johnson and Greasewood
Canyons are a number of ruins, one of which deserves mention be-
cause of its size. This, which is rectangular in form, falls a trifle
short of 600 feet in length (east and west) by 100 to 150 feet in
width. It was constructed entirely of poles and mud. No exca-
vations were undertaken here except trenching through a refuse
round, which did not appear to contain human bones.

2. RUINS ON THE DIVIDE BETWEEN SALT AND GRASS CANYONS

Shrine at Site No. 14.—From the head of Johnson Canyon the
divide forming the political division between La Plata and Monte-
zuma Counties extends in a southwesterly direction for about 10
miles, ending at the head of the western tributaries of Barker
Arroyo. At its southern extremity a conical butte rises 100 feet
above the surrounding mesa. The nearly circular top is perhaps
90 feet in diameter and in the center is a pit some 15 feet across and
4 feet deep. It is probable that the commanding position afforded

MorRIS] RUINS ON THE MESAS 189

by the top of the butte was used as a shrine or lookout station, or
both. Shrines occur in similar locations in other parts of the
Southwest. The excavation of the pit would be an interesting and
doubtless an instructive undertaking, but our party did not attempt
it, as the site was not found until the close of the field season of 1914.

Ruin No. 15—In the dense timber just west of the butte there is
a ruin of fair size which from surface indications is one of the most
promising in the entire region.

From the foot of the butte a plateau runs due west for a number
of miles. This constitutes the watershed between Grass Canyon, a
fork of Mancos Canyon, on the north, and Salt Canyon, a tributary
of the San Juan, on the south. Almost without exception every
elevation upon its rolling surface is the site of a ruin; many of these
ruins are small and much eroded. In many places the black earth
of the refuse mounds has been completely carried away by the
freshets caused by the occasional torrential rains, and fragments
of the pottery which they contained are now scattered in great pro-
fusion over the red mother soil.

At the eastern end of one small ruin, which showed six or seven
slab-outlined chambers angling along a ridge, we noticed many
fragments, evidently derived from the same vessel, littering a space
5 feet across. After these were collected a brief search sufficed to
reveal the remainder of the jar beneath the few inches of black
earth which covered the floor of the room in which it sat. The
restored vessel is shown in plate 67, f.

As the summer of 1913 was practically rainless, excavations on the
plateau could not be undertaken, since the cost of hauling water
from Mancos Spring would have been prohibitive. However, the
summer months of 1914 were as damp as those of the preceding year
had been arid, and in consequence the glades were bright with moun-
tain bluestem, which furnished ample feed for our stock. About 5
miles west of the butte we found pools of water in the sandstone
bed of one of the forks of Salt Canyon and pitched our tent on the
ridge at the head of the draw. Later we found that our camp was
about midway between two rather large ruins.

Ruin No. 16—Southeast of the one west of camp there was a
large area which bore the superficial appearance of a burial mound.
This was dug over, but only two skeletons were found. A descrip-
tion of one of the graves will serve for both. An oval pit had been
dug down 2 feet into the red clay. In this the body lay upon its
back with the head toward the west (pl. 61, 6). The heels were
drawn up against the buttocks, and the knees were bent to the right
against the wall of the grave. The right arm was extended with the
hand beneath the thighs, while the left was crossed over the ab-
domen. The pit was filled with mortar. The only object found in

190 ANTIQUITIES OF SOUTHWESTERN COLORADO _ [5TH. ANN. 33

the grave’ which may have been shaped by the hand of man was a
ball about five-eighths of an inch in diameter composed of rounded
grains of quartz interspersed with patches of some bluish material,
presumably malachite.

Ruin No. 17—The ruin east of camp occupied a slight elevation,
at the southern edge of which the plateau breaks off toward Salt
Canyon. The encroachment of the slope has carried away the burial
mound. The building covered an area approximately 200 feet east
and west by 50 feet north and south (fig. 3). Along the north
side was a row of 23 chambers, the west end of which swung around
toward the south. Without exception the rooms of this tier had been
excavated from a few inches to as much as 2 feet into the natural
soil. The floor level of no two of them was the same. The majority
were bounded by rows of large sandstone slabs set on edge (pl. 58),
but in some instances plaster had been applied directly to the clay

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walls of the pits. In the corners were the burned butts of heavy
posts which had served to support the roof.

One of the rooms had walls of masonry which showed fair skill
on the part of the builders. In several places bins had been con-
structed by fencing off a corner with slabs and plastering up the
joints. Near the east end of the building there was a series of six
of these receptacles.

The floor level of the second tier of rooms was invariably higher
than that of the first. Here very few slabs appeared in the bases of
the walls. The stumps of poles set into the earth, a row for each
wall, with mortar 4 to 6 inches thick on each side, marked the boun-
daries of the chambers. The corner posts were much heavier than
those which served only to support the plaster.

As the ruin sloped downward from north to south the floors of
the rooms of the second tier, which had not been carried down below
the level of the knoll, were practically at the surface, and the walls
could not be traced. While the presence of black earth, great quan-

ZL°ON NINY NI WOOd Lid

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09 S1V1Id LYOdaY TVANNY GHIHL-ALYIHL ADOIONHLA NVOIYSAWYV 40 NVAENE

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 61

b. GRAVE AT HEAD OF SALT CANYON, RUIN NO. 16

Morris] RUINS ON THE MESAS 191

tities of plaster, many charred poles, and occasional corner posts
left no doubt that the building, was originally at least five tiers of
rooms in width, it was impossible to trace the boundaries of any of
these south of the second row.

The asymmetry of the building was very marked. Seldom did the
corners form right angles, and no two walls appeared to be in line.
Jogs and offsets were the rule rather than the exception. These con-
ditions suggest that the structure must have grown by gradual
accretion.

The floors of 26 of the 31 rooms were covered with 2 to 15 inches
of charred corn. Some of it had been shelled, but the greater por-
tion was on the cob. At a conservative estimate there was 100
bushels, which would indicate at least three times that amount before
it was subjected to the action of fire. In some places the heat gen-
erated by the burning corn and wall beams was so great that stones
and mud were fused into lavalike masses, bearing the impressions of
the consumed ears, of the sort the presence of which has given rise
to the erroneous statement that ruins have been found containing evi-
dences of volcanic activity.

With few exceptions there were pottery vessels in each room. Six
were recovered unbroken and 26 more were restored from fragments.
Plate 60 shows some of these in place. Stone axes, rubbing stones,
dressed slabs, and two metates were also taken from the débris, but
not one bone implement was found.

The facts seem to justify the following conclusions: The building
was an approximately rectangular aggregation of rooms which num-
bered in the neighborhood of 100. The sides of the pits which
formed the lower parts of many of them were lined with stone slabs,
or with plaster daubed upon the original earth (pl. 59). The walls
above ground were constructed of poles heavily coated with mud.
The roofs were supported by heavy corner posts.

Nothing was discoverable which would indicate the nature of the
doors and windows. There is no evidence that the structure was
more than one story in height, and in fact such evidence as there is
points to the contrary, for the thin walls and the proportions of the
corner posts offer no suggestion of the strength which would have
been necessary to support a second story.

Fire destroyed the building and its contents. To judge from the
large quantities of corn and the many vessels sitting about in the
rooms, the conflagration must have been sudden and catastrophic.
Whether it started from wind-fanned sparks or was caused by light-
ning or by enemies is purely a matter of conjecture.

There are other ruins in the vicinity, but no further excavations
were attempted.

192 ANTIQUITIES OF SOUTHWESTERN COLORADO [kTH. ANN. 33
3. RUINS SOUTH OF RED HORSE GULCH

Ruin No. 18—There is an immense ruin on the divide south of
Red Horse Gulch about half a mile down the canyon from Heathers’s
tank. This covers about 5 acres of ground. Seemingly it 1s com-
posed of a group of buildings of the “ pole-and-mud” type. I was
able to spend only a few minutes at the site, so an adequate de-
scription of it can not be given. I would judge this ruin to offer
the best opportunity for fruitful excavations to be found between
the La Plata and Mancos Rivers. There are three large burial
mounds which would not fail to yield many specimens if by any
chance they have escaped the ravages of the badgers.

4, RUINS AT RED MESA

Ruins at Site No. 19—Upon the first terrace east of the La Plata,
just below the mouth of Cherry Creek, are many small ruins, a de-

4
vee SHAFT

10 FEET

Fie. 4.—Ground plan of Ruin No, 20.

scription of which would be only a repetition of tedious detail. In
the river bottom is a detached point 25 feet high and about one-
third of an acre in extent whose top is entirely covered by a ruin.
The many slab-outlined inclosures are probably rooms like those
excavated in Ruin No. 17.

Stone Ruin at Site No. 20—On the bluff west of the river is a
stone ruin 77 feet long and 32 feet wide, the long axis extending
east and west (pl. 62, a). A tentative plan is given in figure 4.
This ruin consists of a row of three kivas flanked on the north by a
single tier of rectangular rooms. At the west end is a smaller round
room not in line with the large ones. Rooms 1 and 2 and a part
of kiva 1 were excavated. The north and east walls of room 1 are

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 62

a. STONE RUIN AT MOUTH OF CHERRY CREEK, RUIN NO. 20

b. MASONRY IN STONE RUIN AT SITE NO. 20

Morris] RUINS ON THE MESAS 193

18 inches thick. The wall between room 1 and kiva 1 is 30 inches
in thickness and stands to a height of 8 feet. The masonry is ex-
cellent (pl. 62, 6). The small sandstone blocks are dressed to
conform to the curve of the wall and the cracks are chinked with
tiny spalls.

Kiva 1 is 153 feet in diameter. The banquettes, six in number,
are unusually shallow, being but 5 inches deep. The ventilator shaft
opens to the south, as appears to be the case with the other kivas.
Since the exhaustion of funds made it necessary to abandon the
excavation of this most interesting ruin, the nature of the other
features of the kiva was not determined. The fact that the kivas
are above ground impresses one as unusual. I have not observed
another instance in the San Juan drainage where kivas built in the
open were not subterranean.

A discovery of the relation between this stone building and the
numerous “pole-and-mud” ruins in the vicinity would be of the
utmost importance in determining whether or not the ruins in the
cliffs and those upon the mesas were built by the same people. The
rooms excavated contained no artifacts which would help to settle
the question.

Slightly northeast of the building is a group of slab-inclosed boxes.
These occur singly and in groups all over the mesas, but in order to
avoid repetition I have deferred mentioning them until this time.
Holmes?! and Jackson? describe similar inclosures on the mesas west
of the Mesa Verde, and the author has been told that they extend
eastward toward the Animas River. Some are nearly round, some
square, and others rectangular. Their average size is about 3 by 4
feet. Slabs of stone form the sides and in many cases there is a
slab on the bottom. Their use is difficult to determine. They are
commonly known as “ Indian graves,” but there is nothing to prove
that such was their function. They occur in and about ruins and in
isolated places far from any sign of a building. In many of them
there are small quantities of charcoal and ashes and now and then
an animal bone. We dug up about 50 of these “graves,” but did
not find in one of them enough traces of fire to lead to the conclu-
sion that a body might have been cremated therein. They may have
been fireplaces, but if such were the case it is hardly probable that
they would be found so far removed from more or less permanent
habitations. It is not to be expected that an Indian would transport
heavy slabs of stone a considerable distance in order to construct a
cooking place for a temporary camp.

1Tenth Ann. Rept. of the Hayden Survey, 1876, pp. 385-386.
2Tbid., p. 414.

74936°—19—33 ETH

13

194 ANTIQUITIES OF SOUTHWESTERN COLORADO [ETH. ANN. 33

“c

Were these “ graves” not so numerous, it might be concluded that
they were shrines, and it may be that such was the purpose of some
of them.

Round Tower at Site No. 21.—On the point of a bluff about a
quarter of a mile up the river. from the stone ruin there is a small
stone tower. The wall is in a poor state of preservation, standing
to a height of only 3 feet. From the point there is a good view of the
valley and of the broad mesas which stretch eastward from the river,
hence it seems that the tower served as a lookout station.

5. RUINS BELOW THE MOUTH OF LONG HOLLOW

Ruins at Site No. 22—Purely by accident a group of burials was
found farther down the La Plata. About three-quarters of a mile
below the mouth of Long Hollow the wagon road ascends from the
river bottom, runs for a short distance across a point, and drops back
to the lower level. Not 20 feet from the road I noticed black earth
and fragments of pottery, and the first thrust of a spade brought up
human bones. The skeleton of which they were part was flexed with
the head to the northwest. South of it were two other bodies, also
flexed, one of them that of a child. The point had worn away until
these skeletons were barely covered with earth, and if any pottery
was put away with them it had been broken and the fragments scat-
tered. East of them was a skeleton stretched at full length upon its
back. By the head was an undecorated vase. North of this burial
was a grave which was constructed with more care. Ina rectangular
pit 24 feet deep the flexed body reposed upon its right side with the
head to the north. Beneath the skull was a flat stone, and in front
of the body were four decorated bowls (pl. 65, ¢, ¢, 7).

Tn all cases the bodies were covered with black earth and refuse,
and it appeared from the ashes, fragments of pottery, and chips of
flint that trash must have been dumped on the graves for a long
period of time.

Southwest of the graves, on the tip of the point, were the remains
of a fairly large “ pole-and-mud” ruin. On a promontory not far
from the ruin the Powells, who own the land in the river bottom and
on the opposite side of the river, unearthed a skeleton accompanied by
a pipe and a string of beads. Several of the beads are turquoise, and
one of them, conical in form, is of ivory. It appears to have been
made from the canine tooth of a large animal. I did not see the pipe.

Ruins at Site No. 23——There are many ruins on the Powell ranch
west of the river. Those clustered along the edge of the second ter-
race are all of the “ pole-and-mud” type. The bodies of two chil-
dren and four adults were found near one of them. One large skele-
ton was extended with the head to the east, and the rest were flexed.

morris] RUINS ON THE MESAS 195

One grave contained two skeletons interred at different levels. The
first (pl. 61, a) lay upon its left side with the head to the west. Near
the skull were three pottery vessels and a worked stone, presumably
a pottery smoother, and by the feet were two more vessels. When
the skull was raised, it was found to be resting upon the knees @f
another body lying at right angles to the first, with the head to the
south. By the skull were three bowls, a lamp (?%), and a vase.

Not one of the 11 skulls from these two series of graves was flat-
tened at the back. Most of these crania were so badly decomposed
that they fell to pieces when moved, but three were recovered entire.
One appears in plate 70, e. In an examination of more than 200 skulls
taken from graves in the valleys of the La Plata, the Animas, and the
San Juan Rivers, I have seen no others which fail to show pro-
nounced flattening in the occipital region.

Upon the first bench above the river begin the cobblestone ruins so
numerous farther down the valley. These are, in general, mounds
in the form of a semicircle with a kiva between the horns of the half
moon, and a burial mound south or southeast of the building. The
shape and construction of these buildings, as well as the pottery
strewn over them, suggest that they represent a culture differing in
many particulars from that characterized by the ruins in the upper
valley and on the mesas to the west.

ARTIFACTS

POTTERY
STRUCTURE

Structurally the pottery from the mesas is inferior to that from
the cliffs. In general the paste consists of a fine-grained matrix,
through which are scattered many dark-colored granules. This indi-
cates an imperfect reduction of the clay or an admixture of a sec-
ondary material, possibly crushed potsherds. The color and compo-
sition of some of the paste suggest a volcanic rock such as I have
not found on the Mesa Verde.

The hardness varies greatly. Some vessels are quite friable, while
the finer ones are not easily scratched and emit a clear, bell-like tone
when struck. I have not been able to demonstrate the presence of
a superficial slip on a single specimen. While the surfaces of several
are of surprising whiteness, this seems to have resulted from the
polishing which brought to the surface the lighter-colored, finer-
grained portion of the paste.

Although it is probable that all the pottery was constructed by the
application of successive coils of clay, from the standpoint of sur-
face treatment it may be divided into four classes—(1) smooth
ware, (2) smooth ware the examples of which have banded necks.

196 ANTIQUITIES OF SOUTHWESTERN COLORADO [kTH. ANN. 33

(3) smooth polished ware without decoration, and (4) smooth
polished ware with decoration.

True coil ware was not exhumed from any of the sites, although
a few fragments occurred upon the surface. The excellent vessel
shown in plate 63, a, although found in the open, was not within
the confines of a ruin, and may well have been left at a temporary
camp by the cliff people or deposited at a shrine, further evidence
of the existence of which has not been preserved.

Torm

It is doubtful whether from any other locality in the Southwest
a series of 64 ceramic objects could be chosen at random which
would exhibit a greater diversity of form than those shown in the
accompanying plates.

Food bowls—Of food bowls there are 16 (pls. 64, 65). In
general their shape is that of a section of a hollow sphere, although
one (pl. 65, ¢) has an incurving edge and another (pl. 65, e) has a
flat bottom. With few exceptions the sides taper to a thin fragile
rim. The interiors show much better finish than do the exteriors.

Globular Bowls.—Two of the three globular bowls appear in plates
70, a, and 71, d. The one not figured has a heavy handle attached to
one side near the opening; the others have pairs of perforations op-
posite each other, through which cords might be passed to carry or
to suspend the vessels.

Bowl with Perforated Ears—In plate 71, f, is shown a small, very
deep bowl with perforated ears.

Bowl with Double Flare—The bowl figured in plate 71, ¢, is a
unique specimen. The constriction in the sides allows it to be held
conveniently and securely in the hand.

Globular Vessels with Wide Mouths—Plate 66 illustrates vases
with approximately globular bases and mouths of large proportion-
ate diameter. One has a single handle consisting of a ridge of clay
pinched onto one side of the neck. The recurved neck imparts a
pleasingly graceful form to the vase appearing in plate 66, d.

Ten similar vessels, the necks of which are embellished with broad
yather low ribs or bands, are shown in plates 63, b, 68, and 70, ¢ and d.
Somewhat similar vessels are figured from northeastern Arizona
by Dr. Fewkes? and from St. George, Utah, by Holmes.? One
has a handle (pl. 70, c) and in another instance there are three tiny
protuberances symmetrically placed just below the rim (pl. 68, ¢).

Some of these vessels contained charred corn, which, together
with the fire stains almost invariably apparent, and the adhering

2Pottery of the Ancient Pueblos, fig. 242.
1 Bull. 50, Bur. Amer. Ethn., pl. 18, 6.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 63

LARGE OLLAS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 64

FOOD BOWLS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 65

FOOD BOWLS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 66

UNDECORATED VASES

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 67

UNDECORATED WATER JARS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 68

COOKING VESSELS WITH BANDED NECKS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 69

é I
a. BOWL MENDED WITH YUCCA TIES. 8, ¢, d,e,f. POTTERY

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 70

POTTERY AND SKULLS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 71

POTTERY

THIRTY-THIRD ANNUAL REPORT PLATE 72

BUREAU OF AMERICAN ETHNOLOGY

POTTERY

MoRRIS] RUINS ON THE MESAS 197

soot, indicate that these vessels performed a function analogous to
that of the coil-ware ollas of the cliffs—that of culinary utensils.
Undecorated Water Jars—There were many large water jars
(pl. 67) in Ruin No. 17, and fragments of these are abundant in all
the refuse heaps. In shape these resemble similar vessels from the
cliffs (pls. 41, a, and 48), but they bear no sign of decoration and
but few of the bases are concave and none are flat. Two of the jars
(pl. 67, c) have banded necks, while those of the others are plain.
There is an unusual variation in the shape of the handles. On one
vessel they are merely solid stubs of clay protruding from the sides
of the base (pl. 67, 7). Four of them (pl. 67, d, e) have large
open handles like the ones from the cliffs, through which three
and sometimes four fingers can be inserted. One (pl. 67, ¢) has
similar handles except that they consist of two ropes of clay in-
stead of a single band. The handles on the vessels-shown in plate
67, a, b, are broad, flat protuberances which turn down like the stubby
tail of a bird. This type is exceed-
ingly common in the refuse heaps.
A water bottle closely resembling
the above (pl. 70, 6) was found in
Ruin No. 9. The top is very much
flattened, and the base is concave.
Gourd-shaped Bottles—The four = 7
gourd-shaped bottles (pl. 72, a, d, e, wie. 5—Outlines of gourd-shaped
and 7) are unique among the pottery NESE

of the upper San Juan drainage. Unfortunately, not one of
them retains its neck entire, hence the outline of that part

of the vessels is problematical. Jackson’ figures a bottle from
the pueblo of Zuni, a drawing of the outline of. which appears
im figure 5, a One side of a like orifice appears in the tops
of three of the bottles here shown, and it may be that the
resemblance to a gourd was heightened by their completion in
a similar manner. However, I am inclined to think that the
curve particularly apparent in the one shown in plate 72, e, was
continued, and that the neck curved back and ended in a point
which was contiguous, but not attached, to the incurving slope of
the vessel, as is shown in figure 5, 6. There are rough spots on the
sides of plate 72, d and f, in the proper positions, as if the presence
of the end of the handle had not permitted the polishing of the
surface at these points. A detached handle of this sort was found
in Ruin No. 17, and Holmes figures one constructed in this manner.?

1Tenth Ann. Rept. of the Hayden Survey, pl. LXVI.
2 Pottery of the Ancient Pueblos, fig. 354.

198 ANTIQUITIES OF SOUTHWESTERN COLORADO [sTH. ANN. 33

Ladles—Two ladles appear in plate 69, e and f. They are divided
into compartments by a partition across the middle. While ladles
with long hollow handles are known from the cliff-dwellings and
from the Animas Valley, I have not observed other specimens in
which the part corresponding to the handle is divided from the bowl
by a ridge of clay.

Spoon or Paddle—A spoonlike implement, the handle of which
is missing, was found in Ruin No. 9 (pl. 69, d).

Bird-form Vase-—While fragments indicate that bird-form vases
were fairly numerous, there is but one such specimen in the collec-
tion (pl. 71, a). The tail is upturned, and there are two pairs of
protuberances, one of which probably represents wings. The bird
topography is not accurately delineated, but it appears that the vase
is rightly named.

Ring-botiomed Vase.—This term, inelegant though it be, I have
applied to the vessel appearing in plate 71, 6. The base is a hollow
ring with a roughly cireular neck rising from one side. <A cylin-
drical handle connects the top of the neck and the opposite side of
the base.

Lamp (?)—The writer suggests that the vessel shown in plate
71, e, is a lamp, at the same time realizing fully that this suggestion
will meet with considerable criticism. The vessel consists of a
rough globular body with a small hole in the top, and a hollow
cylindrical spout, which rises from the point of greatest diameter
at a slight angle to the plane of the base. The end of the spout,
which is much blackened, has been affected by some agency to the

~ extent that part of it crumbled to dust when taken from the bowl
in which it was found. Long-continued action of flame might thus
destroy the cohesive qualities of the clay.

Mountain-sheep E'figy.—There was found on the surface of Ruin
No. 17 a small animal effigy, which from the shape and proportions
of the horns is thought to represent a mountain sheep (pl. 69, c).
It is probably a prayer emblem, similar to those used by the Hopi.

Cloud Blower—The collection contains one small pottery cloud
blower or pipe (pl. 69, 2). Through the center there is a hole the
diameter of which lessens progressively toward the smaller end of
the cylinder. ‘The surface is decorated with diagonal lines of pits.

Two rather nondescript bottles appear in plate 72, 6 and ce.

CoLor

Vessels of gray, varying all the way from black to white. occur
in the collection. In addition there are shades of yellow, orange, red,
and brown. The vase shown in plate 66, a, is a glossy black through-
out, which appears not to be the result of use as a cooking pot. As

morris | RUINS ON THE MESAS 199

opposed to this, one bowl (pl. 64, @) has an interior as white as
well-cleaned kaolin. As has been stated above, this does not seem
to be dependent on a surface slip.

One globular bowl (pl. 70, a) is a deep, beautiful red. The paste
is rather coarse and red all the way through, but the polishing has
accentuated the redness of the surface.

The bowl figured in plate 64, c, is of orange color in which the
yellow is predominant. ‘This bowl once bore decorations which are
now untraceable.

There must have been much iron in the clay from which a con-
siderable proportion of the pottery was made. Heat of different
degrees has produced peculiar blotchings on several of the vessels.
The neck of one, otherwise gray, is almost lemon yellow (pl. 63, d),
and a red-orange cheek appears on the side of the vessel figured in
plate 67, e.

The red and orange sherds are of particular interest. They repre-
sent most of the shapes present in the collection, besides many
others the entire contours of which it is at present impossible to
restore. The colored ware of the region will furnish beautiful and
instructive material to future excavators.

DECORATION

From the standpoint of decoration the first fact to impress one
is that of 62 vessels only 26 bear painted designs. In a typical col-
lection from the cliffs, or from the lower La Plata, the proportions
would be more than reversed. In fact, in the author’s collection
of more than 200 specimens collected near the mouth of the La
Plata there are only 5, excepting the coil ware, without decoration.

In color the decorations merge from black through brown to red.
The brown and red can not be considered to have resulted from
a chemical alteration in a dye originally black. These colors are
uniform over the entire surface of the dish; the black is permanent,
while the red can be removed with a damp cloth.

Several of the bowls found near the mouth of Long Hollow
(Ruins Nos. 22 and 23) had their entire exteriors painted with a
light-red substance, which comes off very readily in the presence
of moisture.

The decoration is in most cases crude, although fair skill is shown
in two instances (pls. 64, a, and 72, e).

With one exception the symbolism differs from that previously
observed on Mesa Verde pottery. This exceptional symbolism ap-
pears on a water bottle (pl. 70, 6). It consists of a hollow square
with arms extending from the corners. The essential features of

200 ANTIQUITIES OF SOUTHWESTERN COLORADO [kTH. ANN. 33

the design appear on a bow] from Cliff Palace.’ It is a much-used
symbol on the pottery from the Animas Valley, there being several
examples in the au-
thor’s collection.

The star appears
twice, once with
seven points (pl.
64, a) and _ once
with only five (pl.
64, @).

The bowl figured
in plate 65, b, has
what appears to be
a spotted serpent
coiled spirally
from the bottom to
the rim. Another
serpent pattern oc-
curs on the bowl
given in a of the
same plate.

The rims of the
bowls, when deco-
rated at all, bear a solid black line instead of the row of dots or
zigzag lines found on the pottery from the cliffs.

The designs shown in fig-
ures 7-11 are from bowls
not in the collection. They
were found by Mr. Ralph
Linton, of Swarthmore, Pa.,
on the Powell ranch.

Until a more complete
series of designs shall have
been gathered, the writer
does not think best to at-
tempt an analysis or classi-
fication of them.

Fic. 6.—Metate and mano.

STONE IMPLEMENTS

Grindin g Stones.— _ Fic. 7—Design on bowl from mouth of Long
Metates and manos are most Hepow:
conspicuous among the stone implements from the mesa sites. A
pair of these is shown in figure 6. The metate is a slab of moderately

1Fewkes, Bull. 51, Bur. Amer. Ethn., pl. 24.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 73

STONE OBJECTS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 74

CHIPPED IMPLEMENTS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 75

CHIPPED IMPLEMENTS AND POLISHED ORNAMENTS

MORRIS] RUINS ON THE MESAS 201

fine grained sandstone, through which a trough has been worn by the
incessant back-and-forth motion of the mano. It is worthy of note
that only two metates were found in Ruin
No. 17, where considerable quantities of corn — 4
were stored.

Slabs of Undecided Function—Two of
these slabs are shown in plate 73, d and

h. As they are more nearly rectangu-
lar than round, it seems unlikely that

they correspond to the round potlids ,, § Design on bowl
from the cliffs. It is not improbable from mouth of Long Hol-
that they served as plates or platters ae:

upon which to stack meal cakes: or similar objects. They are
too small and not of the right shape to have been used as doors.

Awves and
Hammers .—
Two axes of ex-
sleletsaelalels\era clelsiariene tetevcetevesecesseee- | cellent work-
manship (pl.
73, e@ and gq)
were found in
Ruin No. 17%,
besides a number of crude ones. These are made from a dark gra-
nitic rock, such as can be found in the river gravel which caps the
most ancient erosion rem-
nants in the vicinity. The
bits are brought to as keen
an edge as I have ever seen
on stone implements not
made by chipping.

The one hammer is an
unaltered oval bowlder
with a groove pecked about
the middle.

Pottery Smoother.—
A stone with worked and
polished surfaces, presum-
ably a pottery smoother,
was found in a grave at
Ruin No. 23 (pl. 73, 6).

Pounding Stones.—
Three of these are
shown in plate 73, a, c, 7. Their specific use is unknown.

Chipped Artifacts—The best of the chipped implements gathered
from the mesa sites are shown in plates 74 and 75. These may be

Fic. 9.—Design on bow! from mouth of Long Hollow.

Fic. 10.—Design on bowl from mouth of Long
Hollow.

202 ANTIQUITIES OF SOUTHWESTERN COLORADO [nrH. ANN. 33

classed as arrowpoints, knives, drills, and scrapers. The materials
are mainly jasper, flint, chalcedony, quartzite, and obsidian. The
dull gloss or luster, which
is particularly apparent
on the obsidian imple-
ments, shows them to be
very old. In length these
vary from 4 to 24 inches.
The workmanship of
many is poor, but some are
of unusual beauty. A few
ornaments are also figured.
Two of these show diag-
onal incised lines.

It is impossible to say
how many of these objects
were lost by the inhabit-
ants of the cliffs and how
Fic. 11.—Design on bowl from mouth of Long yyq ny belonged to the

Hollow. *
dwellers on the mesas.

The most notable feature in connection with the stone implements
from the mesa sites is the lack in variety and quantity of everything
but chipped instruments.

BONE IMPLEMENTS

Bone implements are not numerous. Besides three bone awls no
other artifacts of bone were exhumed in the mesa ruins.

As might be expected, all articles of wood and other perishable
material not consumed by the burning of the buildings had entirely
decomposed.

SuMMARY

The inhabitants of the mesas were an agricultural people whose
domiciles were one-storied aggregations of cell-like chambers, usu-
ally grouped to form a rectangle. Generally speaking, the rooms
extended down into the earth, and with few exceptions the sections
of the walls above ground were constructed of upright poles coy-
ered with plaster.

Thus far no kiva has been found in, or connected with, a jacal
dwelling. It is possible, however, that when excavated some of
the numerous circular pits will prove to have features linking them
unmistakably to the kivas of later time.

MoRRIS] RUINS ON THE MESAS 203

The pottery from the mesas exhibits a wide range of form and
surface treatment, but structurally it is inferior. Less than 42 per
cent of it is decorated with painted designs, and true coil ware does
not appear. The symbclism is unlike that on the pottery from the
neighboring cliffs and shows less conventionalization.

Stone implements are few, but such as have been found are of
the same general types and exhibit as good workmanship as those of
the cliff people. Of the work in bone, wood, and other perishable
materials almost nothing is known.

CONCLUSIONS

It is evident that there existed on the mesas between Mancos and
La Plata Rivers a culture differmg in many respects from that of
the cliff-dwellers of the Mesa Verde. The meager information at
hand seems to connect it with the pre-Pueblo pit-house culture now
generally conceded to have existed in the Southwest.

The true Pueblo culture has as its diagnostic character compact
community villages several stories in height, usually in terrace
form. The absence of the terraced form of architecture serves
equally well to characterize the pre-Pueblo culture.

The pottery especially indicates the greater antiquity of the dwell-
ing sites on the mesas. The wide range of form, as well as the un-
skilled workmanship displayed, shows the ceramic art still to have
been quite plastic, and not bound by the rigid convention which is
apparent in the pottery from the cliff-dwellings. The same may be
said of the symbolism. Though crude, the designs are more boldly
executed than are the conventionalized decorations on the cliff
pottery.

The skulls offer another point of difference. Of 33 crania 11, or
334 per cent, do not show the occipital flattening general among the
crania from the cliff-dwellings. Too much importance must not be
attached to this, however, until further research shall prove whether
the variation continues in evidence, or whether the skulls offering a
basis for the statements here made comprise only a small aberrant
group.

The limits of the type of remains here described can be determined
only by extended excavations. Whether they are typical of a small
area, or Whether they continue and connect with other localities in
which the pit-house culture is already known, remains to be seen.

The discovery in the northern part of their domain of a more
ancient culture than that of the cliff-dwellers should be of special
interest, since it appears that the region north of the San Juan
River is the center from which migration carried the true Pueblo
culture to the south, southeast, and perhaps to the west.

The direct relationship between the people of the cliffs and those
of the mesas can not be established at present. The inhabitants of

204

MORRIS] CONCLUSIONS 205

the caverns may have been directly descended from the builders of
the jacal houses, or there may have been a hiatus between the two
periods of occupancy.

Necessarily these conclusions are but tentative, and are offered as
nothing more. Now that a beginning has been made, it is to be hoped
that some one will see fit to undertake a work of sufficient amplitude
to lead as nearly as possible to the solution of the problems which
the brief research here recorded has done little more than to suggest.

BIBLIOGRAPHY

Frewkes, J. WALTER. Antiquities of the Mesa Verde National Park: Spruce-
tree House. Bull. 41, Bur. Amer. Bthn., Washington, 1909.

Preliminary report on a visit to the Navaho National Monument, Ari-

zona. Bull. 50, Bur. Amer. Ethn., Washington, 1911.

Antiquities of the Mesa Verde National Park: Cliff Palace. Bull. 51,
Bur. Amer. Ethn., Washington, 1911.

Hoitmes, W. H. Pottery of the ancient Pueblos. Fourth Rept. Bur. Amer.
Ethn., pp. 257-3860, Washington, 1886.

Report on the ancient ruins of southwestern Colorado, 10th Ann. Rept.
U. S. Geol. and Geog. Surv. Terr. [Hayden Survey] for 1876, pp. 383-408,
Washington, 1878. b

HoucuH, Water. Culture of the ancient Pueblos of the Upper Gila River region.
Bull. 87, U. S. Nat. Mus., Washington, 1914.

Jackson, Wm. H. Ancient ruins in southwestern Colorado. [Highth] Ann.
Rept. U. S. Geol. and Geog. Surv. Terr. [Hayden Survey] for 1874, pp. 369-381,
Washington, 1876.

Report on the ancient ruins examined in 1875 and 1877. 10th Ann.
Rept. U. S. Geol. and Geog. Surv. Terr. [Hayden Survey] for 1876, pp. 411-
450, Washington, 1878.

NoRDENSKIOLD, G. The cliff dwellers of the Mesa Verde. Stockholm, 1893.

PruppDEN, T. MircHeLy. Prehistoric ruins of the San Juan watershed in Utah,
Arizona, Colorado, and New Mexico. Am. Anthrop., n. s. vol. v, pp. 224-288,
Laneaster, Pa., 1903.

Srevenson, Matiytpa Coxe. The Zuni Indians. Twenty-third Ann. Rept. Bur.
Amer. Ethn., Washington, 1904,

206

DESIGNS ON PREHISTORIC HOPI
POTTERY

BY

JESSE WALTER FEWKES

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CONTENTS

Hiairod UC HON saeaae ee eee ee eee Coie aoe mioicre Nalonine saa ame acinsenizaiad

Chronology of Hopi pottery symbols.......-.- teense eens oes

Lhe ruins sky athlon eee eee rae ce aaa so Ue sea sects aledssns fioeee

SUVALKARC DOCH at eee mete ee earn cet sae ae atte seen ecawa ase 22
J SUC eM te Tede es bac ene See Ree eee Bee ae ese ae Meee ore
Quadruped fioures! secant es = este oot e ban Saas ee ae See eee
Repl iano nea senor eee seers eae cocoa a AS EN Se re aes:
Wimped fictres secs sere pert tte Ge oe e ter soemea ce Seek eoe se Se eteegases
Worsaltviews OMbInd semen e se oe SNe a= cee ne ene Basel ne oe aeere ee
Lateral views of birds............-.-.----- Si iaesnasheseetose oases Se
Heather d Cxip is Mee memmerT ci) cee cite Seen at aces se sear ce eee
Feathers suspended from strings-...._.. 2 222: .--.222-:----25-:-
Siyveband se Meee Nace: arteacac Mee N EES e eR eee a ar eec ees se
Vertical attachmentito sky=bandoc.--co-2 see sae sees ee 222s sae eaee
Birds attached longitudinally to sky-band-..........-.-.-.-.-.------
Decorations on exteriors of food bowls. ......-.--.-.-.--.-------

Curved figure with attached feathers. .............-------------
Spidenandinsectewsnesecrc tee Soh ae eee Soe er ewe Seance a: gee
Buttertyeamdsmotheesses emma ees ete ois ewe eset ereces thoes e
Geometricalidesigns: oss 2o-ne2 ete ot cc sone ee keep seetinnesseeseecees
IReant Gloudsseessceeeit ce soe as eee eee oe ae dele vi nel nes See Gisee ees

NunveMiblemeseee see en eco Oe anise ne eb ase Set Ansa eee
Rectangular figures representing shrines. ...................-.----------
Symbols introduced from San Juan River settlements. .......--..- sas she
Symbols introduced by the Snake people....-..-...-.-------------------

Ran oanke pOc Wma eee eccie ctee Jae oe arcica nasdsn ts coos acon ee camece ae

Symbols introduced from the Little Colorado.........-..--..---.--------
Symbols introduced by the Badger and Kachina clans..-.....-.-...-.---
Symbolsantroduced fromvAwatobie - << 26 see woe ces seer sister eee
olin alcoMan a serene aes ee nee erage ee ke os aay aes ek me
Symbol stoivlano) clans scecets secs ee ce iase coq (orate Stel Seis ree Sees

Conclusion ses serene. oa nae BSR CGS MRE Lee COREA BC EEE ae oon

74936°—19—33 erH——14 209

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76.
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78.
79.
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83.
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86.
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90.

12.
13.
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22.
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24,
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26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.

ILLUSTRATIONS

PLATES

Page
Various forms of conventionalized feathers.........---...---------------- 238
Conventionalyzed!tailffeath ers 2.22.5. 222-% <= 22 = jee ae se emesis 240
Conyentionalized feathers attached to strings (nakwakwoci)...-...-..-...- 240
DkyoDaNs ser. weer aetna =f 2 Gc vans ee See eee rere cls 242
Geometrical figures on outside of bowls. ..........--.------.---.-------- 250
Geometrical figures on outside of bowls. ...........--.---.-------------- 250
Geometrical! fisures:on)outsideiof bowls... - ~~ <a. =~ = a= one we 250
Geometrical figures on outside of bowls. ..-..---.-..-----------------.-- 250
Geometrical figures on outside of bowls. .....--..--.-----.-------------- 250
Convyentionalized) birdVdesionss-ces.-- 3326-223 - Sse: Sale Saf ie ose 250
Conventionalizedtbird designees .\= jets.= <1 2s eben visi a= octane m= aol 250
Bird \sum; andlspiderand sun symbols: .-..- << = rence eee oe ees ee 258
Conventionalizedtbirdifipures: 2. < ss.r- 2 sec2 2 ces ere oe cs ae pean fe oe 258
Shalako mana, Corn Maid (from tablet dance):...........-...------------ 276
UG Gilg wineiihy VOSS. 5508 ooee aes ase erin ee dose a Pnocbeeee aw eeo see ene 276

TEXT FIGURES

Human head with hair in characteristic whorls............--.------------ 221
Woman) withiserpent-like:animall- >. saec-ceieees-e2- o-bekt cee teeacbee ee 221
Kneeling woman, showing hair in characteristic whorls .-.......-..------ 222
‘Threethumanpiioumes: aes. S-e.8 rs ss factored sot Sd. Boa be bases 223
a; Dectsabs. rabbitieeend -dactt ted te Shastroked 5S ars Ss dhsaniteseess 224
Quadrupeds:ccaseeae seek Janse oaks seeds careend-eeed eckh heeGieeateres 224
Amteloperorimountain sheep sf [52s oneeooet <eaet cs ad- cee eseeiseeees 224
Mountain ion | pet: acts Sane Se eee? sec cut a atsdk Sas bia ees eyes 225
‘Proplematieal reptiles-s2 Rees As eect acts coset Seth helo peices 225
Repules 2. tie 2 os shee sa eatin. aesk Uodenet taid: te cemte dace 225
He puile syne cen Soe cecp a ea cepe wed ewe eee coseae Rete ke seeee Bae 225
Reptiles as st tose ccc ae gral Ja eae Sates cease nd ots bs Sees Jee 226
Repti ees ee oe heehee oo Ar tt pore gE RO he pe ih 227
Turtle ese. = Ween cisak aches science aed os cissaledt aobeoas|t Seog rs aces Sees 227
@loudsjand!tadpolesss cutee 5 3e secs es eee el eee eae ashes 228
Mad poles esse cre osc -oa soe ee sme eed ke bse cen: deacons 228
Morsal view ofa bird: 2.5 3e fits eas eee ee eee aparece 229
Bird figure, two halves restored to natural position..........---....---- 229
DorsaligviewsOblbitde. «25205 ee at son eaonnd Soe ease sees ae aloe eh 230
Bindifhioures secre ase ate Saat eas ae aan elec nen Saat eae ee ts 230,
Bird) Goure wevroe fae a3) ess ones stare aie se ese ee Ses pees Hee 231
Birdificure 20 52 Aes casa gciste ties c ce signe seee aS te Sree bee Gece meres ae bibs 231
Bindihipures ss: cose et an ss aoeas es aon se eA eae see ee eee br oeteees 231
Birdeipures (hind erbird) seccc se eas fede oe toe =a oer ese ty 231
IBindbhr une sss n sv ee ie a eee te hel rapa ete ee ies Sai aie cis ra Seog 232
Highly conventionalized figure of bird from dorsal side.....-------------- 232
Conventionalbhcurelotja bird]. 223 occ 2o-ie eee eet baad hae ey - 233

PID ILLUSTRATIONS

39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
651.
52.
53.
4.
50.
56.
57.
58.
59.
60.
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
85.
86.
87.
88.
89.
90.
oR

Conventional: figure ‘ofa birdaesass see =e eee eee aes 2 a eee
Conventional ficureiotia birdssse ese sae coer eee ene ee ee ener
Gonventional:fisuneyofayinitdears= sees ne eee nee eee ee ae
Conventional fignre/of/a) birds. =. --------------==--2-<- eae e eee sce
Triangular formioti pind tesa s sc ec asec eo eee eee ee eee Sta erer
Triangular formOf bird 2.ci ses se+ <= [de onc eRe oe cea eee ons oe
Simpleiformlotbird swith terraced body s-es- == -=4-2- = ee ese ase eee
Lateral view of triangular bird with two tail feathers. ..............-...--
Lateral view of bird with three tail feathers-.........-.--.-.----.--------
Problematicallpird figure’) 20. seco eee eee ee eee eee
Birdiwath'twoitail feathers: 2 -:-+ 22266 se cee a ofasdin a ne eee ST
Highly; conventionalized! bird figures ]2.--ess222=-- -- onsen eee
Wateralsview, of bitd!::. siccn Ss esene meee see sea aa oe a2 oes eee ae
Profile ‘of bird... 2-5: s0ctee soso ae aon <n == oo eRe ee
Lateral view of bird with outspread wing.-.........-.--..-:-.-----/----
Lateral view of bird with twisted tail and wing feathers............-.---.-
Lateral view of conventionalized! birdse-ees--------2- 2-4-6 eee eae
Lateral) vaews of conventionalized [binders so. eae eee
Feather symiboliwitihnublackin otc hips eters ser a= ar eee eee
Heather symbol with/black notch seee== sees. 8 = soo eee eet
Peathers: 2. 16.5.ccescu.ce sae 0c eS So 2S se a ee ee eee

Parallel linesirepresenting {eathers==-peeeeee eas =- = 2. 12-4 - = see eee ee
Conventionalized bird form hanging from sky-band, top view - . .---------
Conventionalized bird form hanging from sky-band, top view.-.-.--------
Conventionalized bird form hanging from sky-band, top view. ----.---.---
Conventionalized bird form hanging from sky-band, top view.-..----------
Conventionalized bird form hanging from sky-band, top view...----------
Conventionalized bird form hanging from sky-band, top view-.-..-.-------
Conventionalized bird form hanging from sky-band, top view. --.--------
Conventionalized bird form hanging from sky-band, top view... .-.------
Conventionalized bird form hanging from sky-band, top view--. - --------
Conventionalized bird form hanging from sky-band, top view-.-.-.--------
Conventionalized bird form hanging from sky-band, top view.-.-...-------
Lateral view of bird hanging from sky-band..-..-.--..--.---------------
Lateral view of bird hanging from sky-band.-......-.--------------------
Lateral view of bird with extended wing. -...-.-.---------.-------------
Lateral view of bird hanging from sky-band....-.--.---------------------
Lateral view of bird hanging from sky-band....-..-.----------------------
Butterfly and flowers=< .s:assvasasu os Sa eee aoe eee
Butterfly with extended proboscis... < . --------<-2- 2-25 -2-- 22-2 sooner
Highly, conventionalized! buttertly,==2 3222552 ee ee

Moth; ofigeometricallform: << ease a ete Sane
Geometrical: form of! moth. = = <.:2< to. these eee ais = eee
Highly conventionalized ibutterflys= 3 -- eee eee eee
Geometrical: formvoh moths. 2 see sso sos eee ee ee
Gireleswithitriangles2 5. <= oS so-so ee eee ee a= ees
Rain cloud: -ats sss. 2355 5 FI ater te oye Stara ace
Raincloud eetasa22< 2 oe Fae ee een ee ee see ee eee
Ring withvappendedsfeathers® = 2m soe ee

92.
93.
94.
95.
96.
97.
98.
99:
100.
101.
102.
103.
104.
105.
106.
107.
108.
109.
110.
1S
112,

ILLUSTRATIONS

PSOLeinc leshwi tn HOTNO sieccrer apse este iain nie StS erat a Se eee ice ae
Uawiluhitoauherdemenenemer etre ratact 227 22t2 2 22 eee ee!
Suns yvMNboleer seein Sek eaceatee Ouse cee encase Siete steepness
Runpawathsppended feathers = 5.208 <5 cae sees S-sine nee ee ee ceeeemere
Ring figure with legs and appended feathers.....-.................---.-
Sun emblem with appended feathers. ..-..-.-.+...2-:--.--------<:-----
SUMS YM OMe mr ete es eee aes eee eee Aen ctsy lee emia oa cde See eeee ewe
SUV EAi YS Ee Soa sbeccecabne Seat Aaaskea ee neeeeee Se acca =) eee
Horned snake with conventionalized shrine............-...--..2......

Conventionalized winged bird with shrine... ...-....-..-.....--.----.-
Materall-view ‘of bird! wathidouble'eyes:<-- 22862322... ----cesccce cone
aterall-view, of bitd with double eyes)... 2--22---<2-2ne'sedioeecsecas sc
Birdiwithid oulble; eyestrse esac = aa eee aie see a see ee cis der cee ee cs
sw oubirdsiwithirainyClOUGs sro. .- © \c.sjeie sock csr =e eaten ane
Head of Shalakomana son Conmunald).c-s..--6 os. see seen es ee cen cece e
Head ofsKokles orbarthewOmMan= s)-.52 0-15-22 2 sme ceceecce ee eecneton
Head of Hahaiwugti, or Earth woman....................22.-----------
Ladle with clown carved on handle and Earth woman on bowl........---
Biukon hoya, lithleiwan pods. s=s26: =< Ssecos cc ema sbiseecceeencsces

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DESIGNS ON PREHISTORIC HOPI POTTERY
By Jesse Waurer Fawkes

INTRODUCTION

In the following pages the author has endeavored to draw atten-
tion to some of the most important symbols on Hopi pottery, espe-
cially those of prehistoric times.

Consideration of this subject has led to'a discussion of the char-
acter of pottery designs at different epochs and the interpretation,
by study of survivals, of ancient designs in modern times. This
chronological treatment has necessitated an examination of ceramic
material from ruins of different ages and an ethnological study of
ancient symbols still surviving in ceremonials now practiced. It has
also led to sociological researches on the composition of the tribe, the
sequence in the arrival of clans at Walpi, and their culture in distant
homes from which they migrated. It will thus appear that the sub-
ject is a very complicated one, and that the data upon which conclu-
sions are based are sociological as well as archeological. There are
many ruins from which material might have been obtained, but only
a few have been adequately investigated. The small number of ruins
in the Hopi country which have thus far been excavated necessarily
makes our knowledge not only provisional but also imperfect. It is
hoped, however, that this article may serve to stimulate others to
renewed field work and so add desired data to the little we have
bearing on the subject.

Curonotocy or Horr Porrery SymeBors

At least three well-marked epochs can be distinguished in the his-
tory of Hopi ceramic symbolism. Each of these is intimately asso-
ciated with certain clans that have from time to time joined the Hopi
and whose descendants compose the present population. Although
these epochs follow each other in direct sequence, each was not
evolved from its predecessor or modified by it, except to a very
limited extent. Each epoch has left to the succeeding one a heri-
tage of symbols, survivals which are somewhat difficult to differen-
tiate from exotic symbols introduced by incoming clans. So that

215

916 DESIGNS ON HOPI POTTERY [PTH. ANN. 33

while each epoch grades almost imperceptibly into the one directly
following it, an abrupt change is sometimes evident in the passage.

In order to appreciate the relations between ceramic decoration
and history let me sketch in brief outline what I regard as the his-
torical development of the Hopi living near or on the Kast Mesa.
We know little of the group of people who first settled here except
that they belonged to the Bear clan, which is traditionally referred
to the eastern pueblo region. At about the time they entered
Hopiland there was a settlement called Sikyatki composed of Jemez
colonists, situated about 3 miles from the southern point of East
Mesa, and other towns or pueblos on Awatobi Mesa and in Antelope
Valley, 10 miles away.

The first great additions to this original population were Snake
clans, who came from the San Juan, followed by Flute clans from
the same direction but originally of southern origin. Having be-
come well established at the point of the East Mesa, the combined
settlement overthrew Sikyatki and appropriated its clans.

Then came the strenuous days of Spanish invasion and the de-
struction of Awatobi in 1700. The Little Colorado clans had already
begun to seek refuge in the Hopi mountains and their number was
greatly augmented by those from Zuni, a Rio Grande settlement’
called Tewadi, and elsewhere, each addition bringing new forms of
culture and settling new pueblos on or near the East Mesa, as has
been shown in previous publications. Traditions point out their’
former settlements and it remains for the archeologist to excavate
those settlements, now in ruins, and verify these traditions. This
can be done by a study of artifacts found in them.

Asa rule archeologists have relied on technique, form, and especi-
ally color, in the classification of Pueblo pottery, leading, on the
technical side, to the groups known as (a) rough, coiled ware, and
(b) smooth, polished ware; and on that of form, to bowls, vases, jars,
dippers, ete. When color is used as the basis of classification the
divisions black and white, red, yellow, orange, and polychrome are
readily differentiated. Classifications based on these data are useful,
as they indicate cultural as well as geographical differences in
Pueblo ceramics; but these divisions can be used only with limita-
tions in a study of stages of culture growth. The fact that they are —
not emphasized in the present article is not because their importance
is overlooked, but rather for the purpose of supplementing them with
a classification that is independent of and in some particulars more
reliable for indicating chronology and culture distinctions.

The life-forms on ancient Sikyatki and other Hopi pottery are
painted on what is known as yellow ware, which is regarded by some
authors as characteristic of the Hopi area; but pottery of the same
color, yet with radically different symbolic life-forms, occurs also

FEWKES] INTRODUCTION DANG

in other areas. It thus appears that while a classification of Pueblo
pottery by color is convenient, differences of color are not so much
indications of diversity in culture as of geologic environment. De-
signs on pottery are more comprehensive and more definite in culture
studies than color, and are so regarded in these pages.

As there exists a general similarity in the form of prehistoric
pottery throughout the Southwest, shape alone is also inadequate for
a determination of Pueblo culture centers. The great multiplicity
and localization of symbols on Pueblo pottery furnishes adequate
material for classification by means of the designs depicted on vases,
bowls, and other pottery objects. Sikyatki pottery is especially suited
to a classification on such a basis, for it is recognized as the most
beautiful and the most elaborately decorated prehistoric pottery
found in the Southwest. Life-forms are abundant and their symbol-
ism is sufficiently characteristic to be regarded as typical of a well-
defined ceramic area. There can, of course, be no question regarding
the ancient character of the designs on Sikyatki pottery, nor were
they introduced or modified by white men, but are purely aboriginal
and prehistoric. ;

Pottery from the Sikyatki ruin is chosen as a type of the most
highly developed or golden epoch in Hopi ceramics. Several other
ruins were inhabited when Sikyatki was in its prime and pottery
from these belongs to the same epoch, and would probably be equally
good to illustrate its character. Fortunately, specimens are available
from many of these, as Awatobi, and the ruins in Antelope Valley,
old Shumopavi, and other Middle Mesa ruins. The date of the
origin of this epoch, or the highest development of Hopi ceramics, is
not known, but there is evidence that it lasted until the fall of
Awatobi, in 1700. The destruction of Sikyatki occurred before 1540,
but Silkyatki has given the name to the epoch and is taken as the type, -
not only because of the abundance of ceramic material available from
that ruin, but also because there can be no doubt of the prehistoric
nature of material from it.

There is abundant evidence that the culture of Sikyatki was never
influenced by white man. After the overthrow of Awatobi there de-
veloped on the East Mesa of the Hopi country a third ceramic epoch
which was largely influenced by the influx of Tanoan (Tewa) clans.
They came either directly from the Rio Grande or by way of Zuni
and other pueblos. Among other arrivals about 1710 were those
clans which settled Hano, a Tewa pueblo on the East Mesa. The
Hano and other symbols introduced in this epoch are best known in
the present generation by the earlier productions of Nampeo, an
expert modern potter.

The pottery of this epoch differs from that of the second in form,
color, and technique, but mainly in its symbolism, which is radically

218 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

different from that of the epochs that preceded it. The symbolism
of this phase is easily determined from large collections now in
museums. This epoch was succeeded in 1895 by a fourth, in which
there was a renaissance of old Sikyatki patterns, under the lead of
Nampeo. In that year Nampeo visited the excavations at Sik-
yatki and made pencil copies of the designs on mortuary bowls.
From that time all pottery manufactured by her was decorated with
modified Sikyatki symbols, largely to meet the demand for this
beautiful ancient ware. The extent of her work, for which there was
a large demand, may be judged by the great numbers of Hopi bowls
displayed in every Harvey store from New Mexico to California.
This modified Sikyatki ware, often sold by unscrupulous traders as
ancient, is the fourth, or present, epoch of Hopi ceramics. These
clever imitations, however, are not as fine as the productions of the
second epoch. There is danger that in a few years some of Nampeo’s
imitations will be regarded as ancient Hopi ware of the second epoch,
and more or less confusion introduced by the difficulty in dis-
tinguishing her work from that obtained in the ruins.

THE RUIN, SIKYATKI

The ruins of the ancient pueblo of Sikyatki, consisting of mounds
and a few outcropping walls, are situated on rocky elevations rising
from the sand hills at the eastern or sunny base of the Kast Mesa,
about 3 miles from the modern Hopi pueblo of Walpi in northeast-
ern Arizona. The founders of Sikyatki are said, in very circum-
stantial migration legends, to have belonged to a | Keres?] clan called
the Kokop, or Firewood, which previously lived in a pueblo near
Jemez, New Mexico. Preliminary excavations were made at Sikyatki,
under the author’s direction, by the Smithsonian Institution in 1895,
when there was obtained, chiefly from its cemeteries, a valuable col-
lection of pottery, most of which is now installed in the National
Museum.*

Little is known of the history of Sikyatki save through tradition,
but enough has been discovered to show that it was abandoned before
1540, the year of the visit to Tusayan of Pedro Tovar, an officer of
the Coronado expedition. It was probably settled much earlier, per-
haps about the time the Bear clans, also said to have come from the
Jemez region, built the first houses of Walpi near the point of the
terrace at the west or cold side of the Kast Mesa, below the present
settlement.? Both of these prehistoric pueblos occupied sites exposed

1A report on the field work at Sikyatki will be found in the Seventeenth Ann. Rept.
Bur. Amer. Ethn., part 2.

2Traces of the ancient village of Walpi at this point are still to be seen, and certain
ancestral ceremonies are still performed here, in the New-fire rites, as elsewhere described.

FEWKES] THE RUIN, SIKYATEKI 219

to attack by enemies and were not built on mesa tops, hence it may
be assumed that there were no enemies to fear in Tusayan at the
time of their establishment. But later, when the Snake clans from
the north joined the Bear settlement at Walpi, trouble seems to have
commenced. As above mentioned, the Bear clans came from the
same region as the Kokop and were presumably friendly, probably
kin of the Sikyatkians; but the Snake clans came from Tokonabi,
in the north, and were no doubt of foreign stock, implying a hos-
tility that may have been the indirect cause of the overthrow of
Sikyatki and Awatobi by the other Hopi.

The two epochs in Hopi ceramic development that can be dis-
tinguished with certainty are (1) the Sikyatki epoch and (2) the
Tanoan or historic epoch. The third, or renaissance, of the Sikyatki
dates back to 1895, and may be called the modern epoch. The
Sikyatki epoch gave way to the Tanoan about the beginning of the
eighteenth century. It did not develop from any group preexisting
im the neighborhood of the present Hopi pueblos but was derived
from the east and it ceased suddenly, being replaced by a totally
different group introduced by radically different clans.2

SrxyatTK1 Eprocu

The most characteristic Hopi pottery bearing symbols of the
Sikyatki epoch occurs in a few ruins near the Hopi mesas, but from
lack of exploration it is impossible to determine the boundaries of
the area in which it is found. :

Several museums contain collections of Hopi ware of this epoch,
among which may be mentioned the National Museum at Washing-
ton, the Field Columbian Museum of Natural History at Chicago,
the Museum of the University of Pennsylvania, the Peabody Museum
at Cambridge, and the Museum fiir Volkerkiinde at Berlin, Germany.
Many bowls of this epoch are likewise found in the American
Museum of Natural History, New York, and in the Museum of the
Brooklyn Institute. Several private collections in Europe and the
United States likewise contain specimens of Sikyatki ware, among
them being that gathered by the late Dr. Miller, now at Phoenix,
Arizona. The collection of prehistoric Hopi pottery in the National
Musevm is particularly rich, containing many specimens gathered by
the Stevenson expeditions, by the author, and by Dr. Hough, of the
U.S. National Museum,

The symbols on the ancient pottery from-the Middle Mesa of the
Hopi are almost identical with those of Sikyatki, indicating a simi-
larity of culture, a common geographical origin, and a synchronous

1 Pottery making is a woman’s industry, and as among the Pueblo the woman determines
the clan, so she determines the symbolism of the pottery. Consequently symbolism of
pottery is related to that of the clan.

92.0 DESIGNS ON HOPI POTTERY (ETH. ANN. 33

culture. From the character of the symbols on the ancient pottery
from the ancient Middle Mesa pueblos it is probable that the clans
who founded them came, like the colonists who settled Sikyatk,
from the Jemez plateau in New Mexico. Although the Field collection
is very rich in old Walpi ware, nothing of importance has been pub-
lished on the symbols of this collection; it contains some of the most
instructive examples of the Sikyatki epoch. A large and probably
the most valuable portion of this collection was gathered by Dr.
George A. Dorsey and Mr. Charles L. Owen, while many pieces were
purchased from Mr. Frank Wattron, of Holbrook, and from the
late Mr. T. V. Keam, of Keams Canyon, Arizona. The source of
many of the Wattron specimens is unknown, but it is evident from
their decoration that some of them are ancient Hopi and probably
belong to the Sikyatki epoch and came from Shongopovi, Awatobi,
or Sikyatki.

Shortly before his death Mr. T. V. Keam sold to the Museum fiir
Volkerkiinde at Berlin, Germany, a rich collection of pottery ob-
tained mainly from Awatobi and Sikyatki, containing several spec-
imens of the Sikyatki epoch which are highly instructive. Some of
the designs on the pottery of this collection are unique, and their pub-
lication would be a great aid to a study of the most important epoch
of Hopi ceramics.

A large proportion of life-forms used in the decoration of Sik-
yatki pottery are mythological subjects, showing the predominance
of supernatural beings and their magic power in the minds of the
makers. Like a child, the primitive artist is fond of complexity
of detail, and figures in which motion is indicated appealed more to
his fancy than those objects that do not move. It needs but a glance
at the ancient Sikyatki life-figures to show a tendency to represent
detail and to convince one of the superiority of the Sikyatki potters
in this respect over those of modern times... There has been a gradual
deterioration, not only less care being now devoted to the technique
of the pottery but also to the drawing of the figures. This lack in
itself is significant, for while modern ware reflects in its hasty
crudeness the domination of commercialism, the ancient pottery
shows no indication of such influence. Pottery is now made to please
the purchaser; in ancient times another motive influenced the maker,
for then it was a product worthy of the highest use to which it
could be put, since it often formed a part of sacred paraphernalia
in religious ceremonies. ,

Human Ficures

Sikyatki pictures of human beings depict men and women, singly
or In company, and are few in number and crude in execution. Or-°

FHWKES] THE RUIN, SIKYATKI 221

gans of the body—hands, feet, arms, and legs—are often represented
separately. The hand is portrayed on two vessels, and the foot,
elaborately drawn, appears on an-
other; as a general thing when parts
of the body are represented they
are greatly conventionalized. The
few human figures on Sikyatki pot-
tery are crude representations as
compared with those of animals,
and especially of birds. Several of
the figures are represented wearing
ancient costumes and ornaments,
and one or two have their hair done
up in unusual styles; others have
the body or face tattooed or |. fa,
painted; but as a whole these deco- fic. 12.— Human head with hair in
rations are rare and shed little light eta ya

on prehistoric customs. There is nothing that can be identified

as a time count, calendric, hieroglyphic, or phonetic signs, or any

record of historical events.

None of the human figures are represented with masks or head-
dresses to indicate the impersona-
tion of kachinas, nor are there
double figures or animal heads de-
picted on human bodies. The ab-
sence of animal or kachina heads ,
shows one of the marked differ-
ences between Sikyatki pictures
and the designs so common on some
other pottery, where a relatively
large number of the heads of the
latter occur. The best representa-
tion of a human head is shown in
figure 12,1 in which a characteristic
coiffure is shown. Fig 13 is identi-
fied as a figure of a maiden whose
hair is dressed in two whorls, one above each ear, like a modern
Hopi maid.? Opposite this maid is a reptile or similar animal with

Fic. 138.—Woman with serpent-like animal.

1 Many of the illustrations appearing in this paper are taken from the author’s memoir
on the results of the Sikyatki excavations in the 77th Ann. Rep. Bur. Amer. Ethnol., part 2.

2 Hopi maidens dress their hair in two whorls, one above each ear, which on marriage
are taken down and braided in two coils. There are differences in the style of putting up
_the hair, as appear in different ceremonial personages, but the custom of wearing it in
whorls was probably general among ancient Pueblo maidens and is still followed in certain
ceremonial dances in which women are personated by men. Yor the difference in the style
of the whorls, see the author’s series of pictures of Hopi kachimas in the Twenty-first
Ann. Rept. Bur, Amer, Ethn.

222 DESIGNS ON HOPI POTTERY [ETH. ANN. 33

head decorated with two eyes on one side and a single foreleg. These
two figures probably refer to some episode or Indian legend connect-
ing a Sikyatki maiden with some monster.

The maiden depicted in figure 14 is evidently kneeling, her knees
being brought together below, and separated by four median parallel
lines that are supposed to indicate feathers; the curved objects at the
lower corners of the rectangular blanket probably are also feathers.
One hand of the maiden is raised to her head, while the other holds
an unknown object, possibly an ear of corn. The woman with an
ear of corn recalls a figure on the elaborately painted wooden slab
carried by women in the Hopi Marau dance or that on the wooden
slab, or monkohu, carried by the priests representing Alosaka, Eototo,
and other ceremonial personages. These painted slabs do not always
bear pictures of corn ears, for those
of the priests known as the Aaltu
have, instead of pictures of corn,
the corn itself tied to them; in the
New-fire ceremony at Walpi mem-
bers of the Tataukyamt priesthood,
at Walpi, also hold ears of corn
with or without wooden slabs, while
those borne by the warrior Kwak-
wantti are carved in the form of the
sacred plumed serpent, -which is
their patron.t

Different styles of hairdressing
are exhibited in figures 13 and 14,
Pic. 14.— Kneeling woman, showing that of figure 14 being similar to

hair in characteristic whorls. 5 R 5

the modern Hopi. The group of
three figures (fig. 15) possibly illustrates some ancient ceremony.
The middle figure of this group is represented as carrying a branched
stick, or cornstalk, in his mouth.2, The accompanying figure, or that
to the right, has in his hand one of the strange frames used as rattles *
in historic times by clans (Asa or Honani) of Jemez or of Tewa
descent who had settled at the East Mesa. The author is inclined
to identify the object held by this figure as one of these ceremonial
frames and the man as a Yaya priest.

1The best idol of this god known to the author appears on one of the Flute altars at
Oraibi. It has a single horn (representing the serpent horn) on the head, two wings,
and two legs with lightning symbols their whole length. The horned plumed Lightning
god of the Kwakwantti at Walpi is represented by plumed serpent effigies in the March
ceremony or dramatization elsewhere described.

2In the Antelope dance at Walpi, a stalk of corn instead of a snake is carried in the
mouth on the day before the Snake dance. (Fewkes, Snake Ceremonials at Walpi,
pp. 73-74.)

8Tor descriptions of similar objects see Fewkes, Hopi Ceremonial Frames from Canon
de Chelly, Arizona, pp. 664-670 ; Fewkes, The Lesser’ New-fire Ceremony at Walpi, p. 438,
pl. x1; also Twenty-first Ann. Rept. Bur. Amer, Hthn., pls. XXXIV, XXXY.

s

FEWKES] THE RUIN, SIKYATKI 223

Another interpretation of the central figure of the group, figure 15,
is that he is performing the celebrated stick-swallowing act which
was practiced at Walpi until a few years ago. The last explanation
suggested implies that the human figures represent Snake and Ante-
lope priests, a doubtful interpretation, since, according to legends,
these priests were never represented at Silyathki.1

The character shown in another figure, not copied, may represent
the supernatural being, called the God of the Dead (Masaut) whose
body, according to legend, is spotted and girt by bands. The Little
Fire god (Shulewitse), when personated in modern ceremonies of
the Tewa at Hano, is represented by a man daubed with pigments of
several colors. He is personated
likewise in the Hopi (Tewa) vil-
lage of Sichomoyi.?

Several Zuni ceremonies show
evidence of derivation from east-
ern New Mexican pueblos,* but a
critical examination of the origin
and migration of Zuni clan re-
lations of societies still awaits the
student of this interesting pueblo.
It is probable that Zui sociology
is in some respects like that of
Walpi and that the present popu-
lation is composite, having de-
scended from clans which have
drifted together from different directions, each bringing character-
istie ceremonies and mythological conceptions, while certain rites
have been incorporated from time to time from other Pueblo people.

Fic. 15.—Three human figures.

QuapRUPED FIGURES

Representations of quadrupeds are almost as rare as human figures
in Sikyatki pottery decorations. The deer (fig. 16, a), antelope, moun-
tain sheep, mountain lion, rabbit, and one or two other animals are
recognizable, but pictures of these are neither so common nor so
highly conventionalized as those of birds.

1As a matter of history, the Snake people of Walpi may have been hostile to the
Kokop of Sikyatki on account of linguistic or tribal differences which culminated in the
destruction of the latter pueblo in prehistoric times.

2The pueblo of Sichomovi, called by the Hopi Sioki, or Zuni pueblo, was settled by Asa
clans, who were apparently of exotic origin but who went to Sichomovi from Zufi, in
which pueblo the Asa people are known as Aiyahokwe. The Sichomovi people still pre-
serve Zuni ceremonies and Zuni kachinas, although they now speak the Hopi language—
an example of a pueblo in which alien ceremonies and personations have survived or been
incorporated, although its language has been superseded by another.

8Thus the Heyamashikwe may be supposed to have originally come from Jemez. The
Zuni Sumaikoli, like that of the Hopi, is practically Tewa in origin.

294 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

Figure 17 shows one of two mammalian figures on a bowl, the
surrounding surface consisting of spatterwork, an uncommon but
effective mode of treatment.

The outline of the animal shown in figure 18 is intensified by spat-
tering, as in the case of the animal last mentioned. The black spots
along the back and tail are ab-
sent in other figures. The de-
sign below the figure suggests,
in some particulars, that of a
highly conventionalized shrine,
but its true meaning is un-
known.

TOS 6 a, (Decne The design in figure 19 has

‘been regarded as representing a

mountain lion, but there is some doubt of the validity of this identi-

fication. Although the feet are like those of a carnivorous animal, the

head is not. The two projections from the head, which may represent

horns, are not unlike those associated with the two figures next de-
scribed, which have been regarded as feathers.

Fig 17.—Quadruped. Tic. 18.—Antelope or mountain sheep.

‘The creature shown in figure 20 is also problematical. The ap-
pendages to the hegd are prolonged, terminating in feathers that
bend backward and touch the body. The anterior body appendage
has two crescentic prolongations between which are parallel lines
of unequal length. The posterior limb is jointed, the lower half ex-
tending backward and terminating in two claws, one long, the other
short. Between these extensions are two groups of slightly radi-
ating lines that may be regarded as feathers. The body has feathers
like those of a highly conventionalized bird, while the limbs resemble
those of a lizard. The body is serpentine, and tail feathers are want-
ing; both legs have talons like those of birds, and the appendage to
the head suggests a feather headdress; the line connecting the head

FEWKES] THE RUIN, SIKYATKI 225

appendage and’one claw of the posterior limbs recalls a sky-band,
commonly found in representations of sky gods.
The animal depicted in figure 21, which resembles figure 19 in the

Tic. 19.—Mountain lion. Fic. 20.—Problematical reptile.

form of the appendages to the head and mouth, is suspended in-
side of a circle in the one case and is half within a circle in the other.

ReptTiviaAn Ficures

Several figures of reptiles and serpents occur in the Sikyatki col-
lection. Figure 22 represents an animal like a reptile; only two legs

Fic. 21.—Reptile. Fic. 22.—Reptile.

are shown in the design and the form of the tail recalls that of a bird.

The head of this figure bears two horns resembling feathers in some

respects; the legs terminate in four claws. From a projection at the

posterior end of the body there arises a curved line dotted at inter-

vals and terminating in feathers. The dorsal appendage resembles

the carapace of a turtle, from beneath which feathers project.
74936°—19—33 ETH 15

226 DESIGNS ON HOPI POTTERY [BTH. ANN. 38

Figure 22 depicts a reptile from the head of which project horns
and two long feathers. Its back bears a row of feathers, but it has
only two legs.

The legless creature, figure 23, has two triangular earlike feathers
rising from the head, and two eyes; a wide-open mouth, in which are
six long, curved teeth, three in each jaw. The tongue terminates in
an arrow-shaped figure, recalling a conventional symbol of lightning,
or the death-dealing power of the serpent. The meaning of the nar-
row line connecting the upper jaw with the tail is not known. The
curved shape of the body of the reptile is necessitated by the shape
of the bowl on which it is drawn. This figure may represent the
monster feathered serpent of Sikyatki, or a flying reptile, one of the
most mysterious of the elemental
gods. It is interesting to note
that while the effigies of the
feathered serpent used in Hopi
(Walpi) and Zuni religious prac-
tices has a single horn on the
head, the one here described is
different from both, for it is pro-
vided with two appendages re-
sembling conventionalized feath-
ers. The Hopi feathered serpent
was derived from the same source
as the Zuni, namely, clans which
originally came to the Little Colo-
rado from Gila Valley.

The Hopi (Walpi) figure is in a measure comparable with that
shown in figure 23—each has two hornlike feathers on the head, and
the bodies are curved in the same direction—that is, with the cen-
ter (?) on the right (dextral circuit), the reverse 9f modern Hopi
pictures, which are placed as if the figures were moving in a sinistral
circuit.?

The form shown in figure 24 reminds one of a frog or a turtle.
The body and feet are turtlelike. As in several pictures of reptiles,
it is provided with an anterior appendage, evidently the front leg,
which has characteristic claws. The row of white dots extending
from the mouth through the neck represents the esophagus or wind-
pipe. The author is unable to offer any interpretation of the append-

RATE ENR Cae AR Ov A

Fic. 23.—Reptile.

1See Fewkes, The Butterfly in Hopi Myth and Ritual, pp. 576-594.

? The clay images representing the Tewa plumed serpent on the Winter Solstice altar at
Hano have rows of feathers inserted along their backs (as in the case of the reptile shown
in figure 22) as well as rudimentary horns, teeth made of corn kernels, and necklaces of
the same. (Fewkes, Winter solstice altars at Hano pueblo, pp. 269-270.) A mosaic of
corn kernels on a clay base (kaetukwi) is known in ceremonies derived from Sikyatki and
Awatobi.

FEWKES] THE RUIN, SIKYATEKI 227

ages to the tail, but suggests that they may have been intended for
feathers. Figure 25 a, d, is identified as a turtle.

Figure 26 was evidently designed to represent several tadpoles
swimming across a bow! between rows of rain clouds, the whole in-
closed in a circle to which are attached five stars at approximately
equal intervals. The form of the
rain clouds reminds one of con-
ventional tail feathers. There are
six of these rain-cloud figures on
one side of the field of decoration
and five on the other. The tad-
poles shown in figure 27 occur on
the inside of the ladle.

Winecep Ficures
The term “winged figures” is
here employed to designate all
flying creatures, as birds, insects,
and bats, even though they belong
zoologically to different groups of animals. Among the prehistoric
Hopi, insects and birds were designated by similar symbols and when
highly conventionalized sometimes merge into one another. It was
the custom of Sikyatki potters to give more attention to specific than
generic characters of flying creatures, distinguishing different kinds
of birds by the form of their feathers. The
symbol of a turkey, an eagle, or a hawk
feather was distinct from that of an owl,
and each kind of a bird had its own special
symbolic marking, espe-
cially indicated’ in the
different kinds of feath-
ers. Thus it occurs that
Sikyatki bird designs,
instead of being realis-
tically represented, are
often so highly conven-
tionalized that the genus
can not be identified.
The flight of birds, like the movement of serpents, is regarded as
mysterious, and anything mysterious or uncanny has always pro-
foundly affected the mind of primitive man. The chief visible char-
acteristics connected with the flight of a bird are wings and feathers,
and the kind of feathers of a particular bird led to their association
with the supposed magic power of the bird itself among both the
ancient and modern Hopi. Different kinds of feathers have different.

Fic. 25.—Turtle.

228 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

powers; thus the feathers of the turkey, for example, among the
modern Hopi, are potent in inducing rain; those of the eagle or the
hawk pertain especially to the power of the sun; a breast feather of
an eagle is chosen as an individual
prayer bearer. The feathers of an
owl, like the owl itself are gen-
erally regarded as having a sin-
ister influence; but sometimes the
feather of this bird is beneficial,
it is believed, in making peach
trees yield abundantly. From the
variety of feather designs and
the frequency with which they
occur in modern Hopi ceremonies ”
it is evident that the Sikyatki
people, like their descendants,
attributed special magic power to
different kinds of these objects.
In their simplest forms bird symbols are little more than triangles,
the tail feathers being represented by appended parallel lines, which
are mere suggestions of birds and may be designated as cursive ferms.
Such simple pictures of birds sometimes have, in addition to the
appended parallel lines referred to, an angular or a curved line or
hook extending from one of the
angles of the triangle to represent
a beak. Such triangular bird fig-
ures may be free or attached; in
the latter case they are suspended
from other figures or rise from the
corners of a rectangular design
when one of the triangles may be
without tail or beak appendages,
another may have parallel lines,
while a third may take a form
readily recognizable as that of a
bird. The form of the beak and
the claws of bird figures also
varies, the claws often appearing Eh 2ile
as sumple crosses or crescents. The beak is sometimes toothed, often
hooked like that of a raptorial bird. The bird is designated by the
combination of the beak, claws, and body, as well as the feathers.

Fic. 26.—Clouds and tadpoles.

‘Tadpoles.

DORSAL VIEWS OF BIRDS

Among the conventional pictures of birds on Sikyatki pottery some
are shown as seen from above, or dorsally, others from below, or

1 The hoot of the owl portends disaster among the Hopi, as among the ancient Greeks.
* Every priest has a box in which his feathers are preserved until needed.

FHWKES] THE RUIN, SIKYATKI 229

ventrally, and still others laterally. These pictures sometimes become
so conventionalized that it is difficult to identify the parts repre-
sented, as will appear from illustrations to follow.

Figure 28 represents a bird design in which three parallel bands
representing tail feathers of a well-marked type hang between two
curved extensions that occupy the relative position of wings. In the
angles near the attachment of these
tail feathers there are two globu-
lar enlargements which occur also
in other pictures. The extremity
of each winglike crescent is spirally
curved inward. Two semicircular
figures representing rain clouds are
surmounted* by two parallel lines
and a heavy, solid band, appear-
ing at the proximal end of the
tail in the position where the body
should end, as in other figures
where the rain-cloud symbols are
much more complex.

The two drawings shown in fig-
ure 29 are the two halves of a single
figure cut along its medial line. One of these halves is reversed in
such a way that corresponding parts are found on the same side.
Viewing these two parts in this position, we can readily identify vari-
ous organs of a highly conventionalized bird whose wings are rep-
resented by a curved body
terminating in a spiral, the
body decorated with rain-
cloud figures and the bowl
with conventionalized fig-
ures. This is the only fig-
ure showing the distortions
and reversions of the two
halves of the bird’s body
and appendages.

Homologous parts are
recognizable also in the
bird design shown in fig-
ure 30, but in this picture
the size of the wings is greatly reduced, each consisting merely
of two feathers. The rectangular body bears a ‘single large
terraced or rectangular rain-cloud symbol, three semicircular
figures, and two triangles. Two tail feathers and two posterior
extensions of the body, one on each side, are shown. There are
three parallel lines on each side of these posterior extensions. In

Fic. 28.—Dorsal view of a bird.

lic. 29.—Bird figure, two halves restored to natural
position.

230 DESIGNS ON HOPI POTTERY [BTH, ANN. 33

a bird design, figure 31, the body is decorated with four triangular
rain clouds and the wings are extended. The tail has six feathers
with a lateral extension on each side. The two detached figures asso-
ciated with this bird design pos-
sibly were intended to represent
the shrines of these birds.

The curved appendages are
spreading in figure 32, and at
their point of junction with the
body arises a typical feather sym-
bol. The body has four solid
semicircular figures, possibly rep-
resenting rain clouds, and a single
feather on the top of the head.
Organs corresponding to wings,
body, and tail are traceable, but
they are somewhat modified in
comparison with the forms al-
ready considered. This design is partly surrounded by a band to
which two star designs are attached.

We find all the parts or organs associated with the bird designs
already described represented in figure 33, but the details of the
symbolism are more elaborated than in any of the preceding.
Here the wings are bent inward, while the feathers have taken
more angular forms. The head is
rectangular, bearing representa-
tions of two rain clouds just above
the wings, while two others appear
below. These have the same form
as the cloud symbols shown in
figure 20. Although this drawing
is far from being a realistic rep-
resentation of a bird, the presence
of symbols characteristic of cer-
tain avian features leaves no doubt
that a bird was intended.

In figure 34 is shown a Sikyatki
bird figure still further conven-
tionalized, but the parts are depict-
ed in such manner as to make the
identification as a bird practically certain. Head, body, wings, and
tail are elaborately represented. The head is semicircular and sur-
mounted by a headdress with three vertical feathers. The wings are
large, each terminating in two symbols representing the feathers,
with pointed distal extremities. The tail feathers have rounded ex-

Fic. 30.—Dorsal view of a bird.

Vig. 31.—Bird figure.

1Compare with feathers, pl. 90, d.

FEWKES] THE RUIN, SIKYATKI 231

tremities and are three in number. On each side of the feathers of
the headdress, wings, and tail hang figures of unknown meaning.
This is one of the most instructive bird figures in the collection from
Sikyatla.

Figure 35 represents a very elaborate figure of a bird, readily
comparable with the last mentioned, from which it differs in certain

Fic. 32.—Bird figure. Fig. 33.—Bird figure.

particulars. This bird design is replete with symbolism and may

be regarded as one of the most instructive pictures that has come to
us from the ancient Hopi. The view is from the back, the legs being

Fic. 34.—Bird figure. Fic. 35.—Bird figure. , (Thunderbird.)

much reduced in size, the claws alone being represented at each upper
corner of the body directly under the attachment of the wings. The
beak is invisible, but an elaborate headdress,! in which tail feathers

1 Probably the serrated circle to which the headdress is attached was not designed as the
outline of the head, but the headband turned out of perspective.

232 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

are conspicuous, is a prominent feature. The form of the tail and
wing feathers of this bird is practically the same as the last, except
that they are more elaborately drawn. Each wing has two feathers,
and three others form the tail. The arrow points projecting from
beneath the extremities of the
wing feathers are possibly light-
ning symbols. Each is crossed by
two bars in the same manner as the
tongue projecting from the mouth
of the serpent shown in figure
23, which is also a lghtning
symbol.

The design illustrated in figure
36 represents a bird, as seen from
the back, with outstretched wings,
recalling the lateral view of a bird
shown in figure 54 in having
smaller bird figures attached to
the tips of the wings. The place
of attachment of the wings to the
body is embellished with crosshatched lines and stepped figures,
recalling the rain-cloud symbols. The head is rectangular, destitute
of a beak, inclosing two square figures with short parallel lines, rep-
resenting falling rain, projecting from the upper side. On one side
of the head is a semicircular de-
sign. The tail has three feath-
ers, the two on the sides being
broader than the one in the mid-
dle. These feathers are without
markings, but the end of the
body from which they depend
is ornamented with stepped fig-
ures surmounted by two hori-
zontal parallel lines and two tri-
angles. In the background, at
each side of the body, there are
dotted circles, suggesting flow-
ers, a feature often accompany-

Vic. 86.—Bird figure.

a

ing designs representing butter- Fig. 37.—Highly conventionalized figure of

flies or moths bird from dorsal side.

In figure 37 is shown a highly conventionalized dorsal view of a
bird, with sickle-formed wings slightly extended, seven pointed tail
feathers with lateral appendages. and a rectangular head with three
semicircular rain-cloud figures. The globular enlargement at the base
of the wings in one instance is accompanied by a fan-shaped figure.

FEWKES] THE RUIN, SIKYATKI 2338

The design shown in figure 88 is regarded as a highly convention-
alized bird symbol, each wing being represented by a curved pendant,
to the extremities of which feathers
are attached. The body is rectangu-
lar and decorated with a median
horizontal white band continued
above and below into black lateral
triangles which possibly may rep-
resent feathers, and flanked triangu-
lar white areas on each side.

Tn figure 39 the
design has been
so greatly con-
ventionalized
that almost all
resemblance to a bird has been lost. The wings
are represented by simple terraces, the body by a
rectangular figure, and the head terminates in
three points. It is possible that the limit of bird
conventionalization has been reached in this var?-
ant, and the difficulty of identification of organs is
correspondingly great.

The design shown in figure 40 would perhaps
more logically fall within the series of circular
Fic.39.—Conventional figures, identified as sun em-

Senko ose pie blems, elsewhere considered, ex-
cept for the extensions representing wings and tail.
This is mentioned as one of the instances where
organs of birds are combined with a circle to repre-

! sent the Sun god.

‘ Figure 41 resembles
figure 40 in some essential
points and may also be Fie. 40.—Conven-
considered in connection — {{0nt! Bsure of a
with sun emblems. On

account of the presence oi feathers it is
here included among the bird designs.

Figure 42 exhibits an exceptional bird
Pic. 41,—Conventional figure form as viewed from the rear.t Wings,

ems Eee, body, tail, and possibly the head,:are rec-

Fig. 38.—Conventional figure of a bird.

ognized after some study.

LATERAL VIEWS OF BIRDS
Drawings representing side views of birds are usually highly con-
ventionalized, often taking the forms of simple geometric figures,

1 See Seventeenth Ann. Rept. Bur. Amer. Ethn., pt. 2, pl. cxt1, a. A circle is here drawn
on each side of the bird.

234 DESIGNS ON HOPI POTTERY [ETH. ANN. 33

as shown in figures 483-45. The simplest representation of a bird
viewed from the side is a triangle, but another, slightly elaborated
and a little more complicated (fig. 48), consists
of a triangular body with curved lines represent-
ing a head and beak, extending from one of the
angles, and with two short lines indicating a
feathered head crest. The head of the bird shown
in figure 44 resembles a section of a Greek fret,

which in figure 45 has become
Fie. 42.—Conven-

tional figure of a Still further simplified. Figure
bard. 46 represents a bird with tri- VLA,

angular body and key-shaped head. Figure 47

shows a similar design, except that the body is
partly rectangular, with breast slightly concave.

Fic. 43.—Triangular
form of bird.

The body in figure 48 is simply an outline of a ter-
race and the tail is indicated by five parallel lines.

The bird design shown in profile in figure 49 is realistic, all the
parts being clearly recognizable. This figure is one of four, each
attached to a corner of a rectangle.

me : ¥ 46.—Lateral

Fic,
Fic. 44.—Triangular Fig. 45.—Simple 5 view of triangular
form of bird. form of bird with bird with two tail
terraced body. feathers.

Another figure which may be a lateral view of a bird is represented
in figure 50, in which the part representing the head is curved, the
body square, and two obliquely twisted feathers represent the tail.

Fic. 47.—Lateral

view of bird with Fig. 48.—Problemati- Fic. 49.—Bird with two
three tail feathers. eal bird figure. tail feathers.

This figure exhibits avian features more obscurely than those already
considered, but the head and the tail feathers are quite birdlike.

In figure 51 is shown a lateral view of a bird, seemingly in flight,
the head and beak of which are birdlike. The wings, feet, head, and
body are not difficult to recognize.
Two legs and one wing are shown,
and the well-drawn tail, terminat-
ing in white-tipped feathers, sug-
gests the turkey, which bird is re-

Fic. 50.—Highly conventionalized bird F
figure, garded by the modern Hopi as so

efficacious in bringing rain that its feathers are employed in almost
all rain ceremonies. The author has seen a similar drawing on altar

FEWKES] THE RUIN, SIKYATKI 235

and other ceremonial paraphernalia among the Hopi priests of the
present day. The white tips which characterize the tail feathers of
the turkey originated, according to a Hopi legend,
at the time when this bird dragged the end of
its tail in the mud after a flood had subsided.

The bird
shown in
Wyn figure 52 has
Yffyyfp a curved, Fic. 51.—Lateral view

of bird.
elongated
beak, a more or less angular
body, two legs, and two small
wings. The tail consists of
three feathers? with character-
istic projections.

One of the best bird pictures
on Sikyatki pottery is shown
in figure 53. The body is somewhat triangular in shape and the
wing is spread out, here shown above the back; the tail is provided
with three feathers placed
vertically instead of hori-
zontally, and bent over at
their ends into triangles, evi-
dently owing to the lack of
available space. The beak
is characteristically curved ;
the single eye is provided
with a pupil. The long

Fic. 52.—Profile of bird.

Fic. 53.—Lateral view of bird with outspread
wing.

claws, single on each foot, suggest an eagle,
hawk, or other raptorial bird. The spiral
appendage to the under rim of the tail is
of unknown meaning.

The design shown in figure 54 is one of

Fic. 54.—Lateral view of bird
with twisted tail and wing 5
feathers, ~ the most complex bird drawings found on

Sikyatki pottery. The head is triangular,
with an eye situated in the center, and the beak continued into a very
large, elaborate fret. The body. is rhomboidal in shape, the upper
portion being occupied by a patterned square. Rising above the

1Tt is, of course, only a coincidence that so many of the Sikyatki bird designs have
three tail feathers like Egyptian representations

236 DESIGNS ON HOPI POTTERY [wPH. ANN. 33

body is a conventionalized wing, while depending from its lowermost
angle is a diminutive figure resembling feathers. The tail consists
of two elongate feathers, rounded at their outer ends and fused at
the point of union with the body.

Having seen how prone the ancient Hopi were to represent birds on
their pottery and the extent to which conventionalization of these fig-
ures prevailed, one finds
many designs so closely re-
lated to known bird figures
that the tendency is to in-
clude with them many the
identification of which is
doubtful. Certain simple
geometrical forms originally
derived from bird designs
were copied by these early
potters, presumably without
intending to represent birds,
but rather merely as deco-
rative motives. Two of
these problematic designs
are shown in figures 55
Fic. 55.—Lateral view of conventionalized bird. and 56.

FEATHER DESIGNS

A large number of conventional figures representing feathers
have been identified, but there are many others which yet remain to be
interpreted, and the particular genus of birds to which each should
be referred is likewise prob-
lematical. There is no doubt, SK
from a study of the uses of
different kinds of feathers
in modern Hopi ceremo-
nials, that each form de-
picted on pottery represents
a feather which played an
important role in ancient
Hopi rituals.

Many unquestionable
feather designs pictured on
Sikyatki pottery are found
depicted on serpents, or are attached to inanimate objects, such as
rainbows, clouds, and lightning.

It is probable that the majority of feather designs on ancient Hopi
earthenware are included in the following types, to which no doubt

Fic. 56.—Lateral view of conventionalized bird.

FHWKES] THE RUIN, SIKYATKI 237

other forms of feather designs will be added later. These types
are abundant in vessels of the Sikyatki epoch.

From the above pictures of birds and many others it may be seen
that feather symbols assume a variety of forms in sikyatki pottery
decoration. There are probably more than 50 different designs,
each representing a different kind of feather, and implying for each
a distinct use or ceremonial eflicacy, as among the modern Hopi.
Our knowledge of ancient Hopi symbolism is not yet sufficient to
enable us to identify all the different birds to which
these various forms of feathers belong, nor do we a
know the uses to which all these feathers were put.t yy¢. 57. Feather

Several wooden slabs and idols on Hopi altars S¥*vel with black
have features drawn upon them, and many cere-
monial sand-pictures contain designs representing feathers. In rare
instances, as in the altar of the Powami,? typical Sikyatki symbols
of feathers are still used, but feather symbols of a form not found
on Sikyatki pottery far outnumber those from that ruin. The exist-
ence of one type of Sikyatki feathers on the figure of Pokema in
kachina altars may point to the derivation of this feather sym-
bol from Sikyatki, but some of these types are widespread.’

The forms assumed by feathers on Sikyatki pottery may best be
presented by considering a few examples of the more common types.
Figure 57 represents an unusual type of feather
symbol, readily distinguished from others by the
Fic. 58.—Feather Notch at the end, the edge of which is commonly

eee with black rounded. There are two subdivisions of this type,

i one with a dotted shaft (fig. 58), the other plain.
This form of feather design is found in most unexpected associations,
occurring on the heads of serpents or attached to various parts of the
body and under the wings of birds. It also hangs from diametrical
bands drawn across the inside of food bowls and from other objects
constituting the decoration of vessels. In a few instances this type
of feather is enlarged and constitutes the essential part of the ‘de-
sign, with other symbols attached.

1 Feathers are among the most important objects employed In Pueblo ceremonies, and
among the modern Hopi feathers of different birds are regarded as efficacious for different
specific purposes. Thus the turkey feather symbol is efficacious to bring rain, and the
hawk and eagle feathers are potent in war. The specific feather used ceremonially by
modern Hopi priests is regarded by them as of great importance, and the same doubtless
was true of the priests of ancient Sikyatki and Awatobi. Belief in a difference in the
magic power of certain feathers was deeply rooted in the primitive mind, and was re-
garded as of great importance by the ancient as well as the modern Hopi.

2 Compare the sand-mosaic of the sun associated with the Powalawf altar of Oraibi, and
the sun emblem shown in fig. 98.

’Mallery (Fourth Ann. Rept. Bur. Ethn., p. 47, fig. 12) illustrates two clusters of
characteristic Hopi feathers copied by Mr. G. K. Gilbert from petroglyphs at Oakley
Springs, Arizona. The first cluster belongs to the type shown in our fig. 57 as eagle tails,
the second to that illustrated in fig. 31. They were identified by the Oraibi chief, Tuba,
and so far as known have not been subsequently figured.

238 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

This type of feather sometimes forms a part of a bird’s tail, but
it does not occur in the wings, although, as above stated, it occurs
under a wing or on the body or the head of a bird, a localization
that leads to the belief that the device was designed to represent a
breast feather, such as the Hopi now use in their prayers. In ancient
Hopi symbolism it is often attached to circles representing the sun
and represents a tail feather.

In plate 76, a, three feathers are represented with pointed tips and
without interior markings. It is one of the simplest drawings of the -
type mentioned.

This figure illustrates a well-known type of feather symbol. It
has many variations, all clearly differentiated from the form last
described, from which it differs in its elongate form and pointed tip.
What may be regarded as a subtype of this is marked with diagonal
bands drawn either at right angles at one edge or extending across
the figure and terminating at right angles to the opposite edge.
Feather symbols of this type, which have not been identified with
any particular bird, are constantly found in birds’ tails and wings.

The next design (pl. 76, 6) is similar in outline, but the three
feathers are painted solid black and are separated by spaces. This
conventional form of feather is common on wings and tails of birds.

The group of symbols shown in plate 76, c, has pointed tips, like
the others described, but part of the shaft is painted, while the other
is plain, the line of demarcation between which is drawn diagonally.
This form occurs on the tails rather than on the wings of birds.

The tips of the feathers in plate 76, d, are connected by a black
band and are divided by short vertical lines. <A distinguishing fea-
ture of this symbol is the oblique marking of each feather on the
right side, by which the feathers are narrowed at the base. A solid
semicircular figure with a double notch ornaments the upper edge.
The few known examples of this type of feather symbol are from
the tails of unknown birds.

The next form of feather, shown in e, differs from the last in that
the shaft is spotted and the proximal end is cut diagonally in a some-
what different way.t| The tips are slit as in the figure last described.

The width of the feathers shown in / is uniform throughout. The
distal ends are tipped with black; the proximal ends are each orna-
mented with a black triangle. Midway of the length of the feathers
are four continuous parallel horizontal lines.

The two feathers shown in g have in one instance a black and in
the other a white tip separated from the rest of the shaft by an
oblique line. The essential difference between this form of pointed

1Compare feathers, pl. 90, wf.

l m n 0 P q I
Ly x y Zz aa bb

ce ff 99
Cc VENTIONALIZED FEATHERS

rEWKES] THE RUIN, SIKYATKI 239

feather and those previously considered is that the diagonal line
marking the tip is drawn at a greater angle.

The six feathers shown in / resemble the last, but the terminal por-
tions of three are spotted instead of solid black. Like some of the
others described, this form tapers slightly from its distal end to its
base,

In 7 the feathers are likewise pointed at their tips, but are of
almost uniform breadth. Each is intersected by a series of triangles
and parallel lines, and suspended from the latter, one in each feather,
are several vertical lines, each with terminal dots.

The symbol shown in 7 is not unlike that already illustrated, but
it has in addition to the structure enumerated a lateral hornlike
appendage common in the tails of birds (see pl. 90, 7, ¢/).

The form of feather design shown in & is somewhat different from
those already considered. The distal end is broad and pointed; the
proximal narrows almost to a point. The left half of the body of
the feather is black; the remainder, including the point, is plain.
The design 7 has the same general form as /, but its tip is marked
in a different manner.

The double-pointed symbol represented in m was evidently de-
signed as a feather (possibly two feathers), with parallel sides, and
pointed tips painted black. The symbol n is similar to d in outline,
but it lacks the terminal slit and black bands. There project, how-
ever, from the angles formed by the tips of the feathers three ver-
tical lines, each with an arrow point at the extremity and two short.
crosslines, as in one of the bird designs previously described (fig.
35). The present design represents wing feathers; the complete
bird figure (fig. 35), where they also occur, represents a thunderbird.

The three tail feathers shown in o are in no respect peculiar. The
two-pointed appendages seen above are an almost constant feature
of the drawings of birds as seen from the back. The feathers rep-
resented in p are unlike others in their mode of attachment and in
the ornamentation at the base.

Thus far we have considered a type of feathers with pointed tips
(pl. 76, a—p) imparting to the whole tail a serrate appearance. While
in the next figure, ¢, the tail feathers still terminate in points, a black
band connecting their extremities is prolonged at each side, recalling
the tail of certain swallows.

Feathers are often represented on Sikyatki pottery as elsewhere in
the Southwest by parallel straight lines. The feathers represented
in 7 are exceptional in that their length varies considerably, the
median feather here being the longest.

While undoubtedly the series of designs shown in s to 6d, inclusive,
in each instance representing the feathers in the tail of a bird, are

240 DESIGNS ON HOPI POTTERY [BTI. ANN. 33

all highly conventionalized, in one or two instances, as uv and 0d, the
relation to feathers can be recognized only by comparative studies.

The design illustrated in cc, taken from the neck of a vase, repre-
sents several peculiar feathers of a type not yet described but highly
characteristic. Comparison of this with that of dd shows the simi-
larity of the two and suggests that they pertain to the same kind of
bird. The tails represented in v, aa, and 66 are characteristic; the
last represents tail feathers hanging from the band later described.

The series of feathers (possibly tail feathers) shown in several fig-
ures have rounded tips, and as a rule are of uniform size and without
ornamentation. In plate 77, a, the three feathers composing the tail
are painted black and are slightly separated, while those of 6 are
half black and half plain, the solid area being separated from the
plain by a diagonal line extending from the proximal to the distal
extremity.

The four feathers in ¢ are separated by slight intervals and lightly
shaded; otherwise they are similar to those in a. The two outside
feathers of d are much broader than the middle feather, which is
reduced to a narrow line. In e the three feathers are broader at the
tips, in which respect they differ from c.

In the tail shown in /, the feathers are indicated by shallow notches
from which short parallel lines extend inward. They are without
superficial markings. Figure g belongs to the notched type repre-
sented above.

The four feather symbols shown in the drawing of the bird’s tail
illustrated in / differ from all others in the shape of their distal ends,
which are alternately black and plain, and are without superficial
ornamentation. Evidently this feather design, which is represented
on a single vessel from Sikyatki, is of a distinet type.

There is some doubt whether 7 represents a bird’s tail, the head
and body from which the design was taken being more like those of a
moth or a butterfly. The meaning of the design in j is also doubtful.
Figure &% represents a single “breath” feather lke that shown in
figure 57.

There is a general resemblance between the tail feathers of the
bird designed in e and /; the latter represents the tail of a bird, hang-
ing between two triangles under a star design.

Figure m represents a bird’s tail with three tail feathers and
lateral extensions, while in n, where we also have a figure of the tail
of a bird, each feather is marked by a rectangular pattern. The four
pairs of parallel lines extending from these feathers may be regarded
as parts of these structures.

Figures o to g, while suggesting bird and feather designs, are still
more or less problematical. In the same category belong the designs

SYSHLV3AS TIVL GAZITVNOILNSANO9

204 TT

U ul 1 a i 1 y

hc
SW

ZLALVId 1YOd3Y IVANNY GYIHL-ALYIHL ASOIONHLA NVOIYAWY 4SO NVvaung

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUA REPORT PLATE 78

6

CONVENTIONALIZED FEATHERS ATTACHED TO STRINGS (NAKWAKWOCI

FEWKES] THE RUIN, SIKYATKI 241

illustrated in figures 7 to vw. There is reason to believe that of these
o-r represent feathers, but a definite identification can not yet be
made of figures s—u.

Two triangular designs, one above another, are
believed to represent feathers, but are rarely found
on ancient Hopi pottery. They appear on the
heads of birds in Acoma, Laguna, and other
pottery designs, which are the nearest modern representatives
of ancient Hopi decorations.

A unique feather symbol from Sikyathki
is characterized by a cigar-shaped body out-

0? lined at the distal end, which is plain (fig. 59).

There often occurs on Sikyatki pottery a
combination of feather designs, generally
three, with other symbols. One form of these (fig. 60) has four
curved tail feathers. Other feathers of aberrant shape are shown
in figure 61, a-e.

FEATHERS SUSPENDED FROM STRINGS
In their ceremonies the modern Hopi priests
a
d

Fie. 59.—Feathers.

Fic. 60.—Curyed feathers.

use in great numbers a kind of prayer offer-
ing called nakwakwoci, consisting of breast
feathers tied in a prescribed way to the ends
of strings. The same type of prayer offerings

=o
is one of the most common designs on Sikyatki &
pottery. Various modifications of it are shown
in the accompanying illustration (fig. 62).
This use of the feather string as a decora-
d
F

tive device is seemingly peculiar to prehistoric
Hopi pottery, not having been found in the pic-
tography of the people formerly inhabiting the
valleys of San Juan and Little Colorado Rivers. 16. 61.— Conventional
Ry dae A lee o Blagie * feathers.
This restriction in its use indicates its local
origin and application, although descendants of clans from both the
San Juan and the Little Colorado are represented among the Hopi.
In one of the simplest forms of the stringed-
feather designs is a line (pl. 78, 6, c, d) some-
times taking the form of an elongate triangle,
terminating in a ball from which spring three
Fre. 62—Paralle) OF more diverging or parallel lines. This en-
lines represent- largement on stringed-feather designs may rep-
ine fenthers. resent a knot, as will appear from certain varia-
tions in the form of the feathered string to which attention will be
given later.
74936°—19—33 rtH——16

242 DESIGNS ON HOPI POTTERY [ETH. ANN. 33

In some cases (@, 7) two knots appear between the string and
the attached feathers, while in another instance (7) one of the knots
or balls is replaced by two triangles.

Other representations of stringed-feather or nakwakwoci designs
show modifications in each of the three elements mentioned, the
line (string), the enlargement (knot), and the terminal projections
(feathers). The occurrence of crossbars near the dot (g, h, 7) vary
in number from one to four, and are always parallel, but usually
are placed on one side of the knot, although in some cases (7) they
appear on both sides. In one example (7) no ball or knot is pro-
vided, the nakwakwoci consisting merely of the string intersected
by pairs of equidistant crosslines. A special modification of the
dot with crosslines is shown in the figure with the leaflike attach-
ment (q).

One of the most significant of the stringed-feather designs is
shown in a, where a feather of the first type is attached to the string
intersected by crosslines. As a terminal element in corresponding
designs is a typical feather symbol, this figure is also identical. The
figure of a string with enlargements and a pair of lines (7) probably
represents that form of stringed feather called by the Hopi a purhu,
“voad,” an offering laid by the Hopi on the trails approaching the
pueblo to indicate that ceremonies are being performed, or on altars
to show the pathway of blessings.

In another stringed-feather design (m) appears a triangular sym-
bol attached to the enlargement, the string terminating in radiating
lines. The feather sometimes preserves its triangular form (7m).
These variations in the drawings of stringed feathers and the modi-
fications of the knot, string, and terminal attachments, are constantly
repeated in Sikyatki pottery decoration.

Sxy-Banpb

Many food bowls from Sikyatki have a band from which is sus-
pended the figure of a nondescript animal passing diametrically
across it. Representations of a similar band with like appendage
girt the necks of small pottery objects and are, so far as is known,
characteristic of prehistoric Hopi pottery.

Lines identified as sky-bands shown in plate 79 vary from single
(a) or double (@) to a broad undecorated band (c). In its simplest
form the sky-band extends entirely across the inside of the bowl,
but in the more complicated examples it surrounds the vessel par-
allel with the rim surrounding the design on the inside of the bowl.
Appendages of several kinds as dots (d) or as stars (f/f), made up
of oblong figures in terrace form placed at intervals, are attached

WAVAVAYS I VAXAVAAN |

G

FEWKES] THE RUIN, SIKYATKI 243

to this band. The sky-band itself varies in width, being broad or
narrow, crossed by series of vertical parallel, zigzag, or other lines
arranged at intervals, or alternating with geometrical figures (g, h).
In a single example (7) the decoration is etched into the burnt clay,
although in most instances the decorations are painted.

Various explanations of the meaning of this band have been sug-
gested, it being regarded by some of the priests as the Milky Way,
by others as the path of the sun through the sky, but so far as
known this ancient design is rare on modern Hopi ware.t According
to Harrington the Tewa recognize a “backbone ” of the sky.

In several Hopi legends there are allusions to a monster bird that
had been killed and hung in the sky by a cultus hero; and the
general character of this decorative band in Sikyatki pottery decora-
tion renders it probable that it was intended to represent some
supernatural being, as the Sky god.

The chief interest of the Sikyatki sky-band lies in the figure or

figures attached to it, or suspended from it, and regarded as the
conventionalized representation of a bird. Sometimes the creature
is placed longitudinally, sometimes vertically. In some instances
it is elaborately drawn, in others it is a simple geometric figure
bearing so little resemblance to a life form as to make it one of the
most highly conventionalized of all ancient Hopi designs.
_ Like other bird designs, these suspended figures may be considered
under two heads: (1) Those attached to the band in such a way
as to be seen from above (the dorsal side) or from below (the
ventral side); and (2) those suspended lengthwise of the band,
showing one side in which the tail and other parts are twisted into
a plane at right angles. The structure and relations of the hang-
ing figure can best be seen by holding the bowl in such manner that
the sky-band is horizontal, bringing the body of the suspended
animal into the lower semicircle.

VERTICAL ATTACHMENT TO SKY-BAND

Several Sikyatki pottery designs showing the sky-band with the
bird figure hanging vertically from it are shown in the accompany-
ing illustrations. In order that the modifications in form may be
readily followed, those parts of the bird figures regarded as homolo-
gous are indicated by the same letters.

1The only design in modern Hopi symbolism comparable with the sky-band occurs on a
wooden slab on the altar of the Owakulti, a society priestess whose ancestors are said
to have formerly lived at the historic pueblo of Awatobi. This slab is attached to the
uprights of an altar, by means of flat slabs of wood, some arranged vertically, others
horizontally. On it is depicted, among other symbolic figures, a representation of a bird.

944 DESIGNS ON HOPI POTTERY [ETH. ANN. 38

2

The design in figure 63 represents one of the simplest forms of
bird symbols, A hornlike appendage is attached to the sky-band,
on each side of an elongate vertical body from which depends a

Fic. 63.—Conventionalized bird form Fic. 64.— Conventionalized bird form
hanging from sky-band; top view. hanging from sky-band; top view.
number of parallel lines representing tail feathers. The identifica-
tion of this design as that of a bird is based on comparative studies
of designs less conventional in character, to which attention has been

and will later be called.

if

a

lic. 65.—Conventionalized bird form Fic. 66.— Conventionalized bird form
hanging from sky-band; top view. hanging from sky-band; top view.

A modification of the pendent body on the sky-band? appears to
have introduced the new element shown in figure 64 in which the
body is drawn. Although considerable variation exists in the form
of the other parts, a morphological identity exists in all these figures.
Tn figure 65, in which the feathers differ somewhat from those of the

1The author has seen in the American Museum of Natural History, New York, a single
specimen of doubtful provenance, bearing a similar design.

rEwkus] THE RUIN, SIKYATKI 945

last design, the parallel lines representing the bird’s tail are really
seen. The design shown in figure 66 is still more elaborate than the
last, especially in the anterior semicircle,’ opposite that in which
the tail feathers are depicted.

Fic. 67.—Conyentionalized bird form Fig. 68.—Conventionalized bird form
hanging from sky-band; top view. hanging from sky-band; top view.

The portion of the design situated in the anterior semicircle of
figure 67 has no resemblance to a bird’s head, being destitute of eyes
or beak. The backward extending appendages on each side of the
tail and the tail itself has a projection on each side.

In figure 68 the whole anterior
part of the design above the sky-
band is colored, the head appear-
ing as a still darker semicircle.
The tail feathers are here reduced
to simple parallel lines.. The gen-
eral form of figure 69 is birdlike,
but its affinity to the bird figures,
pendent from a sky-band, is closer
than to any others. The homolo-
gous parts—tail feathers, lateral
body extensions, sky-band, and
- head—may be readily recognized ;
Fie. 69—Conyentionalized bird form the last mentioned is an orna-

AGDeine em Bey band, top yey: mented rectangle. The whole an-
terior hemisphere of this design is occupied by representations of
feathers arranged in two clusters, while in the surrounding area their
triple lines are crossed similarly to that occurring in other hanging
bird figures. It is but a step from this figure to the group of unat-
tached bird designs already considered.

1For convenience this may be designated the anterior in distinction to that on the
other side of the sky-band which may be termed the posterior semicircle.

246 DESIGNS ON HOPI POTTERY [ETH. ANN. 33

The wings of figure 70 are outspread and the head consists of
two terraced bodies conventionally placed. The body and the tail

Fic. 70.—Conventionalized bird form hanging from

sky-band ; top view.

of this figure are not ex-
ceptional, but dragon flies
are also represented.

Figure 71 presents a con-
ventionalized bird seen in
profile, and a broad sky-
band to which are attached
representations of feathers
and other organs suggest-
ing a bird.

An animal depicted in
figure 72 is one of three
similar figures from the
neck of the same vase,
which are connected by a
line or band. The design
shown in figure 73 repre-

sents a highly conventionalized bird hanging from the sky-band
with head and wings on one side and tail feathers below.

BIRDS ATTACHED LONGITUDINALLY TO SKY-BAND

The designs shown in figure 74 represent the simplest forms of
birds attached lengthwise to the sky-band. The parallel lines on the

left hand of the observer
are supposed to repre-
sent tail feathers and the
curve on the right, the
heads, or possibly the
wings.

One of the best designs
representing a bird at-
tached to a sky-band is
shown in figure 75, taken
from a bowl in the Wat-
tron collection now owned
by the Field Columbian
Museum, of Chicago. The
interior surface of this
bowl is considerably worn
by use, and the figure
a little indistinct, but the

Fic. 71.—Conventionalized bird form hanging from
sky-band ; top view.

extremities of a band appear. There is a fairly realistic figure on
each side of a bird with head and wings above and tail below a

FHWKES] THE RUIN, SIKYATKI 247

diametrical band. There are zigzag markings, supposed to repre-
sent lightning, on the under side of the wing. The tail is spread
out amply enough to show the different feathers which compose it;
and at the bases or on its under side corresponding in position with
like symbols on the wing there appear two zigzag figures. The
significance of two curved bodies
hanging from the sky-band, one
on each side of the tail of this

‘lu

Fic. 73.— Conventionalized bird
form hanging from sky-band ;
top view.

Fig. 72.—Conventionalized bird form
hanging from sky-band; top view

figure, can not be satisfactorily interpreted, but the bird design shown
in figure 76 has four tail feathers, a prolongation on the opposite side
representing a head, and a curved extension comparable with a wing
in other figures. The so-called
wing terminates in a triangular
feather.

The two designs, figures 76 and
77, have parts which evidently
correspond, the latter being one
of the most beautiful in the col-
lection. Both represent from the
side an unknown bird hanging
from a band extending across the
middle of the bowls. Although
the details of organs are more
carefully depicted in the latter,
there can hardly be a doubt that 1)
similar animals were intended in
both designs.

It requires some imagination
to discover a conventionalized Fie. 74.—Lateral view of bird hanging

5 4 from sky-band.
bird in figure 78, but we may
regard it assuch. We have in this figure a good example of a change
in outline that may be produced by duplication or by representing
both sides of the body or its organs and appendanges in the same

248 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

place. Three tail feathers are here apparent ; the body is square, with
zigzag white lines, and the head, here twisted into a vertical position,
has a triangular form. The two crescentic appendages, one on
the right side, the other on the
left, represent halves of wings
which are theoretically supposed
to have been’ sht longitudinally
and folded backward?! in order
that both sides may be shown on
the same plane; the two bodies
arising from the concave edges
of these crescents—one to the left,
the other to the right of the
square bod y—represent legs.
Their unusual form is brought
about by a twisting of body and
Vic. 75.—Lateral view of bird hanging tail, by which feathers of the

from aay ea latter are brought to longitudinal
position, and one of the legs is twisted to the right side and the other
io the left. If the two appendages supposed to represent the legs or
the two parts shaped like crescentlike knives were brought together,
the two crescents would likewise merge into one, and we would then
have a highly conventionalized bird with three tail feathers and a
triangular head, the body being represented by a square design
crossed diagonally by zigzag fig-
ures each in its own rectangular
inclosed field.

DECORATIONS ON EXTERIORS OF Foop
BowLs

The exterior surface of almost
every bowl from Sikyatki is deco-
rated with lines or geometrical de-
signs. Many of these designs may
represent animals, probably birds
highly conventionalized or so aber-
rant that the avian form can be
recognized only by comparative or
morphological studies. They are
confined to one side of the bowl; 16. 76.—Hateral view of bird with ex-

5 extended wing.

there appears to be little resem-
blance and no connection between them and the figure depicted on the
inside of the same bowls. Although linear in form, one end is some-
times so crooked or bent at an angle, not curved, as to form a head,
while the other bears parallel lines, representations of the tail feath-
ers, terraces, or triangles.

1See also Seventeenth Ann. Rept. Bur. Amer. Ethn., pl. ct, a, and cxtyvi, d.

FEWKES] THE RUIN, SIKYATKI 249

In plate 80, a, we have a characteristic example of one of these
exterior decorations. The crooked end is supposed to represent a
bird’s head; to the other end, or tail, are appended six feathers like
those already considered. A row
of five stars is strung along the
band. A likeness to a bird is very
obscure in 0b, while c shows several
simple triangles with stepped fig-
ures in the middle and triangles at
the ends. Design d has a square
form and two triangles appended
to each ‘opposite angle. The ap-
pendages on the remaining op-
posite angles have four paral-
lel lines. Design e consists of
two highly conventionalized
bird symbols, united to a third
which forms the interior de- ruc. 77.
sign.

The design 7 recalls the sky-band described in the preceding pages.
The extremities of this so-called band are enlarged into round spots
from which arise parallel lines and triangular designs. From it
hang terraced and crooked figures, while strung along one side at
equal intervals are five
stars, a common accom-
paniment of sky symbols.
The bird symbol comes out
clearly in g, where the
crook design with terraces
is repeated.

All crooked figures have
a similarity in general
form, some more closely
resembling birds than
others, and it is taken for
granted that the intention
of the artist was to repre-
sent a bird in plate 81, a,
notwithstanding the avian
form is highly convention-
alized. Design 6 is com-
posite, consisting of a rectangular figure, to the angles of which
are attached feathers. Terraced and triangular figures of un-
known significance, stars, and other designs cover the rectangle.
Design ¢ is made up of a triangle with notched borders and a central
rectangle with a dot characterizes this design; it has also two tri-

Lateral view of bird hanging
from sky-band.

Fic. 78.—Lateral view of bird hanging from sky-band.

250 DESIGNS ON HOPI POTTERY [ETH. ANN. 33

angular extensions that may represent feathers. Design d resembles
previous figures identified as feathers and terraces hanging from a
sky-band.

The most prominent part of the design e is a crook and parallel
lines. In 7 are variously combined triangles with appended feathers,
crooks, and terraced designs, so united as to make up a compound
decoration of geometric character.

The geometrical designs in the series, plate 82, a—/, may be inter-
preted as representing birds in flight or with extended wings. Con-
sidered in this way, it appears that we have in the figure on each side
a highly conventionalized wing forming triangles with extensions at
one angle, ending in terraces, crooks, or other designs. In these
figures we constantly have a line that may be likened to the sky-band,
each end generally terminating in a dot to which parallel lines are
attached.

Design a has two triangular bodies resembling the letter W, and
the line terminating in two dots has two crossbars, while in } there
is a union of designs. Elongated triangles terminate in lines which
are enlarged into dots. These triangles are modified on one side
into crooks with smaller triangles.

From remote resemblances rather than similarity of form, ¢ is
placed near the preceding. Here a band is enlarged at the end rep-
resenting the knots with attached parallel lines or feathers. The
triangular pendants of 6 and the line with terminal dots of @ are
here represented. On the middle vertical of this figure is a
trapezoidal design with notched edges.

The elements of d form a compound in which triangles predomi-
nate. Two W-shaped designs, ¢ and f, have a form quite unlike a, 6,
ce, and d. Of these, f is the more complicated, but the similarity of
the two is apparent.

Plate 83, a, represents two triangles with serrate margins hanging
to a horizontal band, one end of which terminates in dots and lines,
the other with two parallel notched feathers.

Plate 84, a-c, have the W shape shown in plate 82, e, 7; the ap-
proach to the conventional bird form with extended wings and tail
being most marked in a. Design d on plate 84 recalls plate 83, f,
with modifications that are apparent.

The above-mentioned geometrical figures from the exteriors of
Sikyatki food bowls show considerable variety of form but all can
be reduced to a few elemental designs throughout in which the
curved line is absent. The rectangular design is always dominant,
but it will be seen from the following plate that it is not omnipresent,
especially on the interiors of bowls.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 80

g
GEOMETRICAL FIGURES ON OUTSIDE OF BOWLS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 8i

f
GEOMETRICAL FIGURES ON OUTSIDE OF BOWLS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 82

WW

a

if
GEOMETRICAL FIGURES ON OUTSIDE OF BOWLS

INUAL REPORT PLATE &
1OLC THIRTY-THIRD ANNUAL RE

AMERICAN ETHNOLOGY
BUREAU NV

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 84

d

GEOMETRICAL FIGURES ON OUTSIDE OF BOWLS

\\aeS

CONVENTIONALIZED BIRD DESIGNS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 86

CONVENTIONALIZED BIRD DESIGNS

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FEWEES] THE RUIN, SIKYATKI 251

CurveD FIGURE WITH ATTACHED FEATHERS

The curved spiral figures shown in plates 85 and 86 are combina-
tions of simple and complicated designs, among the most conspicuous
of which are feathers. When these figures are placed in the same
position it is possible to recognize three or four components which
are designated (a) spiral, (b) appendage to the tip of the spiral,
(c) a bundle of feathers recalling a bird’s tail, and (d) and (e)
other parts of unknown homology occasionally represented. In plate
85, A the appendage 6 to the spiral a is two triangles and two sup-
plemental spirals arising from their attachments. There is no rep-
resentation of c, d, or e in this figure.

In B of the same plate the elements a, b, c; and d are represented.
The appendage 6 attached to the tip of the spiral a has the form
of a feather of the first type (see pl. 76), and four parallel
lines, ¢, indicating feathers, are attached to the body. The two
toothlike appendages e, of unknown significance, complete the fig-
ure. In plate 85, (, the design a has two dots 6 on the distal tip,
from one of which arises a number of lines. The fact that 6 in fig-
ure B is a feather leads to the belief that 6 in figure C’ is the same
design.

Plate 85, D and Z, have a resemblance in form, a and ¢ being repre-
sented in both; 6 and e are wanting in #. The different elements in
these designs can be readily seen by comparing the same lettering in
F and G, and in plate 86, A and B, where a new element, ¢, is intro-
duced.

Plate 86, B and £, are highly conventionalized designs; they sug-
gest bird form, examples of which have been already considered
elsewhere, but are very much modified.

There can be no doubt that it was intended to represent birds or
parts of birds as feathers in many of the above figures, but the
perspective is so distorted that their morphology or relative position
on the bird to which they belong can not be made out. In plate 86, A,
for instance, the bird’s body seems to be split in two parts and laid
on a flat plane. The pendent body, ¢, in the middle would be a
representation of a bird’s tail composed of three feathers and with
a double triangle terminating in dots from which arise lines of
would-be feathers.

Two of the parts, a and ¢, that occur in the last mentioned, are
found in plate 86, B, in somewhat modified form. Thus the position
of the tail feathers, ¢, figure C, is taken by feathers of a different
form, their extremities being cut off flat and not curved. The bundles
of feathers in B and C are here reversed, the left side of B corre-
sponding to the right of (, and the appendage on the left of the tail

952 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

of B being represented by the appendage on the right of C. There
are other remote likenesses between them.

Sper anv Insects

Other flying animals, like bats and insects, are depicted on Sik-
yatki pottery, but not as constantly as birds. The spider, and
insects like the dragon fly, moth, and butterfly, are the most common.
In Hopi mythology the spider? and the sun are associated, the
former being the symbol of an earth goddess. Although no design
that can be referred to the spider has yet been found on Sikyatki
pottery, it is not wanting from Hopi (pl. 87, ec).

The symbol of the dragon fly, which occurs on several bowls from
ancient Hopi ruins, is a line often enlarged at one end to form a
head, and always with two crossbars near this enlargement to indi-
cate wings. As this insect lives near springs and is constantly asso-
ciated in modern symbolism with water it is probable that its occur-
rence on ancient Hopi pottery has practically the same significance
as in modern conceptions.

Burrerrty anp Morn

Five typical figures that may be referred to the butterfly or moth
occur on Sikyatki pottery. These figures have in common a trian-
gular body which suggests a highly
conventionalized picture of a bird.
Their wings are, as a rule, ex-
tended horizontally, assuming the
attitude of moths while at rest,
there being only one of the five
examples where wings are folded
above the back, the normal position
of these organs in a_ butterfly.
With one exception, all these con-
ventional butterfly figures bear
two curved rows of dots on the
head, probably intended to repre-
sent antenne.

Bot BERTH OER gee) The figure of a moth in figure 79
has a body of triangular form,

and the extremities of the wings are shown on each side of a medially
placed backward-extending projection, which is the posterior end

1The Kokyan, or Spider, clan is not made much of in Hopi legends gathered at Walpi,
but Kokyanwiigti, the Spider woman, is an important supernatural in the earliest my-
thologies, especially those of the Snake people. She was the mentor of the Snake youth
in his journey to the underworld and an offering at her shrine is made in the Oraibi
Snake dance. The picture of the spider with that of the sun suggests that the Spider
woman is a form of the earth goddess. No personation of Spider woman has been seen
by the author in the various ceremonies he has witnessed.

FEWKES] THE RUIN, SIKYATKI 253

of the abdomen. These wings bear white dots on their posterior
edges suggesting the markings on certain genera of butterflies.’
There arises from the head, which here is circular, a single jointed
appendage curved at the end, pos-
sibly the antenna, and an unjointed
appendage, like a proboscis, in-
serted into a figure of a flower,
mounted on a stalk that terminates
at the other extremity in five
parallel extensions or roots. A
row of dots about the periphery
of the flower suggests petals. The
figures are accompanied by crosses
representing stars.

The second moth design (fig. 80)
has even a closer resemblance to
a bird than the last, for it also has’ L
a single antenna or row of dots Fi¢.80.—Butterfly with extended proboscis.
connected by a curved line. It
likewise has several curved lines resembling a crest of feathers on
top of the head, and lines recalling the tail of a bird. The head this
figure bears is a cross suggesting a female butterfly or moth.’

The body in figure 81 is crossed
by five lines converging at one
angle, imparting to it the appear-
ance of having been formed by a
union of several spherical triangles
on each of which appear rectan-
gular spaces painted black. A head
is not differentiated from the body,
but at the point of union of the
five lines above mentioned there
arise two rows of dots which have
the form of circles, each inclos-
ing a dot. From analogy these are
supposed to represent antenne.
FG. 81.—Highly conventionalized butterfy. The middle of wing-shaped ex-

tensions recalling butterfly de-
signs are marked by circular figures in figure 82, but the absence
in this figure of a head with jointed appendages renders it doubtful
whether it represents an insect. The shape of the body and its

1 Except that the head bears a jointed antenna this figure might be identified as a
bird, the long extension representing the bird's bill.

? The figures of serpents on the sand mosaic of the Antelope altar at Walpi bear similar
crosses or diagonals, crossing each other at right angles. The Antelope priests interpret
this marking as a sign of the female.

954 DESIGNS ON HOPI POTTERY [ETH. ANN. 33

appendages resembling feathers indicate, so far as they go, that
this design represents some bird. ‘

It will be noted that in one of the above-mentioned figures, identi-
fied as a moth, flowers are indicated by dotted circles, while in an-
other similar circle, figures, also surrounded with dots, are repre-
sented on the wings. One pair
of wings is represented in the last-
mentioned figure, but a second
pair placed behind the larger may
have been confounded with the
tail feathers. In one of these fig-
ures from Sikyatki there is a row
of dots around the margin of the
wings—a common but not univer-
sal feature in modern pictures of
butterfly figures. None. of the
butterfly figures have representa-
tions of legs, which is not strange
Rees _.| considering how inconspicuous
Fic. 82.—Moth. these appendages are among these

insects.

A most striking figure of a butterfly is represented by six drawings
on the so-called “butterfly vase” (fig. 83). These, like the above-
mentioned, resemble birds, but they all have antenne, which identify
them as insects. These six figures (pl. 90) are supposed to be con-
nected with the six cardinal points which in modern Hopi belief have
sex—the butterfly corresponding to the north, male; to the west,
female; to the south, male; to the
east, female; to the above, male;
and to the below, female. The
wings of all these insects are rep-
resented as extended, the anterior
pair extending far beyond the
posterior, while both have a uni-
form color and are without mar-
ginal dots. The appendages to
the head are two curved rows of
dots representing antenne, and
two parallel lines are the mouth
parts or possibly the proboscis.
The markings on the bodies and
the terminal parallel lines are like
tail feathers of birds. The heads of three figures, instead of having
diagonal lines, are covered with a crosshatching, 6, 6, 6, and are
supposed to represent the males, as the former, a, a, a, are females.?

Fie. 83.—Moth.

1 Rain, lightning, animals, plants, sky, and earth, in the modern Hopi conception, are
supposed to have sex.

FHWKES | THE RUIN, SIKYATKI 255

A moth with a conventionalized geometric form is represented in
figure 84 with outstretched wings, a rounded abdomen, and a spotted
rectangular body recalling designs on
the upper embroidered margin of mod-
ern ceremonial blankets. A like figure
has been elsewhere described by the
author asia) butterfly. It) oecurs.om the!» 715,847 Mot ox geometrical form.
stone slab which once formed one side of an Awatobi altar.2 We
have more complicated forms of butterflies represented in figures
85-87, the identification of which is even more
doubtful than the last. Figure 86 reproduces in
its several parts figure 85, being composed of a
central design, around which
are arranged six triangles,
one of the last being placed
Fic. 85.—Geometrical above, another below, the <>

ADSE OE NE main figure, and there are

two on each side. The design, figure 88, is
circular, the alternately colored quadrants Fic. 86.—Highly conven-
forming two hourglass combinations. The — 740d buttery.
double triangle, shown in figure 84, resembles a butterfly symbol,
having a close likeness to a figure of this insect found on the Awatobi
tablet above mentioned. This figure also resembles triangular de-
signs painted on the walls of mod-
ern Hopi rooms and in cliff-dwell-
ings (Cliff Palace). These figures
present very remote likenesses to
butterfly symbols and their identi-
fication as such is difficult.

Fic. 87.—Geometrical form of moth.

GEOMETRICAL DEsIGNS

The geometrical designs on the pottery from Sikyatki. consist of
two well-recognized groups: (1) Purely ornamental or nonsymbolic
geometrical figures, and (2) highly conventional
life forms. Some of the figures of the second group
may be geometrical representations of birds or other
animals; but the former are simply embellishments
used to beautify the objects on which they are!
painted. Purely decorative designs, not being sym-
bolic, will not be specially considered, as they do Fic. 88.— Circle
not come within the scope of the present treatise. An — /B triangles.
interpretation of the significance of many of the second group of
geometrical designs is not possible, although they probably represent
animal forms.

1The Butterfly in Hopi Myth and Ritual, fig. 61, f.
2Tbid., p. 586.

256 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

The strictly geometrical figures so frequently found on pottery
from Silkyatki recall the linear decorations almost universal in an-
cient southwestern ware.

No one who has carefully compared specimens of decorated pot-
tery from Sikyatki with examples from any other southwestern re-
gion could fail to be impressed with the differences in some of the
geometrical designs from the two localities. Such designs on the
Sikyatki ware are almost always rectangular, rarely curved. As
compared with pottery from cliff-dwellings there is a paucity or
entire absence of terraced designs in the ancient Hopi ware, while
zigzags representing lightning are comparatively rare. The char-
acteristic geometrical decorations on Sikyatki pottery are found on
the outside of the food bowls, in which respect they are notably dif-
ferent from those of other ceramic areas. Designs on Sikyatki pot-
tery show few survivals of preexisting materials or evolution from
transfer of those on textiles of any kind. Such as do exist are so
masked that they shed little light on current theories of art evolution.

The designs on ancient Hopi pottery are in the main mythological,
hence their true interpretation involves a knowledge of the religious
ideas and especially of such psychological elements as sympathetic
magic, so prevalent among the Hopi of to-day. The idea that by
the use of symbols man could influence supernatural beings was no
doubt latent in the mind of the potter and explains the character
of the symbols in many instances. The fact that the bowls on which
these designs are painted were found with the dead, and contained
food for the departed, implies a cult of the dead, or at least a belief
in a future life.

Rarn Crioups

The most constant geometric designs on Pueblo pottery are those
representing the rain cloud, and from analogy we would expect to
find the rain-cloud figures conspicuously on ancient Hopi pottery.
We look in vain on Sikyatki ware for the familiar semicircular
symbols of rain clouds so constant among the modern Hopi; nor do
we find the rectangular terraced form which is equally common.
These modifications were probably lately introduced into Hopiland
by those colonists of alien clans who came after the destruction of
Sikyatki, and consequently are not to be expected on its pottery.
Their place was taken by other characteristite forms closely allied
to rectangular terraced figures from which hang parallel lines, rep-
resenting falling rain in modern symbolism.t. The typical Sikyatki
rain-cloud symbol is terraced without rain symbols and finds its
nearest relative on pottery derived from the eastern pueblo region.

1Introduced into the Hopi pueblos by colonists from the Rio Grande; its most con-
spicuous variant can be seen on the tablets worn in a masked dance called Humis (Jemez)
Kachina.

FoWKES] THE RUIN, SIKYATKI PAST

The form of rain-cloud symbol on Sikyatki pottery may be regarded
as characteristic of the Kokop clan which, according to legends,
settled this ancient pueblo. Modified variants of this form of rain-
cloud symbol occur on almost every specimen in the Sikyatki collec-
tion, and can be seen hanging from “sky-bands” with appended
star signs or without such connections.

The most common Sikyatki symbol of a rain cloud is shown in fig-
ure 89 and plate 90, 7,7. These rain-cloud designs rarely occur singly,
being more often six in number, as if
intended to represent the six cardinal
points recognized in Hopi ceremonies.
We find the Sikyatki rain-cloud symbols
resembling somewhat those of the mod-
ern Zuni, or figures of clouds found on
the characteristic designs on Little
Colorado ceramics. Somewhat similar angular terraced forms are
almost universally used in eastern pueblos as rain-cloud symbols, but
the semicircular forms (fig. 90) of modern Hopi ceremonials, being
apparently a highly specialized modification, rarely occur on Sikyatki
pottery.

Fie. 89.—Rain cloud.

Srars

The star sign occurs as an equal armed cross formed by the ap-

proximation of four squares, leaving a central uncolored area. It is

generally accompanied by a rain-cloud

symbol or bird figures, although likewise

found without them. We often find one

arm of the component arms of the cross

missing and two of the remaining arms

adherent to a band; often these crosses

have a circular enlargement at the junc-

ne i A tion of their arms. A simple equal armed

cross is the sole decoration on the interior

of numerous food bowls, and there are several examples of St.

Andrew’s crosses, the triangular arms of which have been in-

terpreted as representing four conventionalized birds; no exam-

ple of a cross with unequal arms has yet been found on Sikyatki
pottery.

These crosses, like that with four arms representing the Sky god
in modern Hopi symbolism, probably represent the Heart of the Sky.
A similar cross is figured on paraphernalia used in modern Hopi
rites or on altar slabs; when it is represented by a wooden frame, it
is called tokpela, and hangs before the altar. The same object is
sometimes attached horizontally to the top of the helmet of the

74936°—19—33 rrH——17 -

258 DESIGNS ON HOPI POTTERY [ETH. ANN. 33

personification of the Sky godt The swastika is rare in ancient
pottery and was not found at Sikyatki, although a single example was
dug up at Awatobi and a few others were obtained from the Little
Colorado ruins.

A multiple cross, formed of three parallel lines crossing three others
at an angle, generally accompanies certain conventionalized figures
of birds and in one example there are two multiple crosses, one on
one side and one on another of a moth or butterfly symbol. The
multiple cross is supposed to represent six canes used in a game,
and on a prehistoric decorated bowl from ancient Shongopovi,? we
find what appears to be a highly conventionalized bird figure occu-
pying one-half of the interior of the bowl, while four figures repre-
senting these canes appear on the other. The bird figure, in this
instance, is interpreted as a gambler’s god, or a representation of the
god of chance.

Sun Emeiems

The most conventionalized sun emblem is a circle or ring with
attached feathers. The Sikyatki design (pl. 87, >) is a circle bear-
ing on its periphery appendages believed to represent feathers,

with accompanying lines, gen-
erally painted red, to represent
the rays of the sun.°

Le The identification of the bird

whose feathers are used in sun

@ emblems has not yet been made,
although the position of similar

feathers on the body of other bird

designs suggests that they repre-

sent eagle feathers. The feather

of the eagle is commonly associ-

Fic. 91.—Ring with appended feathers. ated with both ancient and mod-
ern pictures representing the sun. Thus we have on a vessel from
Sikyatki in figure 91 a design bearing four feathers arranged at in-
tervals a quadrant apart alternating with radiating lines. If we
interpret this figure in the light of modern symbolism the circle

1Qne symbol of the Sky god has the form of a Lightning god. It has a single curved
horn on the head, lightning symbols on the legs, and carries a wooden framework in one
hand and a bull-roarer in the other.

2Twenty-second Ann. Rept. Bur. Ethn., pt. 1, fig. 74.

%In modern Hopi symbolism the sun is a disk with representations of eagle feathers
around the periphery and radial lines at each quadrant, symbolic of the sun’s rays. In
disks worn on the back where real feathers are used the radial lines, or the sun’s rays, are
represented by horsehair stained red. In ceremonials the Sky god is personated by a bird
whose figure occurs on Sikyatki pottery.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 87

BIRD, SUN, AND SPIDER AND SUN SYMBOLS

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 88

CONVENTIONALIZED BIRD FIGURES

FEWKES] THE RUIN, SIKYATKI 259

would be regarded as the sun and the feathers would be identified
as eagle feathers, while the lines might be considered to represent
the red rays of the four cardinal points.

In a bowl found at old Shongo-
povi, a ruin inhabited at the same epoch
as Sikyatki, the sun takes the form of a
sky bird. In this design the ring figure
is replaced by a bird with wings, tail,
and a beak, evidently the sun bird, hawk, F'6- 92.—Two circles with figure.
or eagle (pl. 88, a).

A theoretical interpretation of plate 88, b, is facilitated by a com-
parison of it with the design painted on a bowl from the Wat-
tron collection, now in the Field Colum-
bian Museum. As this has all the
parts represented in figure 75, the con-
clusion would naturally be that the in-
tention of the artist was to represent a
bird figure.

Ring or circle shaped figures are found
on several bowls from Sikyatki, and in
one case (fig. 92) we find two circles
side by side separated by a rectangular
figure. The meaning of these rings and
the accompanying design is not known.
Concentric circles diametrically accompanied with two figures,
one with a head and two lateral feathers, the other with the
form of a hash-knife figure, are shown
in figure 93.

In figure 94 the appendages of the
ring design or sun emblem is much
more complicated than any of the pre-
ceding. Each of the four quadrants
has two appendages, a cluster with two
feathers, and a curved body with a
sickle-shaped extension, the whole giv-
ing a swastika-like appearance to the
design. The interior of the circle is
likewise complicated, showing a structure difficult to interpret. From
comparisons with preceding figures this is likewise regarded as a
sun emblem.*

Fie. 93.—Sun with feathers.

Fie. 94.—Sun symbol.

1In the Hopi ceremony, Powatawu, as performed at Oraibi, a picture representing the
sun composed of a number of concentric circles of four different colors is made of sand
on the kiva floor.

260 DESIGNS ON HOPI POTTERY [PTH. ANN. 38

The ring or circle shown in figure 95 hangs from a band that
may be likened to the sky-band of previous description.t A tri-
angle* is attached to the upper side of
this band, while appended to the ring
itself there is a featherlike object corre-
sponding to a bird’s tail and wing. This
figure is unique in the Sikyatki collection
of ancient Hopi pictography.

In figure 96 we find a leg appended to
the lower side of the ring balanced by
three wing
feathers above

Fic. 95.— Ring with appended OF ON the Oppo-
feathers. site side, two

curved or crescentic extensions project-
ing from the rear, diametrically opposite
which arises a curved body (head) with
terminating sickle-shaped prolongation.
This figure may be considered a bird fic. 96.—Ring figure with legs
design, having the tail twisted from a one ees
lateral to a vertical position and the wing raised from the body.
In figure 97 we find a similar ring still further modified, the ap-
pendages to it being somewhat different. The ring is here broader
than the last, inclosing an area
crossed by two lines forming a
cross, with short parallel lines
at the ends of each arm. There
is a head showing a circular
face with dots indicating eyes
and mouth. The head bears a
crest of feathers between two
horns. Here we have in place
of the appendage to the lower
side an elongated curved pro-
jection extending to the left,
balanced by a short, stumpy,
curved appendage on the right,
while between these append-
ages hang four parallel lines
suggesting the highly conventional feathers of a tail. The horns
with the crest of feathers between them recall the crest of the Sun

ic. 97.

Sun emblem with appended feathers.

11f we interpret the sky-band as the path of the sun in the zenith the solar emblem
hanging to it is significant.

* Some of the significant sun masks used by the Hopi have the mouth indicated by a
triangle, others by hourglass designs,

FUWKES] THE RUIN, SIKYATKI 261

god, of the Kachina clan, called Tunwup, a Sky god who flogs the
children of modern Walpi.

The ring design in figure 98 has a bunch of three feathers in each
quadrant, mecalling the Geaten of a sun emblem so well shown ue
other kinds of feathers in plate 76, 6.

In figure 99 we have a circle with four
appended bifurcated geometrical extensions
projecting outward on the periphery, and
recalling featherless tails of birds. This is
also a highly conventionalized sun emblem
reduced to a geometrical figure.

In connection with all these circular fig-
ures may be considered that shown in figure
92, the form of which is highly suggestive. BiG) 26.5 SUnysyMbOl-
In the various modificaticns above mentioned we detect two elements,
the ring and its peripheral appendages, interpreted as feathers, head,
feet, and other bird organs. Sometimes the ring predominates, some-
times the feathers, and sometimes a bird figure replaces all, the ring
being lost or reduced in size. This variation is primitive and quite
consistent with the Pueblo concep-
tions and analogies known to occur
in Hopi ceremonial paraphernalia.
This variation illustrates what is
elsewhere said about the influence of
the magic power on the pictorial art
of Hopi.t

The sun, to the Hopi mind, is
likewise represented by a bird,
or a compound of both becomes
a Sky-god emblem; the horned
serpent is the servant of the Sky
god.

We find among the modern Hopi several disks with markings
and decorations of such a character that they are identified as
representations of the sun. One of these is worn by the leader of the
kachinas in a ceremony called the Powama, an elaborate rite, the
purpose of which is to purify from evil influences. This Sun god?

Fic. 99.—Sun symbol.

1 Pictures made by prehistoric man embody, first, when possible, the power of the
animal or thing represented, or its essential characteristics; and second, the realistic
form, shape, or outline.

2 Several Hopi clans celebrate in a slightly different way the return of their Sun god,
which is known by different names among them. The return of the Sun god of the
Kachina clan at Walpi, commonly called Ahiil, is elsewhere described. Shalako, the Sun
god of the Patki clans, was derived from the Little Colorado region, the same source from
which the Zuni obtained their personage of the same name. His return is celebrated on
the East Mesa of the Hopi at Sichomovi, the ‘“‘ Zui pueblo among the Hopi.” Pautiwa
is a Sun god of Zuni clans at Sichomovi and is personated as at Zufli pueblo. Kwataka,
or the Sun god whose return is celebrated at Walpi in the winter solstice, Soyaluna, is
associated with the great plumed serpent, a personation derived from the peoples of the
Gila or some other river who practice irrigation. LEototo is a Sikyatki Sun god, derived
from near Jemez, and is celebrated by Keres colonists.

262 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

is called Ahiil, and the symbolism of his mask, especially feathers
attached to the head, suggests some of the Sikyatki designs con-
sidered above.

Recrancuniar Figures RepreseNTING SHRINES

The word pahoki, prayer-stick house or “shrine,” is applied by the
modern Hopi to the receptacle, commonly a ring of stones, in which
prayer offerings are deposited, and receives its name from the special
supernatural personage worshiped. These shrines are regarded as
sacred by the Hopi and are particularly numerous in the neighbor-
hood of the Hopi mesas.t| They are ordinarily simply rude inclo-
sures made of stones or flat stone slabs set on edge, forming boxes,
which may either be closed or open on one side. The simplest pic-
tographic representation of such a shrine is the same as that of a
house, or a circular or rectangular figure. A similar design is drawn
in meal on the floor of the kiva or traced with the same material on
the open plaza when the priest wishes to represent a house or shrine.
Elaborate pictures made of different colored sands to represent gods
are often inclosed by encircling lines, the whole called a house of
the gods. Thus the sand picture on the Antelope altar of the Snake
dance is called the house of the rain-cloud beings.? When reptiles
are washed on the ninth day of the Snake dance they are said to be
thrown into the house, a sand picture of the mountain lion. It is
customary to make in some ceremonies not only a picture of the god
worshiped, but also a representation of his or her house. The custom
of adding a picture of a shrine to that of the supernatural can be seen
by examining a series of pictures of Hopi kachinas. Here the shrine
is a rain-cloud symbol introduced to show that the house of the
kachina represented is a rain cloud.

Sikyatki bowls decorated with figures identified as supernaturals
often bear accompanying designs which may, from comparative
reasoning, be interpreted as shrines of the supernatural being de-
picted. They have at times a form not unlike that of certain sand
pictures, as in the case of the curved figure accompanying a highly
conventionalized plumed serpent. A great variety of figures of this
kind are found on Sikyatki bowls,* and often instead of being a
rectangular figure they may be elongated more like a prayer offering.

The rectangular figure that accompanies a representation of a
great horned serpent (fig. 100) may be interpreted as the shrine
house of that monster, and it is to be mentioned that this shrine ap-
pears to be surrounded by radial lines representing curved sticks

1Wewkes, Hopi Shrines Near the Bast Mesa, Arizona, pp. 346—375.

2The sand picture made by the Antelope priest is regarded as a house of the rain gods
depicted upon it.

% Seventeenth Ann, Rept. Bur. Amer. Ethn., pt. 2.

FHWKES] THE RUIN, SIKYATEI . 263

like those set around sand pictures of the Snake and Antelope
altars of the Snake ceremonies at Walpi.t

It is suggest-
ed that the fig-
ure below the
mountain sheep
(see fig. 18)
and the circles
with dots ac-
companying
the butterfly
and bird de-
signs may also
represent
shrines. At-
tention is also
called to the
fact that each
of the six ani-
mal figures of
the elaborate
butterfly vase
(pl. 90, ¢) is ac-
companied by a
rectangular de-
sign represent-
ing a shrine in

which feathers
Fic. 100.—Horned snake with conventionalized shrine. are visible.

The general forms of these shrines are shown in figures 101
and 102. The one shown in figure 103 is especially instructive

from its association with a highly conventionalized
animal.
The Sikyatki epoch of Hopi ceramics is more
a

closely allied to early Keresan? than to ancient
Tanoan, and has many likenesses to modern Keresan
pottery. In fact, none of the distinctive figures have
yet been found on true Tanoan ware in any great
numbers. There appear also no evidences of incre-

1The author has a drawing of the Snake altar at Michongnovi by
an Indian, in which these crooks are not represented vertically but
horizontally, a position illustrating a common method of drawing
among primitive people who often represent vertical objects on a
horizontal plane. An illustration of this is seen in pictures of a medicine bowl where
the terraces on the rim normally vertical are drawn horizontally.

2JIn using this term the author refers to an extreme area in one corner of which still
Survive pueblos, the inhabitants of which speak Keres.

b
Fic. 101.—-Shrine.

264 DESIGNS ON HOPI POTTERY

[BTH. ANN. 33

ments peculiar to the Little Colorado culture center of which Zuni
is the modern survival; consequently we look in vain for evidence of

b
Fie. 102.—Shrine.

early communication between these
two centers; possibly Sikyatki fell
before Zuni attained any promi-
nence in the Little Colorado area.t

Symeots IntTropuCcED rrom SAN
JuAN River SETTLEMENTS

Although the majority of Hopi
priests declare that the earliest
clan to settle Walpi was the Bear,
coming from the east, by far the
largest number of early colonists
are said to belong to the Snake
people which came from Tokonabi
and other great settlements on
tributaries of the San Juan in
northern Arizona. The route of

their migration is fairly well known from legendary sources sup-
ported in late years by some limited excavations that have been made

in ruins along its course,
so that we know something
of the character of the
Snake pottery and the sym-
bols, which these early col-
onists brought to the Bear
settlement at the base of
the East Mesa. These are
not unlike those found
along the San Juan and its
tributaries from the Mesa
Verde to Wukoki near the
Black Falls on the Little
Colorado, west of the Hopi
Mesa.

This ware is commonly
either black and white, or

103. — Conventionalized winged bird with
shrine,

red, and can be readily distinguished from that of Sikyatki by the
wealth of geometrical decorations and the poverty of such animal
figures as birds, reptiles, and insects. The designs of that early epoch
appear to be uniform and hardly distinctive from those that occur

in all parts of the Southwest.

1There is no published evidence in Zuni legends that Sikyatki received increments

from that pueblo.

FEWKES] THE RUIN, SIKYATKI 265

We may judge of the character of the symbols and designs on
pottery from the San Juan and from the ruins of Wukoki on the
Black Falls of Little Colorado. It is characterized by an abun-
dance of geometric figures and an almost total absence of life forms
or painted figures of men and animals. The pottery is thin, well
made, and sometimes colored red, but the majority of specimens are
gray or black-and-white ware not especially different from a wide-
spread type occurring pretty generally throughout the Southwest.
Coiled and incised ware is more abundant than smooth painted, but
these are not as varied in form as later examples. There is no evi-
dence available that there was any very great difference between the
Hopi pottery decorations of the first epoch and that of contemporary
time in the Southwest. When the Snake clans arrived at Walpi
they found the village of Bear people living on the terrace at the
base of the East Mesa, possessed of a symbolism like that. of Sikyatki.
The combined clans, Bear and Snake, were later joined by the Horn
and Flute, and it is not unlikely that some of the likenesses between
the pottery symbols of the settlement on the terrace below Walpi
and Sikyatki may have developed about this time.?

The designs on the ceramics of the Snake clans are best illus-
trated by the prehistoric pottery from ruins and cliff-dwellings in
Utah and along the San Juan area, where geometrical patterns
far outnumber those representing life forms. This does not deny
that many of the pieces of pottery from this region are finely made,
equal in technique perhaps to some of the Sikyatki, but the geo-
metric designs on San Juan pottery and that from Sikyatki are
radically different. This difference conforms with tradition that
the Snake clans left their homes at Tokonabi, in the San Juan
region, and came to Hopi after the foundation of Sikyatki, which
had probably developed its beautiful ceramic art before Walpi was
settled. There is no evidence that the potters of the Snake clan
ever introduced any modification in the symbolic decoration of
pottery by the women of Sikyatki.

Sympots InrrRopUCED BY THE SNAKE PEOPLE

The designs on pottery taken from prehistoric ruins of pueblos
or villages once inhabited by the Snake clans claim the archeologist’s
especial attention. These clans were the most important early addi-
tions to the Hopi villages and no doubt influenced early Hopi
symbolism. There is little trace in early pottery that can be rec-
ognized as peculiar to the Snake. The Snake clans formerly lived
at Betatakin, Kitsiel, and neighboring ruins.

1Since the author's work at Sikyatki, excavations have been made by the Field Colum-
bian Museum at this ruin, but nothing bearing on the relations of symbols has been pub-
lished so far as known to the writer.

966 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

Among many significant differences that occur between the de-
signs on pottery from the ruins in Navaho National Monument and
those of Sikyatki may be mentioned the rarity of bird designs and
the conventional feathers above described. Parallel lines and tri-
angles have been found on the pottery from Kitsiel and Betatakin.
Terraced figures are common; spirals are rare. Pottery designs
from this region are simpler and like those of the Mesa Verde cliff-
houses and the ruins along the San Juan River. Not only do the
designs on prehistoric Sikyatki pottery have little resemblance to
those from Tokonabi, a former home of the Snake clan, but the
pottery from this region of Arizona is of coarser texture and differ-
ent color. It is the same as that of the San Juan area, the decora-
tions on which are about uniform with those from the Mesa Verde
and Chelly Canyon. The best vases and bowls are of red or black-
and-white ware.

In the pottery symbols of the clans that lived at Tokonabi (Kit-
siel, Betatakin, etc.) the archaic predominated. The passage archi-
tecturally from the fragile-walled dwelling into Prudden’s pueblo
“unit type” had taken place, but the pottery had not yet been
greatly modified. Even after the Snake clans moved to Wukoki,
near the Black Falls of the Little Colorado, we still find the sur-
vival of geometrical designs characteristic of the prepuebloan epoch.
Consequently when the Snake clans came to Walpi and joined the
Hopi they brought no new symbols and introduced no great changes
in symbols. The influence of the clans from the north was slight—
too small to greatly influence the development of Hopi symbolism.

TANOAN EPOCH

The Tanoan epoch in the chronology of Hopi pottery symbolism
is markedly different from the Keresan. It began with the influx
of Tanoan clans, either directly or by way of Zufi and the Little
Colorado, being represented in modern times by the early creations
of Hano women, like Nampeo. It is clearly marked and readily
distinguished from the Sikyatki epoch, being well represented in
eastern museums by pottery collected from Hano, the Tewan pueblo
on the East Mesa.

Migrations of Tanoan clans into the Hopi country began very
early in Hopi history, but waves of colonists with Tanoan kinship
came to Walpi at the close of the seventeenth century as a result of
the great rebellion (1680), when the number of colonists from the
Rio Grande pueblos was very large. The Badger, Kachina, Asa,
and Hano clans seem to have been the most numerous and important
in modifying sociological conditions, especially at the East Mesa of
the Hopi. Some of these came directly to Walpi, others entered by

FEWKES] TANOAN EPOCH 267

way of Zufi, and still others by way of Awatobi. They brought
with them Tanoan and Keresan symbolism and Little Colorado
elements, all of which were incorporated. The Tanoan symbols are
very difficult to differentiate individually but created a considerable
modification in the artistic products, as a whole.

The symbolism that the colonists from the Little Colorado settle-
ments brought to Walpi was mixed in character, containing certain
Gila Valley elements. Among the last-mentioned were increments
derived directly from Zuii, as shown in the symbolism of their pot-
tery. Among the most important thus introduced were contributions
of the Asa, Kachina, Badger, and Butterfly clans. The most im-
portant element from the Little Colorado clans that originally came
from the Gila Valley (Palatkwabi) are those connected with the
plumed serpent.t It is possible to trace successive epochs in the
history of ceramic decoration in the Little Colorado ruins and to
identify, in a measure, the clans with which these epochs were asso-
ciated, but to follow out this identification in this paper would take
me too far afield and lead into a discussion of areas far distant from
the Hopi, for it belongs more especially to the history of ceramic
decorations of Zuni decoration and composition.? In the present
article all the Little Colorado influences are treated as belonging to
the Tanoan epoch, which seems to have been the dominant one in the
Little Colorado when emigration, comparatively modern in time,
began to Hopi. :

Symeots InrropucEeD FROM THE LirrLE CoLorapo

After the destruction of Sikyatki there was apparently a marked
deterioration in the excellence of Hopi ceramics, which continued as
late as the overthrow of Awatobi, when the Sikyatki epoch ceased.
Shortly before that date and for a few years later there was a
notable influx of foreigners into Hopiland; a number of southern
clans from the Little Colorado successively joined the Hopi, bringing
with them cultural conceptions and symbolic designs somewhat
different from those existing previously to their advent. Among”
these clans are those known in migration legends as the Patki peoples.
Although we can not distinguish a special Patki epoch in Hopi
ceramics, we have some ideas of the nature of Patki symbolism
from large collections from Homolobi, Chevlon, and Chavez Pass.

1 The Tanoan people (clans) also introduced a horned snake, but different in symbolism
from that of the Patki clans.

? The oldest pottery in the Zui Valley belongs to the same group as that of the oldest
Little Colorado ruins and shows marked Gila Valley symbolism. The modern pottery of
Zuni is strongly influenced by Tanoan characters. As these have been transmitted to
Hopi they are considered under the term ‘ Tanoan epoch,” derived from Little Colorado
settlements to which Zuii culturally belongs.

268 DESIGNS ON HOPI POTTERY [ETH. ANN, 33

From traditions and ceremonial objects now in use we also know
something of the nature of the objective symbols they introduced into
Walpi, and we can detect some of these on pottery and other objects
used in ceremonies at Walpi. Some of these symbols did not come
directly from the Little Colorado ruins, but went first to Awatobi
and from there to Walpi? after the destruction of the former pueblo
in the autumn of the year 1700. The arrival of southern clans at the
East Mesa with their characteristic symbols occurred approximately
in the seventeenth century, about 200 years after the date of the
discovery of Hopi by Tovar. Awatobi received the Rabbit, Tobacco,
and other clans from this migration from the south between the years
1632 and 1700, and Walpi received the Patki shortly after or at the
same time the Hano clans came from the far east. The similarities
in ancient pottery from the Little Colorado and that belonging to the
Sikyatki epoch can not be ascribed to anything more profound than
superficial contact. It is not probable that the ancient pottery of
Awatobi or that of Kawaika and other Keres pueblos on the Awatobi
mesa or in the adjacent plain was modified in any considerable degree
by incoming clans from the south, but survived the Sikyatki epoch
a century after Sikyatki had been destroyed.

The advent of the clans from the Little Colorado into the Hopi
country was too late to seriously affect the classic period of Hopi
ceramics; it appears also not to have exerted any great influence on
later times. Extensive excavations made at Homolobi, Chevlon, and
Chavez Pass have revealed much pottery which gives a good idea of
the symbolism characteristic of the clans living along this valley,
which resembles in some respects the classic Hopi pottery of the time
of Sikyatki, but several of these likenesses date back to a time before
the union of the Hopi and Little Colorado clans. As a rule the bird
figures on pottery from Homolobi, Chevlon, Chavez Pass, and other
representative Little Colorado ruins are more realistic and less con-
ventionalized and complex than those from Sikyatki. The peculiar
forms of feathers found so constantly in the latter do not occur in the
former, nor does the sky-band with its dependent bird figure ever
occur on Little Colorado ware. We are here dealing with less-devel-
oped conventionalism, a cruder art, and less specialized symbolism.
Even if the colors of the pottery did not at once separate them, the
expert can readily declare whether he is dealing with a bowl from
Sikyatki or Homolobi. There are, to be sure, likenesses, but well-
marked differences of local development. The resemblances and dif-
ferences in the case of bird figures on prehistoric Hopi ware and that
from the ruins on the Little Colorado can be readily shown by consid-
ering figures 105, 106, and 107, found at Homolobi and Chevlon, and

1Pakatecomo in the plain below Walpi was their first Hopi settlement.

FEWKES] TANOAN EPOCH 269

the corresponding preceding bird figures. It may be interesting to
instance another example. Figure 104 shows a lateral view of a bird
with wings extended, bearing marginal dentations representing feath-
ers on the breast and a tail composed of four triangular feathers and
two eyes, each with iris and pupil. The upper and lower jaws in this
figure are extended to form a beak, as is customary in bird designs
from the Little Colorado ruins, but never found at Sikyatki. In
figure 105 we have another lateral view of a characteristic bird design

Fic. 104.—Lateral view of bird with double eyes.

from the Little Colorado region, and figures 106 and 107 show hour-
glass bodies, a special feature of the same region.

In the same way many other distinctive characteristics separating
figures of animals from the two regions might be mentioned. Those
above given may suffice to show that each is distinctive and in a way
specialized in its development, but the main reason to believe that
the clans from the Little Colorado never affected the symbolism of
Sikyatki is the fact that the latter ruin was destroyed before these
clans joined the Hopi villages.

270 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

The ruins Homolobi and Chevlon were probably inhabited well
into historic times, although there is no archeological evidence that
artifacts from them were modified by European influences. The
symbolism on pottery shows that their culture was composite and
seems to have been the result of acculturation from both south and
east. Some of the clans, as the Tobacco, that peopled these settle-
ments joined Awatobi before its overthrow, while others settled at
Pakatcomo, the ruins of which near Walpi are still visible, and later
united with the people of the largest village of the East Mesa. So
far as known. Sikyatki had been destroyed before any considerable
number of people had entered
the Hopi country from the
Little Colorado, the event oc-
curring comparatively late in
history.

The pottery from the Little
Colorado differs from prehis-
toric Hopi ware much _ less
with respect to geometrical
designs than life forms. The
break in the encircling line,
or, as it is called, the life gate,
which is almost universally
found on the ancient Hopi
vases, bowls, dippers, and
other objects, occurs likewise
Fig. 105.—Lateral view of bird with double eyes. on pottery from Little Colo-
rado ruins. Some of the encircling lines from this region have more
than one break, and in one instance the edges of the break have
appendages, a rare feature found in both prehistoric Hopi and Little
Colorado ware.?

The influence of Keres culture on Zuhi may be shown in several
ways, thus: A specimen of red ware from a shrine on Thunder
Mountain, an old Zuni site, is decorated with symbolic feathers
recalling those on Sikyatki ware ascribed to eastern influence. The
nonappearance of Keres and Tewa symbols on ancient pottery from
the Zuni Valley ruins, Heshotauthla and Halonawan, and their

1As has been pointed out, the designs on ancient Zui ware are closely related to those
of ruins farther down the Little Colorado, and are not Hopi. Modern Zuni as well as
modern Hopi pueblos were influenced by Keres and Tewa culture superimposed on the
preexisting culture, which largely came from the Gila.

2, No invariable connection was found in the relative position of this break and figures
of birds or other animals inclosed by the broken band. The gaps in different encircling
bands on the same bowl are either diametrically opposite each other or separated by a
quadrant, a variation that would appear to indicate that they were not made use of in a
determination of the orientation of the vessel while in ceremonial use, as is true of certain
baskets of modern Navaho.

FEWKES] TANOAN EPOCH bAgalt

existence in the mountain shrine above mentioned, implies that the
latter settlement is more modern, and that the eastern clans united
with preexisting Little Colorado clans comparatively late in its
history. The first settlements in Zui Valley were made by colonists
from the Gila. There are several ceremonies in the Walpi ritual
which, like the New Fire, although immediately derived from Awa-
tobi, came originally from Little Colorado pueblos, and other cere-

Fic. 106.—Bird with double eyes.

monies came directly to Walpi from the same original source.
Among the former are those introduced by the Piba (Tobacco) clan,
which brought to Walpi a secret fraternity called the Tataukyamu.
This brotherhood came directly from Awatobi, but the Tobacco clan
from which it was derived once lived in a pueblo on the Little Colo-
rado, now a ruin at Chevlon, midway between Holbrook and Wins-
low.1 The identification of the Chevlon ruin with the historic

1The author has the following evidence that the inhabitants of the village at Chevlon
were the historic Chipias. The Hopi have a legend that the large ruin called Tcipiaiya
by the Zuni was also situated on a river midway between Walpi and Zuii. The Hopi
also say that the Chevlon pueblo was inhabited by the Piba (Tobacco) clan and that the
Awatobi chief, Tapolo, who brought the Tataukyamu fraternity to Walpi from Awatobi,
belonged to the Tobacco clan. The Tewa name of the Tataukyamu is Tcipiaiyu, or “men
from Tcipia.”

272 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

Chipias has an important bearing on the age of the Little Colorado
ruins, for Padre Arvide, a Franciscan missionary, was killed in 1632
by the Chipias, who lived west of Zuni. In other words, their
pueblo was then inhabited.

We know that the Piba joined Awatobi before 1700, or the year it
was destroyed; consequently the desertion of the Chevlon ruin
(Chipiaya, or Tcipiaiya) evidently occurred between 1632 and 1700,

Fic. 107.—Two birds with rain clouds.

not so much on account of Apache inroads as from fear of punish-
ment by the Spaniards. As no clans from the other large pueblo on
the Little Colorado or Homolobi joined Awatobi, we can not defi-
nitely fix the date that this group fled to the north, but it was prob-
ably not long after the time the Chevlon clans migrated to Awatobi,
from which it follows that the Little Colorado settlements were in-
habited up to the middle of the seventeenth century. While the

1Jt is known from an inscription on El Morro that a punitive expedition to avenge the
death of Father Letrado was sent out under Lujan in the spring of 1632, hence the guilty
inhabitants may have abandoned their settlement and departed for Hopi at about that
time.

FEWKES] TANOAN EPOCH 273

Little Colorado clans did not influence the Sikyatki pottery, they did
affect the potters of Awatobi to a limited extent and introduced some
symbols into Walpi in the middle of the seventeenth and eighteenth
centuries. Among these influences may be mentioned those derived
from Awatobi after its destruction in 1700. It is not possible to
state definitely what modifications in pottery symbols were intro-
duced into Walpi by the potters of the clans from Awatobi and the
Little Colorado. Possibly no considerable modification resulted
from their advent, as there was already more or less similarity in
the pottery from these geographical localities. The southern clans
introduced some novelties in ceremonies, especially in the Winter
Solstice and New-fire festivals and in the rites of the Horned Serpent
at the Spring Equinox.

Symeots InrropuceD BY THE BapGer AND Kacuina CLANS

As the clans which came to the Hopi country from Zuni were com-
paratively late arrivals of Tewa colonists long after the destruction
of Sikyatki, their potters exerted no influence on the Sikyatki potters.
The ancient Hopi ceramic art had become extinct when the clans
from Awatobi, the pueblos on the Little Colorado, and the late Tewa,
united with the Walpi settlement on the East Mesa. The place
whence we can now obtain information of the character of the sym-
bolism of the Asa, Butterfly, Badger, and other Tewan clans is in
certain ceremonies at Sichomovi, a pueblo near Walpi, settled by
clans from Zuni and often called the Zuni pueblo by the Hopi. One
of the Sichomovi ceremonies celebrated at Oraibi and Sichomovi
on the East Mesa, in which we may find survivals of the earliest Tewa
and Zuni symbolism, is called the Owakiilti. The Sichomovi variant
of the Owakiilti shows internal sociologic relation to the Butterfly or
Buli (Poli) clan resident in Awatobi before its fall. This state-
ment is attested by certain stone slabs excavated from Awatobi
mounds, on which are painted butterfly symbols. The Walpi Lala-
konti, first described by the author and Mr. Owens in 1892, has also
survivals of Awatobi designs. It appears that while it is not easy
to trace any of the rich symbolism of Awatobi directly into Walpi
pottery, it is possible to discover close relations between certain
Awatobi symbols and others still employed in Walpi ceremonials.
Sikyatki and Awatobi were probably inhabited synchronously and
«us kindred people had a closeiy allied or identical symbolism; there
is such a close relation between the designs on pottery from the two
ruins that Awatobi symbols introduced into Walpi have a close
likeness to those of Sikyatkit

1The Buli (Poli) clan is probably Tewa, as the word indicates, which would show that
Tewa as well as Keres clans lived at Awatobi. No legend mentions Buli clans at Sikyatki,
but several traditions locate them at Awatobi.

74936°—19—33 ETH 18

274 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

The natural conservatism in religious rites of all kinds has brought
it about that many of the above-mentioned designs, although aban-
doned in secular life of the Hopi, still persist in paraphernalia used
in ceremonies. It is therefore pertinent to discuss some of these
religious symbols with an idea of discovering whether they are asso-
ciated with certain clans or ruins, and if so what light they shed on
prehistoric migrations. In other words, here the ethnologists can
afford us much information bearing on the significance of prehistoric
symbols,

One great difficulty in interpreting the prehistoric pictures of
supernaturals depicted on ancient pottery by a comparison of the
religious paraphernalia of the modern Hopi is a complex nomen-
clature of supernatural beings that has been brought about by the
perpetuation or survival of different clan names for the same being
even after union of those clans. Thus we find the same Sky god with
many others all practically aliases of one common conception. To
complicate the matter still more, different attributal names are also
sometimes used: The names Alosaka, Muyinwu, and Talatumsi are
practically different designations of the same supernatural, while
Tunwup, Ho, and Shalako appear to designate the same Sky-god
personage. Cultus heroines, as the Marau mana, Shalako mana,
Palahiko mana, and others, according as we follow one or another
of the dialects, Keres or Tewa, are used interchangeably. This
diversity in nomenclature has introduced a complexity in the Hopi
mythology which is apparent rather than real in the Hopi Pantheon,
as their many names would imply.t' The great nature gods of sky
and earth, male and female, lightning and germination, no doubt
arose as simple transfer of a germinative idea applied to cosmic
phenomena and organic nature. The earliest creation myths were
drawn largely from analogies of human and animal birth. The
innumerable lesser or clan gods are naturally regarded as offspring
of sky and earth, and man himself is born from Mother Earth. He
was not specially created by a Great Spirit, which was foreign to
Indians unmodified by white influences.

As the number of bird designs on Sikyatki pottery far outnumber
representations of other animals it is natural to interpret them by
modern bird symbols or by modern personations of birds, many
examples of which are known to the ethnological student of the Hopi.

Tn one of a series of dances at Powamt, which occurs in February,
men and boys personate the eagle, red hawk, humming bird, owl,
cock, hen, mocking bird, quail, hawk, and other birds, each appro-
priately dressed, imitating cries, and wearing an appropriate mask

1A unification of names of these gods would have resulted when the languages of the
many different clans had been fused in religions, as the language was in secular usage.
The survival of component names of Hopi gods is paralleled in the many ancient re-
ligions.

FEWKES] TANOAN EPOCH ‘ PHS

of the birds they represent. In a dance called Pamurti, a ceremony
celebrated annually at Sichomovi, and said to have been derived
from Zuni, personations of the same birds appear, the men of Walpi
contributing to the performance. Homovi, one of the Hopi Indians
who took part, made colored pictures representing all these birds,
which may be found reproduced in the author’s article on Hopi
katcinas.1

In the Hopi cosmogony the Sky god is thought to be father of all
gods and human beings, and when personations of the subordinate
supernaturals occur they are led to the pueblo by a personator of
this great father of all life. The celebrations of the Powama, at
the East Mesa of the Hopi, represent the return of the ancestors or
kachinas of Walpi, while the Pamurti is the dramatization of the
return of the kachinas of Sichomovi whose ancestors were Zuni kin.

Life figures or animal forms, as birds, serpents, and insects, de-
picted on Little Colorado pottery differ considerably from those on
Sikyatki ware. Take, for instance, bird designs, the most abundant
life forms on ancient pueblo pottery on the Little Colorado, as well
as at Sikyatki. It needs but a glance at the figures of the former
to show how marked the differences are. The leader of the kachinas
in the Powami, which celebrates the return of these ancestral gods
to the pueblo, Walpi, wears an elaborate dress and helmet with ap-
pended feathers. He is led into the village by a masked man per-
sonating Kototo.?

Symepots Inrropucep rrom AWATOBI

The women saved at Awatobi in the massacre of 1700, according to
a legend, brought to Walpi the paraphernalia of a ceremony still
observed, called the Mamzrauti. Naturally we should expect to find
old Awatobi symbolism on this paraphernalia, which is still in use.
The cultus heroine of the Mamzrauti is the Corn-mist maid, known
by the name of Shalako mana or Palahiko mana.* We have several _
representations of this maid and their resemblance to the pictures
of Shalako mana depicted by Hano potters would imply a common
Tanoan origin.

SmataKko Mana
The most common figure on the third epoch of Hopi pottery, com-

monly called modern Tewa and manufactured up to 1895 by Nampeo,
a Hano potter, is a representation of the Corn maid, Shalako mana,

1 Twenty-first Ann. Rept. Bur. Amer. Ethn.

?Tbid., p. 76. Eototo, also called Masaufi, was the tutelary of Sikyatki, as Alosaka
or Muyinwu was of Awatobi.

2A somewhat similar personage to Shalako mana in Aztec ceremonies was called
Xalaquia (Shalakia).

276 DESIGNS ON HOPI POTTERY [prH. ANN. 33

who, as shown, is the same personage as Marau mana and Palahiko
mana in the festival of the Mamzrauti derived from Awatobi. The
symbol of this goddess is instructive and easily recognized in its
many variations. Her picture on Hano pottery is shown in fig-
ure 108.

The most striking features of her symbolism, brought out in plate
89,.are terraced bodies representing rain clouds on the head, an ear
of maize symbol on the forehead, curved lines over the mouth,
chevrons on the cheeks, conventionalized wings, and feathered gar-
ment. It is also not uncommon to find carved representations of

Tic. 108.—Head of Shalako mana, or Corn maid.

squash blossoms occupying the same positions as the whorls of hair
on the heads of Hopi maidens.

The Shalakotaka male is likewise a common design readily recog-
nized on modern pottery. Particularly abundant are figures of the
mask of a Kohonino god, allied to Shalako, which is likewise called
a kachina, best shown in paraphernalia of the Mamzrauti ceremony.

It sometimes happens in Hopi dramatization that pictures of
supernatural beings and idols of the same take the place of per-
sonations by priests. For instance, instead of a girl or a woman
representing the Corn maid, this supernatural is depicted on a slab of
wood or represented by a wooden idol. One of the best-known fig-
ures of the Corn maid (Shalako mana) is here introduced (pl. 89) to

THIRTY-THIRD ANNUAL REPORT PLATE 89

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BUREAU OF AMERICAN ETHNOLOGY

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BUREAU OF AMERICAN ETHNOLOGY ee ro THIRTY-THIRD ANNUAL REPORT PLATE 90
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FEWKES] TANOAN EPOCH 277

illustrate the relation of old Awatobi and existing Hopi symbolism;
a modern figure (108) of this Corn maid, painted on a wooden slab,
is sometimes carried by the Waipi women in their dance. Figures of
the Awatobi germ god, Alosaka, otherwise called Muyinwit,* are
depicted on the slabs used by most of the women at that time.

The different designs on the slab under consideration (pl. 89) are
indicated by letters and explained as follows: a represents a circular
fragment of the haliotis or abalone shell hanging midway from a
figure of an ear of corn, c. The cheeks are tattooed or painted with
characteristic figures, cb, the eyes rectangular of different colors.
The letter d is a representation of a wooden ear pendant, a square,
flat body covered on one side with a mosaic of turquoise sometimes
arranged in figures. The letter ¢ is the end of a string by which the
ceremonial blanket is tied over the left shoulder, the right arm
being free, as shown in the illustration. Over the right shoulder,
however, is thrown a ceremonial embroidered kilt, fb.

The objects in the hands represent feathers and recall one type of
the conventional feathers figured in the preceding pages. The letters
fr represent falling rain embroidered on the rim of the ceremonial
blanket and rc the terraced rain clouds which in are become
rounded above; g represents a turquoise at the end of a string of tur-
quoise suspended from shell necklaces sn; m represents the butterfly
and is practically identical with the decorations on dados of old Hopi
houses; s represents a star; sb represents shell bracelets, many ex-
amples of which occur in ruins along the Little Colorado; ss is sup-
posed to have replaced the key patterns which some authorities iden-
tify as sprouting beans. There are commonly nine rectangular mark-
ings, nc, on the upper border of the embroidered region of ceremonial
blankets and kilts, each of which represents either a month or a day,
by some said to refer to ceremonial or germ periods.*

The Shalako mana figures have not yet been found in the unmodi-
fied Little Colorado ware, but homologous figures have been found
in the Rio Grande area.

The design (pl. 88, d) with a horn on the ‘eft side of the head
and a rectangle on the right, the face being occupied by a terrace
figure from which hang parallel lines, reminds one of the “ coronets ”
worn on the head by the Lakone maids (manas) in the Walpi Basket
dance of the Lalakonti. The horn in the coronet is without terminal
appendages, although a feather is tied to it, and the rectangle of
plate 88, d, is replaced by radiating slats spotted and pointed at

1 An account of this dance with details of the nine days’ ceremony as presented in the
major or October variant will be found in the American Anthropologist, July, 1892. The
minor or Winter ceremony, in which the Corn maids are personated by girls, is published
in the same journal for 1900. The Corn maid has several aliases in this ceremony, among
which are Shalako mana, Palahiko mana, and Marau mama.

?This Corn maid is one of the most common figures represented by dolls.

278 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

their ends, said to represent the sunflower. The whole design in
plate 88, d, represents a bird, recalling that of the figure Marautiyo
on one of the appended slabs of the altar of the Walpi Marau cere-
mony. In this altar figure we find not only a horn on the left side
of the head, but also a rectangular design on the right.

On the corresponding right-hand side of this altar we have a pic-
ture of Marau mana (Shalako mana). It will thus appear that when
compared with the Lakone coronet the figure on the Shongopovi
bowl represents a female being, whereas when compared with the
figure on the Marau altar it resembles a male being. There is, there-
fore, something wrong in my comparison. But the fact remains
that there survive in the two woman’s festivals—Lakone maid’s
coronet and Marau altar—resemblances to prehistoric Hopi designs
from Shongopovi. Moreover, it is known that the Marau fetishes
are stated by the chief Saliko to have been introduced from Awatobi
into Walpi by her ancestor who was saved at the massacre of that
town in 1700.

The life figures of the Tanoan epoch, or that following the
overthrow of Sikyatki, can be made out by a study of modern
Hano pottery. Perhaps the most complex of these is that of the
Corn maid, Shalako mana. Shalako mana plays a great rdle in the
Mamzrauti, a ceremony derived from Awatobi, and figures repre-
senting her are common designs made on Hano pottery. Designs
representing this being are common on the peculiar basket plaques
made at the Middle Mesa and dolls of her are abundant. The con-
stant presence of her pictures on basket plaques at the Middle Mesa
would also seem to show an ancient presence in the Hopi country,
and indicate an identity of pottery designs from ancient Shumopavi
with those from the East Mesa and Awatobi.?

One of her modern Walpi ceremonies has such pronounced A watobi
symbolism that it may be instanced as showing derivation; viz, the
New-fire festival. The women of the Marau and the men of the
Tataukyamti regard themselves kindred, and taunt each other, as
only friends may without offence, in this festival, and the Tatau-
kyamfi often introduce a burlesque Shalako mana into their per-
formances.

1The two parallel lines on the two outside tail feathers recall the markings on the face
of the War god Puiikonighoya.

2A personation of Shalako mana at Oraibi, according to Mr. H. R. Voth, came from
Mishongnovi. This conforms exactly with the legends that state the Mamzrauti may
have been introduced into Mishongnoyvi from Awatobi, for at the division of the captive
women at Maski many of the women went to that pueblo.

®See Fewkes, The New-fire Ceremony at Walpi, pp. 80-138. The New-fire rites at
Walpi are celebrated in November, when four societies, Aaltf, Wiiwiitcimtf, Tataukyamf,
and Kwakwantt, take part. As in all new-fire ceremonies, phallic or generative rites are
prominent, the Wiiwiitcimtf and Tataukyamfi who kindle the fire being conspicuous in
these rites. Their bodies have phallic emblems painted on them and the latter bear
Zui symbols.

FEWKES] TANOAN EPOCH 279

The designs painted on the bodies and heads of several modern
dolls representing Corn maids are symbols whose history is very
ancient in the tribe. For instance, those of feathers date back to
prehistoric times, and terraced designs representing rain clouds are
equally ancient. The dolls of the Corn maid (Shalako mana) pre-
sent a variety of forms of feathers and the headdresses of many dolls
represent kachinas, and show feathers sometimes represented by
sticks on which characteristic markings are painted, but more often
they represent symbols.*

Symeots or Hano Crans

Hano, as is well known, is a Tewan pueblo, situated on the East
Mesa, which was the last great body of Tewa colonists to migrate to
Hopiland. While other Tewa colonists lost their language and be-
came Hopi, the inhabitants of Hano still speak Tewa and still pre-
serve some of their old ceremonies, and consequently many of their
own symbols. Here were found purest examples of the Tanoan epoch.

The potters of clans introduced symbols on their ware radically
different from those of Sikyatki, the type of the epoch of the finest
Hopi ceramics, and replaced it by Tewan designs which characterize
Hopi pottery from 1710 to 1895, when a return was suddenly made
to the ancient type through the influence of Nampeo. At that date
she began to cleverly imitate Sikyatki ware and abandoned de toto
symbols introduced by Hano and other Tewa clans.

Fortunately there exist good collections of the Tewa epoch of
Hopi ceramics, but the ever-increasing demand by tourists for ancient
ware induced Nampeo to abandon the Tewa clan symbols she for-
merly employed and to substitute those of ancient Sikyatki.?

The majority of the specimens of Hano pottery, like those of the
Tanoan epoch to which it belongs, are decorated with pictures of clan
ancients called kachinas. These have very little resemblance to de-
signs characteristic of the Sikyatki epoch. They practically belong
to the same type as those introduced by Kachina, Asa, and Badger
peoples. One of the most common of these is the design above dis-

1The designs on the wooden slats carried by women in the dance known as the Marau
ceremony are remarkably like some of those on Awatobi and Sikyatki pottery.

2Much of the pottery offered for sale by Harvey and other dealers in Indian objects
along the Santa Fe Railroad in Arizona and New Mexico is imitation prehistoric Hopi
ware made by Nampeo. The origin of this transformation was due partly to the author,
who in the year named was excavating the Sikyatki ruins and graves. Nampeéo and her
husband, Lesou, came to his camp, borrowed paper and pencil, and copied many of the
ancient symbols found on the pottery vessels unearthed, and these she has reproduced on
pottery of her own manufacture many times since that date. It is therefore necessary,
at the very threshold of our study, to urge discrimination between modern and ancient
pottery in the study of Hopi ware, and careful elimination of imitations. The modern
pottery referred to is easily distinguished from the prehistoric, inasmuch as the modern

is not made with as much care or attention to detail as the ancient. Also the surface of
the modern pottery is coated with a thin slip which crackles in firing.

280 DESIGNS ON HOPI POTTERY [BTH. ANN. 83

cussed representing Shalako mana, the Corn maid, shown in figure
109. In this figure we have the face represented by a circle in the
center and many lenticular figures arranged in rows attached to the

Fic. 109.—Head of Kokle, or Earth woman.

neck and shoulders corresponding to the appendages explained in
figure 108. It is said in the legends that when the Corn maid ap-
peared to men she was enveloped in fleecy clouds and wore a

feathered garment. These are indicated
by the curved figures covered with dots
and the parallel linesonthe body. Feather
symbols recalling those of the Sikyatki
epoch hang from appendages to the head
representing rain clouds.

In figure 109 we have a representation
of the head with surrounding clouds, and
portions of the body of a kachina, called
Kokle, who is personated in Winter cere-
monies. It is instructive to note that this
figure has symbols on the head that recall
the Sikyatki epoch. The ancient Tewan

Fic. 110.—Head of Hahaiwugti,
or Earth woman,

earth goddess, Hahaiwugti, is represented in figure 110. She appears
also in figure 111, where her picture is painted on a ladle, the handle
of which represents an ancient Tewan clown called by the Hano

people Paiakyamt.

FEWKES] TANOAN EPOCH 281

The War god, Piiikon hoya, also a Tewan incorporation in the
Hopi pantheon, appears frequently on pottery of the Tanoan epoch,
as shown in figure 112. This figure,
painted on a terra-cotta slab, is iden-
tified by the two parallel marks on
each cheek.

CONCLUSION

In the preceding pages an attempt
has been made to trace the chrono-
logical sequence of pottery symbols in
Hopiland by pointing out distinct
epochs in cultural history and corre-
lating the sociology of the tribe. This
takes for granted that the pottery
symbols characteristic of this people
are directly connected with certain
clans. There have from time to time
been sudden changes in symbols, or
previous designs have suddenly dis- —
appeared and others have taken their Fie. 111.—Ladle with clown caryed
places, as well as a slow development cadre Se Ona OF
of existing symbols into more com-
plicated forms. There persist everywhere survivals of old pre-
puebloan symbols inherited from the past and a creation of new
products of Hopi environment not found elsewhere.

The author will close this paper with
a brief theoretical account of the un-
written culture history of Hopi, part of
which explains certain pottery symbols.
If we take that segment of southwestern
history extending from the earliest to the
present, we find evidences of the exist-
ence of a prepuebloan culture existing
before terraced houses were built or cir-
cular kivas had been used for ceremonial
purposes. This epoch was antecedent to
the construction of the great walled com-

, =—+—— pounds of the Gila, illustrated by Casa
Pic. eiliagie on hoya, little Grande. At that epoch known as the pre-

; , puebloan there extended from Utah to the
Mexican boundary and from the Colorado to the Rio Grande a culture
architecturally characterized by small fragile-walled houses not united
or terraced. These houses were sometimes like pit dwellings, either

Valet ok Sie Sy

282 DESIGNS ON HOPI POTTERY [BTH. ANN. 33

partially or wholly subterranean. When above ground their walls
were supported by upright logs in which canes or brushes were woven
and covered with mud, the roofs being made of cedar bark or straw
overlaid with adobe.

The pottery of this early prehistoric epoch was smooth, painted
mainly with geometric patterns, corrugated, or indented. Rectilinear
or curved lines constituted the majority of the superficial decorations
and life designs were few or altogether wanting. In addition to
these architectural and ceramic characteristics, this prepuebloan
cultural stage was distinguished by many other features, to mention
which would take us too far afield and would be out of place in this
article. Evidences of this stage or epoch occur everywhere in the
Southwest and survival of the archaic characters enumerated are
evident in all subsequent epochs.

The so-called “ unit type” or pure pueblo culture grew out of this
early condition and was at first localized in northern New Mexico
and southern Colorado, where it was autochthonous. Its essential
feature is the terraced communal house and the simplest form of the
pueblo, thé “unit type,” first pointed out by Dr. T. Mitchell Prud-
den—a combination of dwelling houses, with a man’s house or kiva
and a cemetery. The dwellings are made of stone or clay and are
terraced, the kiva is subterranean and circular, embedded in or
surrounded by other rooms. The “unit type” originated in Colo-
rado and, spreading in all directions, replaced the preexisting houses
with fragile walls. Colonists from its center extended down the
San Juan to the Hopi country and made their way easterly across
the Rio Grande and southerly to the headwaters of the Gila and
Little Colorado, where they met other clans of specialized pre-
puebloan culture who had locally developed an architecture of Great
House style characteristic of the Gila and Salt River Valleys.

The essential differences between the terraced pueblo and the pre-
viously existing fragile-walled house culture are two: The terraced
architecture results from one house being constructed above an-
other, the kiva or subterranean ceremonial room being separated or
slightly removed from the secular houses.

An explanation of the origin of the terraced pueblo is evident.
This form of house implies a limited site or a congestion of houses
on a limited area. An open plain presents no limitation in lateral
coristruction ; there is plenty of room to expand in all directions to
accommodate the enlargement which results as a settlement increases
in population. In a cave conditions are otherwise; expansion is lim-
ited. When the floor of the cavern is once covered with rooms the
only additions which can possibly be made must be vertically.
In protection lies the cause of the development of a terraced
architecture such as the pueblos show, for the early people con-

FEWKES] TANOAN EPOCH 283

structed their fragile-walled habitations in a cavern, and as an en-
largement of their numbers occurred they were obliged to construct
the terraced pueblos called cliff-dwellings, with rooms closely ap-
proximated and constructed in terraces. In the course of time these
cliff-dwellers moved out of their caverns into the river valleys or to
the mesa summits, carrying with them the terraced architecture,
which, born in caverns, survived in their new environment. This
explanation is of course hypothetical, but not wholly without a basis
in fact, for we find survivals of the prepuebloan architecture scat-
tered throughout the Southwest, especially on the periphery of the
terraced house area, as well as in the area itself. The ancient ter-
raced house architecture is confined to a limited area, but around its
ancient border are people whose dwellings are characterized by
fragile-walled architecture. These are the survivals of the pre-
puebloan culture.

The environmental conditions along the San Juan and its tribu-
taries in Colorado and New Mexico render it a particularly favorable
culture center from which the pure pueblo type may have originated,
and although observations have not yet gone far enough to prove
that here was the place of origin of the unit type, and therefore of
pueblo culture, there are strong indications that a fable of the
Pueblos, that they came from the caves in the north, is not without
legendary foundation so far as their origin is concerned.

The term “cliff-dwelling,’ once supposed to indicate a distinct
stage of development, refers only to the site and is a feature inade-
quate for classification or chronology. All cliff-dwellings do not
belong to the same structural type. There is little similarity save in
site between Spruce-tree House on the Mesa Verde, and Montezuma
Castle in the Verde Valley; the former belongs to the “ pure pueblo
type,” the latter to another class of buildings related to “ compounds ”
of the tributaries of the Gila and Salt River valleys.

AUTHORITIES CITED

FEWKES, JESSE WALTER. Snake ceremonials at Walpi. Journal of American
Ethnology and Archeology, vol, Iv, pp. 1-126. Boston and New York, 1894.
Archeological expedition to Arizona in 1895. Seventeenth Annual Re-
port of the Bureau of American Ethnology, pt. 2, pp. 519-742. Washington,

1898.

Winter solstice altars at Hano pueblo. American Anthropologist, n. s.

vol. 1, no. 2, pp. 251-276. New York, 1899.

The New-fire ceremony at Walpi. American Anthropologist, n. s. vol.

i, no. 1, pp. 80-138. New York, 1900.

———. The lesser New-fire ceremony at Walpi. American Anthropologist, n. s.
vol. 111, no. 3, pp. 488-458. New York, 1901.

Hopi katcinas. Twenty-first Annual Report of the Bureau of Ameri-

can Ethnology, pp. 13-126. Washington, 1903.

Two summers’ work in Pueblo ruins. Twenty-second Annual Report

of the Bureau of American Ethnology, pt. 1, pp. 17-195. Washington, 1904.

Hopi ceremonial frames from Canon de Chelly, Arizona. American

Anthropologist, n. s. vol. vit, no. 4, pp. 664-670. Lancaster, 1906.

Hopi shrines near the East Mesa, Arizona. American Anthropologist,

n. s. vol. vii, no. 2, pp. 346-875. Lancaster, 1908.

The butterfly in Hepi myth and ritual. American Anthropologist, n. s.
vol. x11, no. 4, pp. 576-594. Lancaster, 1910.

Matrery, Garrick. On the pictographs of the North American Indians.
Fourth Annual Report of the Bureau of Ethnology, pp. 13-256. Washington,
1886.

284

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IRT PLATE 91

THIRTY-THIRD ANNUAL REP<¢

BUREAU OF AMERICAN ETHNOLOGY

A KAHUNA OR NATIVE SORCERER

THE HAWAIIAN ROMANCE OF
LAIEIKAWAI

WITH INTRODUCTION AND TRANSLATION
BY

MARTHA WARREN BECKWITH

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PREFACE

This work of translation has been undertaken out of love for the
land of Hawaii and for the Hawaiian people. To all those who have
generously aided to further the study I wish to express my grate-
ful thanks. I am indebted to the curator and trustees of the Bishop
Museum for so kindly placing at my disposal the valuable manu-
scripts in the museum collection, and to Dr. Brigham, Mr. Stokes,
and other members of the museum staff for their help and sugges-
tions, as well as to those scholars of Hawaiian who have patiently
answered my questions or lent me valuable material—to Mr. Henry
Parker, Mr. Thomas Thrum, Mr. William Rowell, Miss Laura Green,
Mr. Stephen Desha, Judge Hazelden of Waiohinu, Mr. Curtis
Taukea, Mr. Edward Lilikalani, and Mrs. Emma Nawahi. Espe-
cially am I indebted to Mr. Joseph Emerson, not only for the gen-
erous gift of his time but for free access to his entire collection of
manuscript notes. My thanks are also due to the hosts and hostesses
through whose courtesy I was able to study in the field, and to Miss
Ethel Damon for her substantial aid in proof reading. Nor would
I forget to record with grateful appreciation those Hawaiian in-
terpreters whose skill and patience made possible the rendering into
English of their native romance—Mrs. Pokini Robinson of Maui,
Mr. and Mrs. Kamakaiwi of Pahoa, Hawaii, Mrs. Kama and Mrs.
Supé of Kalapana, and Mrs. Julia Bowers of Honolulu. I wish also
to express my thanks to those scholars in this country who have
kindly helped me with their criticism—to Dr. Ashley Thorndike,
Dr. W. W. Lawrence, Dr. A. C. L. Brown, and Dr. A. A. Golden-
weiser. I am indebted also to Dr. Roland Dixon for bibliographical
notes. Above all, thanks are due to Dr. Franz Boas, without whose
wise and helpful enthusiasm this study would never have been
undertaken.

Marrua Warren Beck wirn.

Corume1a UNIveERsITY,

October, 1917.
287

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CONTENTS

II. Nature and the Gods as reflected in the story............-.-..--.---

. Polynesian origin of Hawaiian romance.............-...-----
rib OliyMESLANYCOSM OP OMY an ce meee enn s ice iain eieineae Seen
ubherdemisodpas ther en mie ceteris eee eer tints ei aisie/ie
. The earthly paradise; divinity in man and nature............
+) Lhe story -mtemythicallicharacten<ss--4 44-46 seenaes accel
. The story as a reflection of aristocratic social life............

ii Dherartioficompositionisss 2-2) clseiseclscise cies ociecinens se ceeces

if
2.
3.
4.
5.

Aristocratic nature of Polynesian art.........-...-..-..-------
Nomenclature: its emotional value............--.-.----------
Analopy<utsipictoniall quality ee seceeeeeseececteeecececeee =
The double meaning; plays on words........----------------
Consinuctiyerelementsiofistyles.s---eecee em eeeeeee se ceee seas

IWiew CONCLUSIONS ease caren sess acini = minsstee ois Seco necmre ces caceee chess
Persons nr the (storys see sesso es ace ves cieikie eisiecicinteis se ealelsiseeiec cnn 6
NctIONNOL LHe Isto Ly Aap eerie ao asc s see anesise tee nee ceeete acct beecinoss
Backerounadioithelsuo types seria see oie mie ce Sie see aS ecie-e eteaiats Steers
Rextiand transla tioneete aoe) eiciod ose ae seyoe es crv wicis cin eset eiadeiow ce eheeSecess

Chapter I.
101g
Te
Wl,
We
Walle
WEE:
VIII.
IX.
a,
XI.
XII.
XIII.
XIV.

XV.
XVI.

XVII.
XVIII.
XIX.
XX.

XXII.
XXII.

XXIII.

duhemiohttokb allies eo. eeeseseesae se eee ese ees anes
Kavakahraliimests thevbrincesssemsac- secs eee ee eoacee sees
Aiwohikupua goes to woo the Princess..-..-.......-----------
Aheiboxneimatchy with C old=n0seseess=seeseer este eeeee eee
The house thatched with bird feathers............--.-..-----
MheWoman ofthe) Mountains. -o--se-ssse-e- = -ecess ose ee a
ihe refsalliofithebrincessss-eserere see isan epee eee ee
Aiwohikupua deserts his sisters. --......-.------.---------<
ER e}BISLENS? ‘SODESe. sce seiss een swecis selcitic de eee wees cack
vAtgarid omed! im the forestas.-s-eae asec = se aera see ce
‘Adoptionibyatherenincess seas as vase yams eee ciacesie hos ssiee
Hauailiki‘coes|surt ridings 2. ssesasee = sae eee = = cess cc ceee
Rhestab boruniess ot lalelkawallecm sees =o os -eiseeeeee
Aiwohikupua meets the guardians of Paliuli..........-.-----
hevGreatLizardiotpealiulieeseee ee sese ee eee es ee eee eee
The battle between the Dog and the Lizard.......-..-.------
Aiwohikupua’s marriage with the Woman of the Mountain... -
Theirivalnyofrimaand Poliahilsysecos4. 2-545 cj eee -
AUSUILOrISHOUnd tor UhOvbrinGessus seen ee a5 = eteiee ce alias ==
The Rascal of Puna wins the Princess. ......-.--.-.---------
iWietkal sire vion oO rrrcta tele iaiaetec ciaeters tel ciairie intel minecine teics sicieleinretoe
The Puna Rascal deserts the Princess...........-------+------

1 The titles of chapters are added for convenience in reference and are not found in the text.
74936°—_19—33 rrH

19

289

290 CONTENTS

Text and translation—Continued. Page
Chapter XXIV. The marriage of the chiefs. .............-...-.--------- 530
XX V.The:Seer'!finds!the Princess. 2. << 222-222 denen seen = 538
XVI. ‘The Prophetiof God's)... 2-2-2 se oe cee one ceeesasieeests 546
XEXGVI AN ourmeyitoyuherHeayvens=. > 5-- eee eases seen ee eceeeer 554
XXVIII. The Eyeball-of-the-Sun.........-.-.-. Genes Spee Tea e 562
XXIX. The warning of vengeance. 2_:.....--.\..--.-.----- Pe 572

XEXSXE Ther comineof the Beloviedss-. ose aes eeaeseeee 57
XOXSG The!!Beloved falls 'into\sin@-s\- 22-522 --ss-ee ee een 584
RENEKMeThev Lwin: Sister 22.2 <2224 sees sean se a eee eee eee 592
eXSxeXGe he) Worian, of Jean a serene =a ae 600
XSXOXMV he) Woman of the Mwaltght ese ose senna ee aes 608
Notes! OnjbhOitextep testes: t\> oeianere ai onl a sme e meio eet alee ee eee 616
Appendix: Abstracts from Hawaiian stories............--.-.--.-...---.----- 631
I. Song of Creation, as translated by Liliuokalani.......-.........-.--- 634
II. Chants relating to the origin of the group.............--------------- 634
III. Hawaiian folk tales, romances, or moolelo..........--.-...--.----- 636

Index toreferences!: ~ <-jsaccc So cise peter asiere oe wisinic ciate ates ere aerate rarer 664

PuLaTE 91
92
93
94
95

ILLUSTRATIONS

. A kahuna or native sorcerer
. In the forests of Puna

. A Hawaiian paddler
. Mauna Kea in its mantle of snow

8) nota ie

A et

of Sol ses
aye ton rune % says a) a
| tor etevok odd ach le

7

1 lowng ealirwmll A da
7 Wns wht: an ofl i pod pir abd ay!

ah Sea wy pial qari nvlas ont

cade 5

THE HAWAITAN ROMANCE OF LATEIKAWAI
WITH INTRODUCTION AND TRANSLATION

By MarrHa WARREN BECKWITH

INTRODUCTION

I. Tae Book anv rrs Writer; Score or THE Present Eprrion

wooing of a native chiefess of high rank and her final deifi-

cation among the gods. The story was handed down orally
from ancient times in the form of a kaao, a narrative rehearsed in
prose interspersed with song, in which form old tales are still recited
by Hawaiian story-tellers It was put into writing by a native Ha-
waiian, ‘Haleole by name, who hoped thus to awaken in his country-
men an interest in genuine native story-telling based upon the folk-
lore of their race and preserving its ancient customs—already fast
disappearing since Cook’s rediscovery of the group in 1778 opened
the way to foreign influence—and by this means to inspire in them
old ideals of racial glory. Haleole was born about the time of the
death of Kaméhaméha I, a year or two before the arrival of the
first American missionaries and the establishment of the Protestant
mission in Hawaii. In 1834 he entered the mission school at Lahai-
naluna, Maui, where his interest in the ancient history of his people
was stimulated and trained under the teaching of Lorrin Andrews,
compiler of the Hawaiian dictionary, published in 1865, and Sheldon
Dibble, under whose direction David Malo prepared his collection
of “Hawaiian Antiquities,’ and whose History of the Sandwich
Islands (1848) is an authentic source for the early history of the
mission. Such early Hawaiian writers as Malo, Kamakau, and
John Ii were among Haleole’s fellow students. After leaving school
he became first a teacher, then an editor. In the early sixties he
brought out the Laietkawai, first as a serial in the Hawaiian

Ts Laieikawai is a Hawaiian romance which recounts the

1Compare the Fijian story quoted by Thomson (p. 6).
293

294 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

newspaper, the Awokoa, then, in 1863, in book form.t Later, in 1885,
two part-Hawaiian editors, Bolster and Meheula, revised and re-
printed the story, this time in pamphlet form, together with several
other romances culled from Hawaiian journals, as the initial volumes
of a series of Hawaiian reprints, a venture which ended in financial
failure? The romance of Laieikawai therefore remains the sole
piece of Hawaiian imaginative writing to reach book form, Not
only this, but it represents the single composition of a Polynesian
mind working upon the material of an old legend and eager to create
a genuine national literature. As such it claims a kind of classic
interest. ‘

The language, although retaining many old words unfamiliar to
the Hawaiian of to-day, and proverbs and expressions whose meaning
is now doubtful, is that employed since the time of the reduction
of the speech to writing in 1820, and is easily read at the present
day. Andrews incorporated the vocabulary of this romance into his
dictionary, and in only a few cases is his interpretation to be ques-
tioned. The songs, though highly figurative, present few difficulties.
So far as the meaning is concerned, therefore, the translation is sufli-
ciently accurate. But as regards style the problem is much more

1 Daggett calls the story ‘“‘a supernatural folklore legend of the fourteenth century,”
and includes an excellent abstract of the romance, prepared by Dr. W. D. Alexander, in
his collection of Hawaiian legends. Andrews says of it (Islander, 1875, p. 27): “ We
have seen that a Hawaiian Kaao or legend was composed ages ago, recited and kept
in memory merely by repetition, until a short time since it was reduced to writing by
a Hawaiian and printed, making a duodecimo volume of 220 pages, and that, too, with
the poetical parts mostly left out. It is said that this legend took six hours in the
recital.” In prefacing his dictionary he says: “The Kaao of Laieikawai is almost
the only specimen of that species of language which has been laid before the public.
Many fine specimens have been printed in the Hawaiian periodicals, but are neither seen
nor regarded by the foreign community.”

2 The changes introduced by these editors have not been followed in this edition, except
in a few unimportant omissions, but the popular song printed below appears first in its
pages :

“ Aia Laie-i-ka-wai Behold Laieikawai

I ka uka wale la o Pali-uli; On the uplands of Paliuli;

O ka nani, o ka nani, Beautiful, beautiful,

Helu ekahi o ia uka. The storied one of the uplands,
“FE nanea e walea ana paha, Rer.—Perhaps resting at peace,

I ka leo nahenahe o na manu. To the melodious voice of the birds.
“Kau mai Laie-i-ka-wal Laieikawai rests here

I ka ehcu la o na manu; On the wings of the birds;

O ka nani, o ka nani, Beautiful, beautiful,

Helu ekahi o Pali-uli. The storied one of the uplands.

“FE nanea, etc.

“Ua lohe paha i ka hone mai, She has heard perhaps the playing
O ka pu lau-i a Malio; Of Malio’s ti-leaf trumpet;
Honehone, honehone, Playfully, playfully,

Helu ekahi o Hopoe. The storied one of Hopoe.

“E nanea, etc.’’

BECKWITH] INTRODUCTION 295

difficult. To convey not only the meaning but exactly the Hawaiian
way of seeing things, in such form as to get the spirit of the original,
is hardly possible to our language. The brevity of primitive speech
must be sacrificed, thus accentuating the tedious repetition of de-
tail—a trait sufficiently characteristic of Hawaiian story-telling.
Then, too, common words for which we have but one form, in the
original employ a variety of synonyms. “Say” and “see” are con-
spicuous examples. Other words identical in form convey to the
Polynesian mind a variety of ideas according to the connection in
which they are used—a play upon words impossible to translate in
a foreign idiom. Again, certain relations that the Polynesian con-
ceives with exactness, like those of direction and the relation of the
person addressed to the group referred to, are foreign to our own
idiom ; others, like that of time, which we have more fully developed,
the Polynesian recognizes but feebly. In face of these difficulties the
translator has reluctantly foregone any effort to heighten the charm
of the strange tale by using a fictitious idiom or by condensing and
invigorating its deliberation. Haleole wrote his tale painstakingly,
at times dramatically, but for the most part concerned for its historic
interest. We gather from his own statement and from the breaks in
the story that his material may have been collected from different
sources. It seems to have been common to incorporate a Laieika-
wai episode into the popular romances, and of these episodes Haleole
may have availed himself. But we shall have something more to say
of his sources later; with his particular style we are not concerned.
The only reason for presenting the romance complete in all its
original dullness and unmodified to foreign taste is with the definite
object of showing as nearly as possible from the native angle the
genuine Polynesian imagination at work upon its own material,
reconstructing in this strange tale of the “ Woman of the Twilight”
its own objective world, the social interests which regulate its actions
and desires, and by this means to portray the actual character of the
Polynesian mind.

This exact thing has not before been done for Hawaiian story and
I do not recall any considerable romance in a Polynesian tongue so
rendered.t_ Admirable collections of the folk tales of Hawaii have
been gathered by Thrum, Remy, Daggett, Emerson, and Westervelt,
to which should be added the manuscript tales collected by Fornander,
translated by John Wise, and now edited by Thrum for the Bishop
Museum, from which are drawn the examples accompanying this
paper. But in these collections the lengthy recitals which may last

1Dr. N. B. Emerson’s rendering of the myth of Pele and Hiiaka quotes only the poeti-
cal portions. Her Majesty Queen Liliuokalani interested herself in providing a trans-

lation of the Laieikawai, and the Hon. Sanford B. Dole secured a partial translation
of the story; but neither of these copies has reached the publisher’s hands.

296 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

several hours in the telling or run for a couple of years as serial in
some Hawaiian newspaper are of necessity cut down to a summary
narrative, sufliciently suggesting the flavor of the original, but not
picturing fully the way in which the image is formed in the mind
of the native story-teller. Foreigners and Hawaiians have expended
much ingenuity in rendering the mélé or chant with exactness,’ but
the much simpler if less important matter of putting into literal
English a Hawaiian kaao has never been attempted.

To the text such ethnological notes have been added as are needed
to make the context clear. These were collected in the field. Some
were gathered directly from the people themselves; others from
those who had lived long enough among them to understand
their customs; others still from observation of their ways and of the
localities mentioned in the story; others are derived from published
texts. An index of characters, a brief description of the local back-
ground, and an abstract of the story itself prefaces the text; appended
to it is a series of abstracts from the Fornander collection, of
Hawaiian folk stories, all of which were collected by Judge For-
nander in the native tongue and later rendered into English by a
native translator. These abstracts illustrate the general character of
Hawaiian story-telling, but specific references should be examined in
the full text, now being edited by the Bishop Museum. The index
to references includes all the Hawaiian material in available form
essential to the study of romance, together with the more useful
Polynesian material for comparative reference. It by no means com-
prises a bibliography of the entire subject.

IJ. Narure AND THE Gops AS REFLECTED IN THE STORY

1. POLYNESIAN ORIGIN OF HAWATIAN ROMANCE

Truly to interpret Hawaiian romance we must realize at the start
its relation to the past of that people, to their origin and migrations,
their social inheritance, and the kind of physical world to which
their experience has been confined. Now, the real body of Hawaiian
folklore belongs to no isolated group, but to the whole Polynesian
area. From New Zealand through the Tongan, Ellice, Samoan,
Society, Rarotongan, Marquesan, and Hawaiian groups, fringing
upon the Fijian and the Micronesian, the same physical character-

1The most important of these chants translated from the Hawaiian are the “ Song
of Creation,” prepared by Liliuokalani; the ‘ Song of Kualii,’’ translated by both Lyons
and Wise, and the prophetic song beginning “ Haui ka lani,’ translated by Andrews and
edited by Dole. To these should be added the important songs cited by Fornander, in
full or in part, which relate the origin of the group, and perhaps the name song begin-
ning “ The fish ponds of Mana,” quoted in Fornander’s tale of Lonoikamakahiki, the
canoe-chant in Kana, and the wind chants in Pakaa,

BECKWITH] INTRODUCTION 297

istics, the same language, customs, habits of life prevail; the same
arts, the same form of worship, the same gods. And a common stock
of tradition has passed from mouth to mouth over the same area.
In New Zealand, as in Hawaii, men tell the story of Maui’s fishing
and the theft of fire.t A close comparative study of the tales from
each group should reveal local characteristics, but for our purpose
the Polynesian race is one, and its common stock of tradition, which
at the dispersal and during the subsequent periods of migration was
carried as common treasure-trove of the imagination as far as New
Zealand on the south and Hawaii on the north, and from the western
Fiji to the Marquesas on the east, repeats the same adventures among
similar surroundings and colored by the same interests and desires.

This means, in the first place, that the race must have developed
for a long period of time in some common home of origin before
the dispersal came, which sent family groups migrating along the
roads of ocean after some fresh land for settlement ;* in the second
place, it reflects a period of long voyaging which brought about
interchange of culture between far distant groups.’ As the Crusades
were the great exchange for west European folk stories, so the days
of the voyagers were the Polynesian crusading days. The roadway
through the seas was traveled by singing bards who carried their
tribal songs as a race heritage into the new land of their wanderings.
Their inns for hostelry were islets where the boats drew up along
the beach and the weary oarsmen grouped about the ovens where
their hosts prepared cooked food for feasting. Tales traveled thus
from group to group with a readiness which only a common tongue,
common interests, and a common delight could foster, coupled with
the constant competition of family rivalries.

1 Bastian in Samoanische Schépfungssage (p. 8) says: ‘ Oceanien (im Zusammenbegriff
von Polynesien und Mikronesien) repriisentirt (bei vorliiufigem Ausschluss yon Mela-
nesien schon) einen Flichenraum, der alles Aehnliche auf dem Globus intellectualis
weit tibertrifft (von Hawaii bis Neu-Seeland, von der Oster-Insel bis zu den Marianen), und
wenn es sich hier um Inseln handelt durch Meeresweiten getrennt, ist aus solch insularer
Differenzirung gerade das Hilfsmittel comparativer Methode geboten fiir die Induction,
um dasselbe, wie biologisch sonst, hier auf psychologischem Arbeitsfelde zur Verwendung
zu bringen.” Compare: Kriimer, p. 394; Finck, in Royal Scientific Society of Géttingen,
1909.

2 Lesson says of the Polynesian groups (1, 378): ““On sait . . . que’ tous ont,
pour loi civile et religieuse, la méme interdiction; que leurs institutions, leurs céré-
monies sont semblables; que leurs croyances sont fonci€rement identiques; qu’ils ont
le méme culte, les mémes coutumes, les mémes usages principaux; qu’ils ont enfin les
mémes mceurs et les mémes traditions. Tout semble done, a priori, annoncer que,
quelque soit leur éloignement les uns des autres, les Polynésiens ont tiré d'une méme
source cette communauté d'idées et de langage; qu’ils ne sont, par conséquent, que les
tribus dispersées d’une méme nation, et que ces tribus ne se sont séparées qu’A une
époque ot la langue et les idées politiques et religieuses de cette nation étaient déja
fixées.”’

3 Compare: Stair, Old Samoa, p. 271; White, 1, 176; Fison, pp. 1, 19; Smith, Hawaiki,
p. 123; Lesson, 11, 207, 209; Grey, pp. 108-234; Baessler, Neue Siidsee-Bilder, p. 113;
Thomson, p. 15.

.

298 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETI. ANN. 33

Hawaiian tradition reflects these days of wandering. A chief
vows to wed no woman of his own group but only one fetched from
“the land of good women.” An ambitious priest seeks overseas
a leader of divine ancestry. <A chief insulted by his superior leads
his followers into exile on some foreign shore. There is exchange
of culture-gifts, intermarriage, tribute, war. Romance echoes with
the canoe song and the invocation to the confines of Kahiki?—this
in spite of the fact that intercourse seems to have been long closed
between this northern group and its neighbors south and east. When
Cook put in first at the island of Kauai, most western of the group,
perhaps guided by Spanish charts, perhaps by Tahitian navigators
who had preserved the tradition of ancient voyages,* for hundreds
of years none but chance boats had driven upon its shores. But
the old tales remained, fast bedded at the foundation of Hawaiian
imaginative literature. As now recited they take the form of chants
or of long monotonous recitals like the Laietkawai, which take on
the heightened form of poetry only in dialogue or on occasions when
the emotional stress requires set song. Episodes are passed along
from one hero cycle to another, localities and names vary, and a
fixed form in matter of detail relieves the stretch of invention;
in fact, they show exactly the same phenomena of fixing and re-
shaping that all story-telling whose object is to please exhibits in
transference from mouth to mouth. Nevertheless, they are jealously
retentive of incident. The story-teller, generally to be found among
the old people of any locality, who can relate the legends as they
were handed down to him from the past is known and respected in
the community. We find the same story® told in New Zealand and
in Hawaii scarcely changed, even in name.

2. POLYNESIAN COSMOGONY

In theme the body of Polynesian folk tale is not unlike that of
other primitive and story-loving people. It includes primitive philos-
ophy—stories of cosmogony and of heroes who shaped the earth;
primitive annals—migration stories, tales of culture heroes, of con-

1 Lesson (11, 190) enumerates eleven small islands, covering 40 degrees of latitude, scat-
tered between Hawaii and the islands to the south, four showing traces of ancient habita-
tion, which he believes to mark the old route from Hawaii to the islands to the south-
east. According to Hawaiian tradition, which is by no means historically accurate,
what is called the second migration period to Hawaii seems to have occurred between
the eleventh and fourteenth centuries (dated from the arrival of the high priest Paao
at Kohala, Hawaii, 18 generations before Kaméhaméha) ; to have come from the south-
east; to have introduced a sacerdotal system whose priesthood, symbols, and temple
structure persisted up to the time of the abandoning of the old faith in 1819. Compare
Alexander’s History, ch. 111; Malo, pp. 25, 823; Lesson, 11, 160-169.

2 Kahiki, in Hawaiian chants, is the term used to designate a ‘‘ foreign land”’ in general
and does not refer especially to the island of Tahiti in the Society Group.

8 Lesson, 11, 152.

4Ibid., 170. 3

SIbid., 178. j

BECKWITH] INTRODUCTION 299

quest and overrule. There is primitive romance—tales of competi-
tion, of vengeance, and of love; primitive wit—of drolls and trick-
sters; and primitive fear in tales of spirits and the power of ghosts.
These divisions are not individual to Polynesia; they belong to
universal delight; but the form each takes is shaped and determined
by the background, either of real life or of life among the gods,
familiar to the Polynesian mind.

The conception of the heavens is purely objective, corresponding, in
fact, to Anaxagoras’s sketch of the universe. Earth is a plain, walled
about far as the horizon, where, according to Hawaiian expression,
rise the confines of Kahiki, Aukulu 0 Kahiki2 From this point the
heavens are superimposed one upon the other like cones, in number
varying in different groups from 8 to 14; below lies the underworld,
sometimes divided into two or three worlds ruled by deified ancestors
and inhabited by the spirits of the dead, or even by the gods *—the
whole inclosed from chaos like an egg in a shell. Ordinarily the
gods seem to be conceived as inhabiting the heavens. As in other
mythologies, heaven and the life the gods live there are merely a
reproduction or copy of earth and its ways. In heaven the gods are
ranged by rank; in the highest heaven dwells the chief god alone en-
joying his supreme right of silence, tabu moe; others inhabit the
lower heavens in gradually descending grade corresponding to the so-
cial ranks recognized among the Polynesian chiefs on earth. This
physical world is again the prototype for the activities of the gods,
its multitudinous manifestations representing the forms and forces
employed by the myriad gods in making known their presence on
earth. They are not these forms themselves, but have them at their
disposal, to use as transformation bodies in their appearances on
earth, or they may transfer them to their offspring on earth. This
is due to the fact that the gods people earth, and from them man is

1In the Polynesian picture of the universe the wall of heaven is conceived as shutting
down about each group, so that boats traveling from one group to another “ break
through” this barrier wall. The Kukulu o Kahiki in Hawaii seems to represent some
such confine. Emerson says (in Malo, 30): “ Kukulu was a wall or vertical erection
such as was supposed to stand at the limits of the horizon arid support the dome of
heaven.’”’ Points of the compass were named accordingly Kukulu hikina, Kukulu komo-
kana, Kukulu hema, Kukulu akau—east, west, south, north. The horizon was called
Kukulu-o-ka-honua—* the compass-of-the-earth.’”” The planes inclosed by such confines,
on the other hand, are named Kahiki. The circle of the sky which bends upward
from the horizon is called Kahiki-ku or “ vertical.”” That through which the eye travels
in reaching the horizon, Kahiki-moe, or “ horizontal.”

2The Rarotongan world of spirits is an underworld. (See Gill’s Myths and Songs.)
The Hawaiians believed in a subterranean world of the dead divided into two regions,
in the upper of which Wakea reigned; in the lower, Milu. Those who had not been
sufficiently religious ‘‘must lie under the spreading Kou trees of Milu’s world, drink its
waters and eat lizards and butterflies for food.’’ Traditional points from which the
soul took its leap into this underworld are to be found at the northern point of Hawail,
the west end of Maui, the south and the northwest points of Oahu, and, most famous
of all, at the mouth of the great Waipio Valley on Hawaii. Compare Thomson’s account
from Fiji of the “ pathway of the shade,” p. 119.

3 White, 1, chart; Gill, Myths and Songs, pp. 3, 4; Ellis, 11, 168-170.

800 HAWAIIAN ROMANCE OF LAIEIKAWATI [ETH. ANN. 83

descended. Chiefs rank, in fact, according to their claim to direct
descent from the ancient gods.1

Just how this came about is not altogether uniformly explained.
In the Polynesian creation story? three things are significant—a
monistic idea of a god existing before creation; * a progressive order
of creation out of the limitless and chaotic from lower to higher
forms, actuated by desire, which is represented by the duality of sex
generation in a long line of ancestry through specific pairs of forms
from the inanimate world—rocks and earth, plants of land and sea
forms—to the animate—fish, insects, reptiles, and birds;* and the
special analysis of the soul of man into “ breath,’ which constitutes
life; “ feeling,” located in the heart; “desire” in the intestines; and
“thought” out of which springs doubt—the whole constituting
akamai or “ knowledge.” In Hawaii the creation story lays emphasis
upon progressive sex generation of natural forms.

Individual islands of a group are popularly described as rocks
dropped down out of heaven or fished up from below sea as resting
places for the gods;° or they are named as offspring of the divine
ancestors of the group.° The idea seems to be that they are
a part of the divine fabric, connected in kind with the original source
of the race.

3. THE DEMIGOD AS HERO
As natural forms multiplied, so multiplied the gods who wedded

and gave them birth. Thus the half-gods were born, the kupua or
demigods as distinguished from akua or spirits who are pure divini-

1Gill says of the Hervey islanders (p. 17 of notes): ‘‘ The state is conceived of as a
long house standing east and west, chiefs from the north and south sides of the island
representing left and right; under chiefs the rafters; individuals the leaves of the
thatch. These are the counterpart of the actual house (of the gods) in the spirit
world.” Compare Stair, p. 210.

2? Bastian, Samoanische Schodpfungs-Sage; Ellis, 1, 821; White, vol. 1; Turner, Samoa,
%; Gill, Myths and Songs, pp. 1-20; Moerenhout 1, 419 et seq. ; Liliuokalani, translation of
the Hawaiian ‘‘ Song of Creation’’; Dixon, Oceanic Mythology.

3 Moerenhout translates (1, 419): ‘‘ He was, Taaroa (Kanaloa) was his name. He
dwelt in immensity. Earth was not. Taaroa called, but nothing responded to him,
and, existing alone, he changed himself into the universe. The pivots (axes or orbits),
this is Taaroa; the rocks, this is he. Taaroa is the sand, so is he named. Taaroa is
the day. Taaroa is the center. Taaroa is the germ. Taaroa is the base. Taaroa
is the invincible, who created the universe, the sacred universe, the shell for Taaroa,
the life, life of the universe.”

4Moerenhout, 1, 423: ‘‘ Taaroa slept with the woman called Hina of the sea. Black
clouds, white clouds, rain are born. Taaroa slept with the woman of the uplands; the
first germ is born. Afterwards is born all that grows upon the earth. Afterwards is
born the mist of the mountain. Afterwards is born the one called strong. Afterwards
is born the woman, the beautiful adorned one,” etc.

5 Grey, pp. 38-45; Kriimer, Samoa Inseln, pp. 395-400; Fison, pp. 189-146; Mariner,
1, 228; White, 11, 75; Gill, Myths and Songs, p. 48.

*In Fornander’s collection of origin chants the Hawaiian group is described as the
offspring of the ancestors Wakea and Papa, or Hina.

BECKWITH] INTRODUCTION 301

ties. The nature of the Polynesian Awpua is well described in the
romance of Laieikawai, in Chapter XXIX, when the sisters of
Aiwohikupua try to relieve their mistress’s fright about marrying a
divine one from the heavens. “He is no god—Aole ia he Akua—”
they say, “he is a man like us, yet in his nature and appearance god-
like. And he was the firstborn of us; he was greatly beloved by our
parents; to him was given superhuman power—ka mana—which we
have not. . . . Only his taboo rank remains. Therefore fear not;
when he comes you will see that he is only a man like us.” It is sucha
character, born of godlike ancestors and inheriting through the favor
of this god, or some member of his family group, godlike power or
mana, generally in some particular form, who appears.as the typical
hero of early Hawaiian romance. His rank as a god is gained by
competitive tests with a rival kupua or with the ancestor from whom
he demands recognition and endowment. He has the power of trans-
formation into the shape of some specific animal, object, or physical
phenomenon which serves as the “sign” or “ body” in which the god
presents himself to man, and hence he controls all objects of this
class. Not only the heavenly bodies, clouds, storms, and the appear-
ances in the heavens, but perfumes and notes of birds serve to an-
nounce his divinity, and special kinds of birds, or fish, or reptiles,
or of animals like the rat, pig, or dog, are recognized as peculiarly
likely to be the habitation of a god. This is the form in which
aumakua, or guardian spirits of a family, appear to watch over the
safety of the household they protect.?

Besides this power of transformation the kupua has other super-
natural gifts, as the power of flight,’ of contraction and expansion

1 Mariner, 11, 103; Turner, Nineteen Years in Polynesia, pp. 238-242; Ibid., Samoa,
pp. 23-77; Ellis, 1, 384; Gracia, pp. 41-44; Kriimer (Samoa Inseln, p. 22) and Stair
(p. 211) distinguished akua@ as the original gods, aiku as their descendants, the demonic
beings who appear in animal forms and act as helpers to man; and kupua as deified
kuman beings.

* When a Polynesian invokes a god he prays to the spirit of some dead ancestor who
acts as his supernatural helper. A spirit is much stronger than a human being—
hence the custom of covering the grave with a great heap of stone or modern masonry to
keep down the ghost. Its strength may be increased through prayer and sacrifice, called
“feeding ’’ the god. See Fornander’s stories of Pumaia and Nihoalaki. In Fison’s
story of Mantandua the mother has died of exhaustion in rescuing her child. As he
grows up her spirit acts as his supernatural helper and appears to him in dreams to
direct his course. He accordingly achieves prodigies through her aid. In Kuapakaa
the boy manages the winds through his grandmother’s bones, which he keeps in a cala-
bash. In Pamano, the supernatural helper appears in bird shape. The Fornander
stories of Kamapua’a, the pig god, and of Pikoiakaalala, who belongs to the rat family,
illustrate the kupua in animal shape. Malo, pp. 118-115. Compare Mariner, 11, 87, 100;
Bllis, 1, 281.

* Bird-bodied gods of low grade in the theogony of the heavens act as messengers for
the higher gods. In Stair (p. 214) Tuli, the plover, is the bird messenger of Tagaloa.
The commonest messenger birds named in Hawaiian stories are the plover, wandering
tattler, and turnstone, all migratory from about April to August, and hence naturally
fastened upon by the imagination as suitable messengers to lands beyond common ken.
Gill (Myths and Songs, p. 35) says that formerly the gods spoke through small land
birds, as in the story of Laieikawai’s visit to Kauakahialii.

302 HAWAIIAN ROMANCE OF LATEIKAWATI [ETH. ANN. 383

at will, of seeing what is going on at a distance, and of bringing the
dead to life. As a man on earth he is often miraculously born or
miraculously preserved at birth, which event is heralded by por-
tents in the heavens. He is often brought up by some supernatural
guardian, grows with marvelous rapidity, has an enormous appetite—
a proof of godlike strain, because only the chief in Polynesian eco-
nomic life has the resources freely to indulge his animal appetite—
and phenomenal beauty or prodigious skill, strength, or subtlety in
meeting every competitor. His adventures follow the general type
of mythical hero tales. Often he journeys to the heavens to seek some
gift of his ancestors, the ingenious fancy keeping always before it
an objective picture of this heavenly superstructure—bearing him
thither upon a cloud or bird, on the path of a cobweb, a trailing
vine, or a rainbow, or swung thither on the tip of a bamboo stalk.
Arrived in the region of air, by means of tokens or by name chants,
he proves his ancestry and often substantiates his claim in tests of
power, ability thus sharing with blood the determining of family
values. If his deeds are among men, they are of a marvelous nature.
Often his godlike nature is displayed by apparent sloth and indo-
lence on his part, his followers performing miraculous feats while
he remains inactive; hence he is reproached for idleness by the un-
witting. Sometimes he acts as a transformer, changing the form of
mountains and valleys with a step or stroke; sometimes as a culture
hero bringing gifts to mankind and teaching them the arts learned
from the gods, or supplying food by making great hauls of fish
by means of a miraculous hook, or planting rich crops; sometimes he
is an avenger, pitting his strength against a rival demigod who has
done injury to a relative or patron of his own, or even by tricks out-
witting the mischievous akua. Finally, he remains on earth only
when, by transgressing some kupua custom or in contest with a supe-
rior kupua, he is turned into stone, many rock formations about the
islands being thus explained and consequently worshiped as dwelling
places of gods. Otherwise he is deified in the heavens, or goes to
dwell in the underworld with the gods, from whence he may still
direct and inspire his descendants on earth if they worship him,
or even at times appear to them again on earth in some objective
form.

4. THE EARTHLY PARADISE; DIVINITY IN MAN AND NATURE

For according to the old myth, Sky and Earth were nearer of
access in the days when the first gods brought forth their children—
the winds, the root plants, trees, and the inhabitants of the sea, but

1 With the stories quoted from Fornander may be compared such wonder tales as

are to be found in Kriimer, pp. 108, 116, 121, 413-419; Fison, pp. 32, 49, 99; Grey, p.
59; Turner, Samoa, p. 209; White 1, 82, etc.

BECKWITH] INTRODUCTION 3803

the younger gods rent them apart to give room to walk upright;+ so
gods and men walked together in the early myths, but in the later
traditions, called historical, the heavens do actually get pushed
farther away from man and the gods retreat thither. The fabulous
demigods depart one by one from Hawaii; first the great gods—Kane,
Ku, Lono, and Kanaloa; then the demigods, save Pele of the volcano.
The supernatural race of the dragons and other beast gods who came
from “the shining heavens” to people Hawaii, the gods and god-
desses who governed the appearances in the heavens, and the myriad
race of divine helpers who dwelt in the tiniest forms of the forest
and did in a night the task of months of labor, all those god men
who shaped the islands and named their peaks and valleys, rocks,
and crevices as they trampled hollows with a spring and thrust their
spears through mountains, were superseded by a humaner race of
heroes who ruled the islands by subtlety and skill, and instead of
climbing the heavens after the fiery drink of the gods or searching
the underworld for ancestral hearth fires, voyaged to other groups of
islands for courtship or barter. Then even the long voyages ceased
and chiefs made adventure out of canoe trips about their own group,
never save by night out of sight of land. They set about the care of
their property from rival chiefs. Thus constantly in jeopardy from
each other, sharpening, too, their observation of what lay directly
about them and of the rational way to get on in life, they accepted the
limits of a man’s power and prayed to the gods, who were their great
ancestors, for gifts beyond their reach.?

And during this transfer of attention from heaven to earth
the objective picture of a paradise in the heavens or of an un-
derworld inhabited by spirits of the dead got mixed up with
that of a land of origin on earth, an earthly paradise called
Hawaiki or Bulotu or “the lost land of Aane”—a land about
which clustered those same wistful longings which men of other races
have pictured in their visions of an earthly paradise—the “talking

1Grey, pp. 1-15; White, 1, 46; Baessler, Neue Siidsee-Bilder, pp. 244, 245; Gill,
Myths and Songs, pp. 58-60.
2Compare Kriimer’s Samoan story (in Samoa Inseln, p. 413) of the quest after the
pearl fishhooks kept by Night and Day in the twofold heavens with the Hawaiian
stories collected by Fornander of Aiai and Nihoalaki. Kriimer’s story begins:
“Aloalo went to his father
To appease Sina’s longing;
He sent him to the twofold heavens,
To his grandparents, Night and Day,
To the house whence drops fall spear-shaped,
To hear their counsel and return.
Aloalo entered the house,
Took not the unlucky fishhook,
Brought away that of good luck,”
ete.

304 HAWAIIAN ROMANCE OF LAIEIKAWATI [ETH. ANN, 33

tree of knowledge,” the well of life, and plenty without labor.t
“Thus they dwelt at Paliuli,” says Haleole of the sisters’ life with
Laieikawai, “and while they dwelt there never did they weary of
life. Never did they even see the person who prepared their food,
nor the food itself save when, at mealtimes, the birds brought them
food and cleared away the remnants when they had finished. So
Paliuli became to them a land beloved.”

Gods and men are, in fact, to the Polynesian mind, one family un-
der different forms, the gods having superior control over certain
phenomena, a control which they may impart to their offspring on
earth. As he surveys the world about him the Polynesian supposes
the signs of the gods who rule the heavens to appear on earth, which
formerly they visited, traveling thither as cloud or bird or storm or
perfume to effect some marriage alliance or govern mankind. In
these forms, or transformed themselves into men, they dwelt on earth
and shaped the social customs of mankind. Hence we have in such
a romance as the Lateikawai a realistic picture, first, of the activities
of the gods in the heavens and on earth, second, of the social ideas
and activities of the people among whom the tale is told. The super-
natural blends- into the natural in exactly the same way as to the
Polynesian mind gods relate themselves to men, facts about one be-
ing regarded as, even though removed to the heavens, quite as objec-
tive as those which belong to the other, and being employed to ex-
plain social customs and physical appearances in actual experience.
In the light of such story-telling even the Polynesian creation myth
may become a literal genealogy, and the dividing line between folk-
lore and traditional history, a mere shift of attention and no actual
change in the conception itself of the nature of the material universe
and the relations between gods and men.

5. THE STORY: ITS MYTHICAL CHARACTER

These mythical tales of the gods are reflected in Haleole’s
romance of Laieikawat. Localized upon Hawaii, it is neverthe-
less familiar with regions of the heavens. Paliuli, the home of
Laieikawai, and Pihanakalani, home of the flute-playing high

1Krimer, Samoa Inseln, pp, 44, 115; Fison, pp. 16, 139-161, 163+ Lesson, 11, 272, 483
(see index) ; Mariner, 11, 100, 102, 115, et seq.; Moerenhout, 1, 482; Gracia, p. 40;
Turner, Nineteen Years in Polynesia, p. 237; Gill, Myths and Songs, pp. 152-172.

In Fison’s story (p. 139) the gods dwell in Bulotu, ‘“‘ where the sky meets the
waters in the climbing path of the sun.” ‘The story goes: ‘“‘In the beginning there
was no land save that on which the gods lived; no dry land was there for men to
dwell upon; all was sea; the sky covered it above and bounded it on every side. There
was neither day nor night, but a mild light shone continually through the sky upon
the water, like the shining of the moon when its face is hidden by a white cloud.”

BECKWITH] : INTRODUCTION 305

chief of Kauai, are evidently earthly paradises.t Ask a native where
either of these places is to be found and he will say, smiling, “ In the
heavens.” The long lists of local place names express the Polynesian
interest in local journeyings. The legend of Waiopuka is a modern
or at least adapted legend. But the route which the little sister fol-
lows to the heavens corresponds with Polynesian cosmogonic concep-
tions, and is true to ancient stories of the home of the gods.

The action of the story, too, is clearly concerned with a family of
demigods. This is more evident if we compare a parallel story
translated by Westervelt in “Gods and Ghosts,” page 116, which,
however confused and fragmentary, is clearly made up: oe some
of the same material as Haleole’s version.?

1 As such Paliuli occurs in other Hawaiian folk tales:

1. At Paliuli grew the mythical trees Makali’i, male and female, which have the
power to draw fish. The female was cut down and taken to Kailua, Oahu, hence the
chant:

“‘Kupu ka laau ona a Makali’i,
O Makali’i, laau Kaulana mai ka pomai.”

2. In the Fornander notes from Kepelino and Kamakau, Paliuli is the land given
to the first man and is called ‘“ hidden land of Kane” and “ great land of the gods.”

8. In Fornander’s story of Kepakailiula, the gods assign Paliuli to be the hero’s
home. To reach it the party start at second cockcrow from Keaau (as in the Laieika-
wai) and arrive in the morning. It is ‘‘a good land, flat, fertile, filled with many
things desired by man.’’ The native apples are as large as breadfruit. They see a
pond “lying within the land stocked with all kinds of fish of the sea except the whale
and the shark.” Here “the sugar cane grew until it lay flat, the hogs until the
tusks were long, the chickens until the spurs were long and sharp, and the dogs until
their backs were flattened out.’ They leave Paliuli to travel over Hawaii, and ‘no
man has ever seen it since.’

4. In Fornander’s story of Kana, Uli, the grandmother of Kana, goes up to Paliuli
to dig up the double canoe Kaumaielieli in which Kana is to sail to recover his mother.
The chant in which this canoe is described is used today by practicers of sorcery to
exorcise an enemy.

2The gods Kane and Kanaloa, who live in the mountains of Oahu, back of Honolulu,
prepare a home for the first-born son of Ku and Hina, whom they send Rainbow to
fetch from Nuumealani. The messenger, first gaining the consent of the lizard guardian
at Kuaihelani, brings back Child-adopted-by-tle-gods to the gods on Oahu. Again Hina
bears a-child, a daughter. Tor this girl also the gods send two sister messengers, who
bring Paliuli to Waka, where she cares for the birds in the forests of Puna. Here a
beautiful home is prepared for the girl and a garden planted with two magical food-
producing trees, Makalei, brought from Nuumealani to provide fish and prepared food
in abundance. These two children, brother and sister, are the most beautiful pair on
earth, and the gods arrange their marriage. Kane precedes the boy, dressed in his
lightning body, and the tree people come to dance and sing before Paliuli. Some say
that the goddess Laka, patroness of the hula dance, accompanied them. For a time all
goes well, then the boy is beguiled by Poliahu (Cold-bosom) on the mountain. Paliull,
aware of her lover's infidelity, sends Waka to bring him back, but Cold-bosom prevents
his approach by spreading the mountain with snow. Paliuli wanders away to Oahu,
then to Kauai, learning dances on the way which she teaches to the trees in the forest
on her return.

Meanwhile another child is born to Ku and Hina. The lizard guardian draws this
lovely girl from the head of Hina, calls her Keaomelemele, Golden-cloud, and sets her
to rule the clouds in the Shining-heavyens. Among these clouds is Kaonohiokala, the
Hyeball-of-the-sun, who knows what is going on at a distance. From the lizard guar-
dian Golden-cloud learns of her sister Paliuli’s distress, and she comes to earth to
effect a reconciliation. There she learns all the dances that the gods can teach.

Now, Ku and Hina, having learned the lore of the clouds, choose other mates and
each bears a child, one a boy called Kaumailiula, Twilight-resting-in-the-sky, the other
a girl named Kaulanaikipokii.

The boy is brought to Oahu, riding in a red canoe befitting a chief, to be Golden-
cloud’s husband. His sister follows with her maidens riding in shells, which they pick

74936°

306 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 33

The main situation in this story furnishes a close parallel to the
Laieikawai. A beautiful girl of high rank is taken from her par-
ents and brought up apart in an earthly paradise by a supernatural
guardian, Waka, where she is waited upon by birds. A great lizard
acts as her protector. She is wedded to a high taboo chief who is
fetched thither from the gods, and who later is seduced from his
fidelity by the beauty of another woman. This woman of the moun-
tain, Poliahu, though identical in name and nature, plays a minor
part in Haleole’s story. In other details the stories show discrep-
ancies.t It is pretty clear that Haleole’s version has suppressed, out
of deference to foreign-taught proprieties, the original relationship
of brother and sister retained in the Westervelt story. This may be
inferred from the fact that other unpublished Hawaiian romances of
the same type preserve this relation, and that, according to Hawaiian
genealogists, the highest divine rank is ascribed to such a union. Re-
storing this connection, the story describes the doings of a single
family, gods or of godlike descent.?

In the Westervelt story, on the whole, the action is treated mythi-
cally to explain how things came to be as they are—how the gods
peopled the islands, how the Aula dances and the lore of the clouds
were taught in Hawaii. The reason for the localization is apparent.
The deep forests of Puna, long dedicated to the gods, with their sing-
ing birds, their forest trees whose leaves dance in the wind, their
sweet-scented mazle vine, with those fine mists which still perpetually
shroud the landscape and give the name Haleohu, House-of-mist, to
the district, and above all the rainbows so constantly arching over
the land, make an appropriate setting for the activities of some
family of demigods. Strange and fairylike as much of the incident
appears, allegorical as it seems, upon the face of it, the Polynesian
mind observes objectively the activities of nature and of man as if
they proceeded from the same sort of consciousness.

up and put in their pockets when they come to land. Ku, Hina, and the lizard family
also migrate to Oahu to join the gods, Kane and Kanaloa, for the marriage festival.
Thus these early gods came to Oahu.

1 Although the earthly paradise has the same location in both stories, the name Paliuli
in Westervelt’s version belongs to the heroine herself. The name of the younger sister,
too, who acts no part in this story, appears again in the tale. collected by Fornander of
Kaulanapokii, where, like the wise little sister of Haleole’s story, she is the leader and
spokesman of her four Maile sisters, and carries her part as avenger by much more
magical means than in Haleole’s naturalistic conception. The character who bears the
name of Haleole’s sungod, Kaonohiokala, plays only an incidental part in Westervelt’s
story. .

2 First generation: Waka, Kihanuilulumoku, Lanalananuiaimakua.

Second generation: Moanalihaikawaokele, Laukieleula ; Mokukeleikahiki and Kaeloika-
malama (brothers to Laukieleula).

Third generation: Kaonohiokala m, Laieikawai, Laielohelohe (m, Kekalukaluokewan),
Aiwohikupua, Mailehaiwale, Mailekaluhea, Mailelaulii, Mailepakaha, Kahalaomapuana.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 92

IN THE FORESTS OF PUNA (HENSHAW)

BECKWITH] INTRODUCTION 307

So, in Haleole’s more naturalistic tale the mythical rendering is
inwrought into the style of the narrative. Storm weds Perfume.
Their children are the Sun-at-high-noon; a second son, possibly
Lightning; twin daughters called after two varieties of the forest
vine, dete, perhaps symbols of Rainbow and Twilight; and five
sweet-smelling daughters—the four varieties of matle vine and the
scented hala blossom. The first-born son is of such divine character
that he dwells highest in the heavens. Noonday, like a bird, bears
visitors to his gate, and guards of the shade—Moving-cloud and
Great-bright-moon—close it to shut out his brightness. The three
regions below him are guarded by maternal uncles and by his father,
who never comes near the taboo house, which only his mother shares
with him. His signs are those of the rainstorm—thunder, lightning,
torrents of “red rain,” high seas, and long-continued mists—these he
inherits from his father. An ancestress rears Rainbow in the forests
of Puna. Birds bear her upon their wings and serve her with abun-
dance of food prepared without labor, and of their golden feathers
her royal house is built; sweet-scented vines and blossoms surround
her; mists shroud her when she goes abroad. Earthquake guards
her dwelling, saves Rainbow from Lightning, who seeks to destroy
her, and bears a messenger to fetch the Sun-at-high-noon as bride-
groom for the beautiful Rainbow. The Sun god comes to earth and
bears Rainbow away with him to the heavens, but later he loves
her sister Twilight, follows her to earth, and is doomed to sink
into Night.

6. THE STORY AS A REFLECTION OF ARISTOCRATIC SOCIAL LIFE

Such is the bare outline of the myth, but notice how, in humaniz-
ing the gods, the action presents a lively picture of the ordinary
course of Polynesian life. Such episodes as the concealment of the
child to preserve its life, the boxing and surfing contests, all the
business of love-making—its jealousies and subterfuges, the sisters
to act as go-betweens, the bet at checkers and the A’i/w games at night,
the marriage cortege and the public festival; love for music, too,
especially the wonder and curiosity over a new instrument, and the
love of sweet odors; again, the picture of the social group—the daugh-
ter of a high chief, mistress of a group of young virgins, in a house
apart which is forbidden to men, and attended by an old woman and
a humpbacked servant; the chief’s establishment with its sooth-
sayers, paddlers, soldiers, executioner, chief counselor, and the group
of under chiefs fed at his table; the ceremonial wailing at his recep-
tion, the awa drink passed about at the feast, the taboo signs, feather
cloak, and wedding paraphernalia, the power over life and death, and
the choice among virgins. Then, on the other hand, the wonder and

308 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

delight of the common people, their curious spying into the chief’s
affairs, the treacherous paddlers, the different orders of landowners;
in the temple, the human sacrifices, prayers, visions; the prophet’s
search for a patron, his wrestling with the god, his affection for his
chief, his desire to be remembered to posterity by the saying “the
daughters of Hulumaniani”—all these incidents reflect the course
of everyday life in aristocratic Polynesian society and hence belong
to the common stock of Hawaiian romance.

Such being the material of Polynesian romance—a world in which
gods and men play their part; a world which includes the heavens
yet reflects naturalistically the beliefs and customs of everyday life,
let us next consider how the style of the story-teller has been shaped
by his manner of observing nature and by the social requirements
which determine his art—by the world of nature and the world of
man. And in the first place let us see under what social conditions
Polynesia has gained for itself so high a place, on the whole, among
primitive story-telling people for the richness, variety, and beauty
of its conceptions."

Polynesian romance reflects its own social world—a world based
upon the fundamental conception of social rank. The family tie and
the inherited rights and titles derived from it determine a man’s
place in the community. The families of chiefs claim these rights
and titles from the gods who are their ancestors.? They consist not
only in land and property rights but in certain privileges in ad-
ministering the affairs of a group, and in certain acknowledged forms
of etiquette equivalent to the worship paid to a god. These rights
are administered through a system of taboo.®

A taboo depends for its force upon the belief that it is divinely
ordained and that to break it means to bring down the anger of the
gods upon the offender. In the case, therefore, of a violation of
taboo, the community forestalls the god’s wrath, which might other-
wise extend to the whole number, by visiting the punishment directly
upon the guilty offender, his family or tribe. But it is always under-

1J. A. Macculloch (in Childhood of Fiction, p: 2) says, comparing the literary ability
of primitive people: ‘‘ Those who possess the most elaborate and imaginative tales are
the Red Indians and Polynesians.”

2 Moerenhout, 11, 4, 265.

3 Gracia (p. 47) says that the taboo consists in the interdict from touching some food
or object which has been dedicated to a god. The chief by his divine descent repre-
sents the god. Compare Ellis, iv, 385; Mariner, 11, 82, 173; Turner, Samoa, pp. 112,
185; Fison, pp. 1-3; Malo, p. 88; Dibble, p. 12; Moerenhout, 1, 528-533. WFornander
says of conditions in Hawaii: ‘“‘ The chiefs in the genealogy from Kane were called
Ka Hoalii or ‘anointed’ (poni ia) with the water of Kane (wai-niu-a-Kane) and they
became ‘divine tabu chiefs’ (na@’ lii kapu-akua). ‘Their genealogy is called Iku-pau,
because it alone leads up to the beginning of all genealogies. They had ‘two taboo rights,
the ordinary taboo of the chiefs (Kapu-alii) and the taboo of the gods (Kapu-akua). The
genealogy of the lower ranks of chiefs (he’ lii noa), on the other hand, was called
Iku-nuu. Their power was temporal and they accordingly were entitled only to the
ordinary taboo of chiefs (Kapu-alii).”

BECKWITH] INTRODUCTION 309

stood that back of the community disapproval is the unappeased
challenge of the gods. In the case of the Polynesian taboo, the god
himself is represented in the person of the chief, whose divine right
none dare challenge and who may enforce obedience within his taboo
right, under the penalty of death. The limits of this right are pre-
scribed by grade. Before some chiefs the bystander must prostrate
himself, others are too sacred to be touched. So, when a chief dedi-
cates a part of his body to the deity, for an inferior it is taboo; any
act of sacrilege will throw the chief into a fury of passion. In the
same way tabooed food or property of any kind is held sacred and
can not be touched by the inferior. To break a taboo is to challenge
a contest of strength—that is, to declare war.

As the basis of the taboo right lay in descent from the gods, lineage
was of first importance in the social world. Not that rank was inde-
pendent of ability—a chief must exhibit capacity who would claim
possession of the divine inheritance;+ he must keep up rigorously
the fitting etiquette or be degraded in rank. Yet even a successful
warrior, to insure his family title, sought a wife from a superior
rank. For this reason women held a comparatively important posi-
tion in the social framework, and this place is reflected in the folk
tales.2 Many Polynesian romances are, like the Laietkawai, cen-
tered about the heroine of the tale. The mother, when she is of
higher rank, or the maternal relatives, often protect the child. The
virginity of a girl of high rank is guarded, as in the Laieikawai,
in order to insure a suitable union.? Rank, also, is authority for
inbreeding, the highest possible honor being paid to the child of a
brother and sister of the highest chief class. Only a degree lower is
the offspring of two generations, father and daughter, mother and
son, uncle and niece, aunt and nephew being highly honorable alli-
ances.*

1 Compare Kriimer, Samoa Inseln, p. 31; Stair, p. 75; Turner, Samoa, p. 173; White,
11, 62, and the Fornander stories of Aukele and of Kila, where capacity, not precedence
of birth, determines the hero’s rank.

2JIn certain groups inheritance descends on~the mother’s side only. See Kriimer,
op. cit., pp. 15, 39; Mariner, 11,89, 98. Compare Mariner, 11, 210-212; Stair, p. 222.
In Fison (p. 65) the story of Longapoa shows what a husband of lower rank may en-
dure from a termagant wife of high rank.

8 Kriimer (p. 32 et seq.) tells us that in Samoa the daughter of a high chief is
brought up with extreme care that she may be given virgin to her husband. She is
called taupo, ‘‘ dove,”” and, when she comes of age, passes her time with the other girls
cof her own age in the fale aualuma or “ house of the virgins,’ of whom she assumes
the leadership. Into this house, where the girls also sleep at night, no youth dare enter.

Compare Fornander’s stories of Kapuaokaoheloai and Hinaaikamalama.

See also Stair, p. 110; Mariner, 11, 142, 212; Fison, p. 33.

According to Gracia (p. 62) candidates in the Marquesas for the priesthood are
strictly bound to a taboo of chastity.

*Rivers, 1, 874; Malo, p. 80.

Gracia (p. 41) says that the Marquesan genealogy consists in a long line of gods and
goddesses married and representing a genealogy of chiefs. To the thirtieth generation
’ they are brothers and sisters. After this point the relation is no longer observed.

310 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 88

Two things result as a consequence of the taboo right in the hands
of a chief. In the first place, the effort is constantly to keep before
his following the exclusive position of the chief and to emphasize
in every possible way his divine character as descended from a god.
Such is the meaning of the insignia of rank—in Hawaii, the taboo
staff which warns men of his neighborhood, the royal feather cloak,
the high seat apart in the double canoe, the head of the feast, the
special apparel of his followers, the size of his house and of his war
canoe, the superior workmanship and decoration of all his equipment,
since none but the chief can command the labor for their execution.
In the second place, this very effort to aggrandize him above his fel-
lows puts every material advantage in the hands of the chief. The
taboo means that he can command, at the community expense, the
best of the food supply, the most splendid ornaments, equipment,
and clothing. He is further able, again at the community expense,
to keep dependent upon himself, because fed at his table, a large
following, all held in duty bound to carry out his will. Even the
land was, in Hawaii and other Polynesian communities, under the
control of the chief, to be redistributed whenever a new chief came
into power. The taboo system thus became the means for economic
distribution, for the control of the relation between the sexes, and for
the preservation of the dignity of the chief class. As such it consti-
tuted as powerful an instrument for the control of the labor and
wealth of a community and the consequent enjoyment of personal
ease and luxury as was ever put into the hands of an organized upper
class. It profoundly influenced class distinctions, encouraged exclu-
siveness and the separation of the upper ranks of society from the
lower.

1Keaulumoku’s descripticn of a Hawaiian chief (Islander, 1875) gives a good idea of
the distinction felt between the classes:

““A well-supplied dish is the wooden dish,
The high-raftered sleeping-house with shelves ;
The long eating-house for women.
The rushes are spread down, upon them is spread the mat,
They lie on their backs, with heads raised in dignity,
The fly brushers wave to and fro at the door; the door is shut, the black tapa is
drawn up.

“ Haste, hide a little in refreshing sleep, dismiss fatigue.
They sleep by day in the silence where noise is forbidden.
If they sleep two and two, double is their sleep.
Enjoyable is the fare of the large-handed man.
In parrying the spear the chief is vigorous; the breaking of points is sweet.
Delightful is the season of fish, the season of food; when one is filled with fish, when
one is filled with food.
Thou art satisfied with food, O thou common man,
To be satisfied with land is for the chief.”

Compare the account of the Fiji chief in Williams and Calvert, 1, 33-42.

BECKWITH] INTRODUCTION Bl

To act as intermediary with his powerful line of ancestors and
perform all the ceremonials befitting the rank to which he has at-
tained, the chief employs a priesthood, whose orders and offices are
also graded according to the rank into which the priest is born and
the patronage he is able to secure for himself.1| Even though the
priest may be, when inspired by his god, for the time being treated
like a god and given divine honors, as soon as the possession leaves him
he returns to his old rank in the community.? Since chief and priest
base their pretensions upon the same divine authority, each sup-
ports the other, often the one office including the other;* the sacer-
dotal influence is, therefore, while it acts as a check upon the chief,
on the whole aristocratic. 3

The priest represented in Polynesian society what we may call the
professional class in our own. Besides conducting religious cere-
monials, he consulted the gods on matters of administration and state
policy, read the omens, understood medicine, guarded the genealogies
and the ancient lore, often acted as panegyrist and debater for the
chief. All these powers were his in so far as he was directly inspired
by the god who spoke through him as medium to the people.*

III. Tue Art or Composrrion
1. ARISTOCRATIC NATURE OF POLYNESIAN ART

The arts of song and oratory, though practiced by all classes,
were considered worthy to be perfected among the chiefs themselves
and those who sought their patronage. Of a chief the Polynesian
says, “He speaks well.”® Hawaiian stories tell of heroes famous in
the hoopapa, or art of debating; in the Aw/a, or art of dance and song;
of chiefs who learned the lore of the heavens and the earth from some
supernatural master in order to employ their skill competitively.
The othana haku mele, or “ business of song making,” was hence an

1Stair, p. 220; Gracia, p. 59; Alexander, History, chap. Iv; Malo, p. 210. The
pame used for the priesthood of Hawaii, kahuna, is the same as that applied in the
Marquesas, according to Gracia (p. 60), to the order of chanters.

2 Gracia, p. 46; Mariner, 11, 87, 101, 125; Gill, Myths and Songs, pp. 20, 21; Moeren-
hout, 1, 474-482.

3 Malo, p. 69.

4Bllis (111, 36) describes the art of medicine in Polynesia, and Erdland (p. 77) says
that on the Marshall Islands knowledge of the stars and weather signs is handed down
to a favorite child and can raise rank by attaching a man to the service of a chief.

Compare Mariner, 11, 90; Moerenhout, 1, 409; Williams and Calvert, 1, 111.

SJarves says: “Songs and chants were common among all classes, and recited by
strolling musicians as panegyrics on occasions of joy, grief, or worship. Through them
the knowledge of events in the lives of prominent persons or the annals of the nation
were perpetuated. The chief art lay in the formation of short metrical sentences with-
out much regard to the rhythmical terminations. Monosyllables, dissyllables, and tri-
syllables had each their distinct time. The natives repeat their lessons, orders received,
or scraps of ancient song, or extemporize in this monotonous singsong tone for hours
together, and in perfect accord.”

Compare Ellis’s Tour, p. 155.

6 Moerenhout, 1, 411.

812 HAWAIIAN ROMANCE OF LAIERIKAWAI (ETH. ANN. 33

aristocratic art. The able composer, man or woman, even if of low
rank, was sure of patronage as the hakw mele, “ sorter of songs,” for
some chief; and his name was attached to the song he composed... A
single poet working alone might produce the panegyric; but for the
longer and more important songs of occasion a group got together,
the theme was proposed and either submitted to a single composer
or required line by line from each member of the group. In this way
each line as it was composed was offered for criticism lest any
ominous allusion creep in to mar the whole by bringing disaster upon
the person celebrated, and as it was perfected it was committed to
memory by the entire group, thus insuring it against loss. Protective
criticism, therefore, and exact transmission were secured by group
composition.? ‘

Exactness of reproduction was in fact regarded as a proof of
divine inspiration. When the chief’s sons were trained to recite the
genealogical chants, those who were incapable were believed to lack
a share in the divine inheritance; they were literally “less gifted”
than their brothers.?

This distinction accorded to the arts of song and eloquence is due
to their actual social value. The mede, or formal poetic chants which
record the deeds of heroic ancestors, are of aristocratic origin and
belong to the social assets of the family to which they pertain.
The claim of an heir to rank depends upon his power to reproduce,
letter perfect, his family chants and his “name song,” composed to
celebrate his birth, and hence exact transmission is a matter of ex-
treme importance. Facility in debate is not only a competitive art,
with high stakes attached, but is employed in time of war to shame
an enemy,? quickness of retort being believed, like quickness of hand,
to be a God-given power. Chants in memory of the dead are de-
manded of each relative at the burial ceremony. Song may be used
to disgrace an enemy, to avenge an insult, to predict defeat at arms.
It may also be turned to more pleasing purposes—to win back an
estranged patron or lover;® in the art of love, indeed, song is in-
valuable to a chief. Ability in learning and language is, therefore,
a highly prized chiefly art, respected for its social value and employed
to aggrandize rank. How this aristocratic patronage has affected the
language of composition will be presently clear.

1 Andrews, Islander, 1875, p. 35; Emerson, Unwritten Literature, pp. 27, 38.

2In Fornander’s story of Lonoikamakahiki, the chief memorizes in a single night a
new chant just imported from Kauai so accurately as to establish his property right to
the song.

8 Compare with Ellis, 1, 286, and Williams and Calvert, 1, 46, 50, the notes on the
boxing contest in the text of Laieikawai.

4Gill, Myths and Songs, pp. 268 et seq.

® See Fornander’s stories of Lonoikamakahiki, Halemano, and Kuapakaa.

BECKWITH] INTRODUCTION 313
2. NOMENCLATURE: ITS EMOTIONAL VALUE

The Hawaiian (or Polynesian) composer who would become a
successful competitor in the fields of poetry, oratory, or disputation
must store up in his memory the rather long series of names for
persons, places, objects, or phases of nature which constitute the
learning of the aspirant for mastery in the art of expression. He is
taught, says one tale, “about everything in the earth and in the
heavens ””—that is, their names, their distinguishing characterstics.
The classes of objects thus differentiated naturally are determined by
the emotional interest attached to them, and this depends upon their
social or economic value to the group.

The social value of pedigree and property have encouraged genea-
logical and geographical enumeration. A long recitation of the
genealogies of chiefs provides immense emotional satisfaction, and
seems in no way to overtax the reciter’s memory. Missionaries tell
us that “the Hawaiians will commit to memory the genealogical
tables given in the Bible, and delight to repeat them as some of the
choicest passages in Scripture.” Examples of such genealogies are
common; it is, in fact, the part of the reciter to preserve the pedigree
of his chief in a formal genealogical chant.

Such a series is illustrated in the genealogy embedded in the
famous song to aggrandize the family of the famous chief Kualii,
which carries back the chiefly line of Hawaii through 26 generations
to Wakea and Papa, ancestors of the race.

“Hulihonua the man,
Keakahulilani the woman,
Laka the man, Kepapaialeka the woman,”
runs the song, the slight variations evidently fitting the sound to the
movement of the recitative.

In the eleventh section of the “Song of Creation” the poet says:

She that lived up in the heavens and Piolani,

She that was full of enjoyments and lived in the heavens,

Lived up there with Kii and became his wife,

Brought increase to the world;
and he proceeds to the enumeration of her “ increase”:

Kamahaina was born a man,

Kamamule his brother,

Kamaainau was born next,

Kamakulua was born, the youngest a woman.
Following this family group come a long series, more than 650 pairs
of so-called husbands and wives. After the first 400 or so, the
enumeration proceeds by variations upon a single name. We have
first some 50 Kupo (dark nights) —“ of wandering,” “ of wrestling,”
“of littleness,” ete.; 60 or more Polo; 50 Liili; at least 60 Alii
(chiefs) ; followed by Mua and Loi in about the same proportion.

314 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

At the end of this series we read that—

Storm was born, Tide was born,
Crash was born, and also bursts of bubbles.
Confusion was born, also rushing, rumbling shaking earth.

oe ’

So closes the “second night of Wakea,” which, it is interesting to
note, ends like a charade in the death of Kupololilalimualoipo,
whose nomenclature has been so vastly accumulating through the
200 or 300 last lines. Notice how the first word Apo of the series
opens and swallows all the other five.

Such recitative and, as it were, symbolic use of genealogical chants
occurs over and over again. That the series is often of emotional
rather than of historical value is suggested by the wordplays and
by the fact that the hero tales do not show what is so characteristic
of Icelandic saga—a care to record the ancestry of each character
as it is introduced into the story. To be sure, they commonly begin
with the names of the father and mother of the hero, and their
setting; but in the older mythological tales these are almost in-
variably Aw and Hina, a convention almost equivalent to the phrase
“In the olden time”; but, besides fixing the divine ancestry of the
hero, carrying also with it an idea of kinship with those to whom
the tale is related, which is not without its emotional value.

Geographical names, although not enumerated to such an extent
in any of the tales and songs now accessible, also have an important
place in Hawaiian composition. In the Laieikawai 76 places are
mentioned by name, most of them for the mere purpose of identify-
ing a route of travel. A popular form of folk tale is the following,
told in Waianae, Oahu: “Over in Kahuku lived a high chief,
Kaho’alii. He instructed his son ‘Fly about Oahu while I chew
the awa; before I have emptied it into the cup return to me and
rehearse to me all that you have seen.’” The rest of the tale relates
the youth’s enumeration of the places he has seen on the way.

If we turn to the chants the suggestive use of place names becomes
still more apparent. Dr. Hyde tells us (Hawaiian Annual, 1890,
p. 79): “In the Hawaiian chant (mele) and dirge (kanikau) the
aim seems to be chiefly to enumerate every place associated with the
subject, and to give that place some special epithet, either attached
to it by commonplace repetition or especially devised for the occasion
as being particularly characteristic.” An example of this form of
reference is to be found in the Awaldi chant. We read:

Where is the battle-field

Where the warrior is to fight?

On the field of Kalena,

At Manini, at Hanini,

Where was poured the water of the god,
By your work at Malamanui,

At the heights of Kapapa, at Paupauwela,
Where they lean and rest.

BECKWITH] INTRODUCTION obs

In the play upon the words Manini and Hanini we recognize some
rhetorical tinkering, but in general the purpose here is to enumerate
the actual places famous in Kualii’s history.

At other times a place-name is used with allusive interest, the sug-
gested incident being meant, like certain stories alluded to in the
Anglo-Saxon “Beowulf,” to set off, by comparison or contrast, the
present situation. It is important for the poet to know, for example,
that the phrase “flowers of Paiahaa” refers to the. place on Kau,
Hawaii, where love-tokens cast into the sea at a point some 20 or 30
miles distant on the Puna coast, invariably find their way to shore
in the current and bring their message to watchful lovers.

A third use of localization conforms exactly to our own sense of
description. The Island of Kauai is sometimes visible lying off to
the northwest of Oahu. At this side of the island rises the Waianae
range topped by the peak Kaala. In old times the port of entry for
travelers to Oahu from Kauai was the seacoast village of Waianae.
Between it and the village of Waialua runs a great spur of the
range, which breaks off abruptly at the sea, into the point Kaena.
Kahuku point lies beyond Waialua at the northern extremity of the
island. Mokuleia, with its old inland fishpond, is the first village
to the west of Waialua. This is the setting for the following lines,
again taken from the chant of Avalii, the translation varying only
slightly from that edited by Thrum:

O Kauai,

Great Kauai, inherited from ancestors,
Sitting in the calm of Waianae,

A cape is Kaena,

Beyond, Kahuku,

A misty mountain back, where the winds meet, Kaala,
There below sits Waialua,

Waialua there,

Kahala is a dish for Makuleia,

A fishpond for the shark roasted in ti-leaf,
The tail of the shark is Kaena,

The shark that goes along below Kauai,
Below Kauai, thy land,

Kauai O!

The number of such place names to be stored in the reciter’s
memory is considerable. Not only are they applied in lavish pro-
fusion to beach, rock, headland, brook, spring, cave, waterfall, even
to an isolated tree of historic interest, and distributed to less clearly
marked small land areas to name individual holdings, but, because
of the importance of the weather in the fishing and seagoing life of
the islander, they are affixed to the winds, the rains, and the surf or
“sea” of each locality. All these descriptive appellations the
composer must employ to enrich his means of place allusion. Even

316 ' HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 88

to-day the Hawiian editor with a nice sense of emotional values will
not, in his obituary notice, speak of a man being missed in his native
district, but will express the idea in some such way as this: “ Never
more will the pleasant Awpuupuw (mist-bearing wind) dampen his
brow.” The songs of the pleading sisters in the romance of
Laieikawai illustrate this conventional usage. In /vualii, the poet
wishes to express the idea that all the sea belongs to the god Ku. He
therefore enumerates the different kinds of “sea,” with their local-
ity—‘ the sea for surf riding,” “the sea for casting the net,” “the
sea for going naked,” “ the sea for swimming,” “ the sea for surf rid-
ing sideways,” “the sea for tossing up mullet,” “the sea for small
crabs,” “the sea of many harbors,” ete.

The most complete example of this kind of enumeration occurs in
the chant of Kuapakaa, where the son of the disgraced chief chants
to his lord the names of the winds and rains of all the districts about
each island in succession, and then by means of his grandmother’s
bones in a calabash in the bottom of the canoe (she is the Hawaiian
wind-goddess) raises a storm and avenges his father’s honor. He
sings:

There they are! There they are!!
There they are!!!

The hard wind of Kohala,

The short sharp wind of Kawaihae,
The fine mist of Waimea,

The wind playing in the cocoanut-leaves of Kekaha,
The soft wind of Kiholo,

The calm of Kona,

The ghost-like wind of Kahaluu,

The wind in the hala-tree of Kaawaloa,
The moist wind of Kapalilua,

The whirlwind of Kau,

The mischievous wind of Hoolapa,

The dust-driven wind of Maalehu,

The smoke-laden wind of Kalauea.

There is no doubt in this enumeration an assertion of power over
the forces the reciter calls by name, as a descendant of her who has
transmitted to him the magic formula.

Just so the technician in fishing gear, bark-cloth making, or in
canoe or house building, the two crafts specially practiced by chiefs,
acquires a very minute nomenclature useful to the reciter in word
debate or riddling. The classic example in Hawaiian song is the
famous canoe-chant, which, in the legend of Aana, Uli uses in
preparing the canoe for her grandsons’ war, expedition against the.
ravisher of Hina (called the Polynesian Helen of Troy) and which
is said to be still employed for exorcism by sorcerers (Kahuna),
of whom Uli is the patron divinity. The enumeration begins thus:

BECKWITH] INTRODUCTION Sly

It is the double canoe of Kaumaielieli,

Keakamilo the outrigger,

Halauloa the body,

Luu the part under water,

Aukuuikalani the bow;
and so on to the names of the cross stick, the lashings, the sails, the
bailing cup, the rowers in order, and the seat of each, his paddle,
and his “seagoing loin cloth.” There is no wordplay perceptible
in this chant, but it is doubtful whether the object is to record a
historical occurrence or rather to exhibit inspired craftsmanship, the
process of enumeration serving as the intellectual test of an inherited
gift from the gods.

Besides technical interests, the social and economic life of the
people centers close attention upon the plant and animal life about
them, as well as upon kinds of stone useful for working. Andrews
enumerates 26 varieties of edible seaweed known to the Hawaiians.
The reciters avail themselves of these well-known terms, sometimes
for quick comparison, often for mere enumeration. It is interesting
to see how, in the “Song of Creation,” in listing plant and animal
life according to its supposed order of birth—first, shellfish, then
seaweed and grasses, then fishes and forests plants, then insects,
birds, reptiles—wordplay is employed in carrying on the enumera-
tion. We read:

“The Mano (shark) was born, the Moana was: born
in the sea and swam,
The Mau was born, the Maumau was born
in the sea and swam,
The Nana was born, the Mana was born
in the sea and swam.”
and so on through Nake and Make, Napa and Nala, Pala and Kala,
Paka (eel) and Papa (crab) and twenty-five or thirty other pairs
whose signification is in most cases lost if indeed they are not en-
tirely fictitious. Again, 16 fish names are paired with similar names
of forest plants; for example:

“The Pahau was born in the sea,
Guarded by the Lauhau that grew in the forest.”

“The Hee was born and lived in the sea,
Guarded by the Walahee that grew in the forest.”

Here the relation between the two objects is evidently fixed by the
chance likeness of name.

On the whole, the Hawaiian takes little interest in stars. The
“ canoe-steering star,” to be sure, is useful, and the “net of Makalii”
(the Pleiads) belongs to a well-known folk tale. But star stories
do not appear in Hawaiian collections, and even sun and moon

318 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

stories are rare, all belonging to the older and more mythical tales.
Clouds, however, are very minutely observed, both as weather indica-
tors and in the lore of signs, and appear often in song and
story.’

Besides differentiating such visible phenomena, the Polynesian
also thinks in parts of less readily distinguishable wholes. When
we look toward the zenith or toward the horizon we conceive the dis-
stance as a whole; the Polynesian divides and names the space much
as we divide our globe into zones. We have seen how he conceives
a series of heavens above the earth, order in creation, rank in the
divisions of men on earth and of gods in heaven. In the passage
of time he records how the sun measures the changes from day to
night; how the moon marks off the month; how the weather changes
determine the seasons for planting and fishing through the year;
and, observing the progress of human life from infancy to old age,
he names each stage until “ the staff rings as you walk, the eyes are
dim like a rat’s, they pull you along on the mat,” or “they bear you
in a bag on the back.”

Clearly the interest aroused by all this nomenclature is emotional,
not rational. There is too much wordplay. Utility certainly plays
some part, but the prevailing stimulus is that which bears directly

1In the Hawaiian Annual, 1890, Alexander translates some notes printed by Kamakau
in 1865 upon Hawaiian astronomy as related to the art of navigation. The bottom of a
gourd represented the heavens, upon which were marked three lines to show the north-
ern and southern limits of the sun’s path, and the equator—called the “ black shining
road of Kane” and ‘“ of Kanaloa,” respectively, and the “road of the spider” or ‘“ road
to the navel of Wakea”’ (ancestor of the race). A line was drawn from the north star
to Newe in the south; to the right was the “ bright road of Kane,’ to the left the
“much traveled road of Kanaloa.” Within these lines were marked the positions of all
the known stars, of which Kamakau names 14, besides 5 planets. For notes upon
Polynesian astronomy consult Journal of the Polynesian Society, iv, 236.

Hawaiian priestly hierarchies recognize special orders whose function it is to read
the signs in the clouds, in dreams, or the flight of birds, or to practice some form of
divination with the entrails of animals. In Hawaii, according to Fornander, the sooth-
sayers constitute three of the ten large orders of priests, called Oneoneihonua, Kilokilo,
and Nanauli, and these are subdivided into lesser orders. Ike, knowledge, means literally
“to see with the eyes,” but it is used also to express mental vision, or knowledge with
reference to the objective means by which such knowledge is obtained. So the ‘ gourd
of wisdom "—ka ipu o ka ike—which Laieikawai consults (p. 610), brings distant objects
before the eyes so that the woman ‘“ knows by seeing’’ what is going on below. Signs
in the clouds are especially observed, both as weather indicators and to forecast the
doings of chiefs. According to Westervelt’s story of Keaomelemele, the lore is taught
to mythical ancestors of the Hawaiian race by the gods themselves. The best. analysis
of South Sea Island weather signs is to be found in Erdland’s ‘ Marshall Insulaner,”
page 69. Early in the morning or in the evening is the time for making observations.
Rainbows, punohu—doubtfully explained to me as mists touched by the end of a rain-
bow—and the long clouds which lie along the horizon, forecast the doings of chiefs. A
pretty instance of the rainbow sign occurred in the recent history of Hawaii. When
word reached Honolulu of the death of King Kalakaua, the throng pressed to the palace
to greet their new monarch, and as Her Majesty Liliuokalani appeared upon the balcony
to receive them, a rainbow arched across the palace and was instantly recognized as a
symbol of her royal rank. In the present story the use of the rainbow symbol shows
clumsy workmanship, since near its close the Sun god is represented as sending to his
bride as her peculiar distinguishing mark the same sign, a rainbow, which has been
hers from birth.

BECKWITH] INTRODUCTION 319

upon the idea of rank, some divine privilege being conceived in the
mere act of naming, by which a supernatural power is gained over
the object named. The names, as the objects for which they stand,
come from the gods. Thus in the story of Pupuhuluena, the culture
hero propitiates two fishermen into revealing the names of their
food plants and later, by reciting these correctly, tricks the spirits
into conceding his right to their possession. Thus he wins tuberous
food plants for his people. ‘

For this reason, exactness of knowledge is essential. The god
is irritated by mistakes.1 To mispronounce even casually the name
of the remote relative of a chief might cost a man a valuable patron
or even life itself. Some chiefs are so sacred that their names are
taboo; if it is a word in common use, there is chance of that word
dropping out of the language and being replaced by another.

Completeness of enumeration hence has cabalistic value. When
the Hawaiian propitiates his gods he concludes with an invoca-
tion to the “forty thousand, to the four hundred thousand, to
the four thousand ”? gods, in order that none escape the incantation.
Direction is similarly invoked all around the compass. In the art
of verbal debate—called hoopapa in Hawaii—the test is to match a
rival’s series with one exactly parallel in every particular or to add
to a whole some undiscovered part.? A charm mentioned in folk

1 Moerenhout (1, 501-507) says that the Areois society in Tahiti, one of whose chief
cbjects was ‘‘to preserve the chants and songs of antiquity,’ sent out an officer called
the “ Night-walker,”’ Hare-po, whose duty it was to recite the chants all night long at
the sacred places. If he hesitated a moment it was a bad omen. ‘ Perfect memory for
these chants was a gift of god and proved that a god spoke through and inspired the
reciter.” Ifa single slip was made, the whole was considered useless.

Erdland relates that a Marshall Islander who died in 1906 remembered correctly
the names of officers and scholars who came to the islands in the Chamisso party when
he was a boy of 8 or 10.

Fornander notes that, in collecting Hawaiian chants, of the Kualii dating from about
the seventeenth century and containing 618 lines, one copy collected on Hawaii, another
on Oahu, did not vary in a single line; of the Hauikalani, written just before Kame-
hameha’s time and containing 527 lines, a copy from Hawaii and one from Maui
ciffered only in the omission of a single word.

Tripping and stammering games were, besides, practiced to insure exact articulation.
(See Turner, Samoa, p. 131; Thomson, pp. 16, 315.)

2 Emerson, Unwritten Literature, p..24 (note).

8 This is well illustrated in Fornander’s story of Kaipalaoa’s disputation with the
orators who gathered about Kalanialiiloa on Kauai. Say the men:

“ Kuu moku la e kuu moku, My island there, my island;
Moku kele i ka waa o Kaula, Island to which my canoe sails, Kaula,
Moku kele i ka waa, Nihoa, Island to which my canoe sails, Nihoa,
Moku kele i ka waa, Niihau. Island to which my canoe sails, Niihau.
Lehua, Kauai, Molokai, Oahu, Lehua, Kauai, Molokai, Oahu,
Maui, Lanai, Kahoolawe, Maui, Lanai, Kahoolawe,
Molokini, Kauiki, Mokuhano, Molokini, Kauiki, Mokuhano,
Makaukiu, Makapu, Mokolii. Makaukiu, Makapu, Mokolii.

“You are beaten, young man; there are no islands left. We have taken up the
islands to be found, none left.”

320 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

tale is “to name every word that ends with daw.” Certain numbers,
too, have a kind of magic finality in themselves; for example, to
count off an identical phrase by ten without missing a word is the
charm by which Lepe tricks the spirits. In the A’walii, once more,
Ku is extolled as the tenth chief and warrior:

The first chief, the second chief,
The third chief, the fourth chief,
* The fifth chief, the sixth chief,
The seventh chief, the eighth chief,
The ninth chief, the tenth chief is Ku,
Ku who stood in the path of the rain of the heaven,
The first warrior, the second warrior,
The third warrior, the fourth warrior,
The fifth warrior, the sixth warrior,
The seventh warrior, the eighth warrior,
The ninth warrior, the tenth warrior
Is the Chief who makes the King rub his eyes,
The young warrior of all Maui.

Says the boy:

“Kuu moku e, kuu moku, Here is my island, my island
O Mokuola, ulu ka ai, Mokuola where grows food,
Ulu ka niu, ulu ka laau, The cocoanut grows, trees grow,
Ku ka hale, holo ua holoholona. . Houses stand, animals run.

“There is an island for you. It is an island. It is in the sea.”
(This is a small island off Hilo, Hawaii.)

The men try again:

“We aina hau kinikini o Kohala, A land of many hau trees is Kohala
Na’u i helu a hookahi hau, Out of a single haw tree I have counted
I e hiku hau keu. out .

O ke ama hau la akahi, And found seven hau.

O ka iako hau la alua, The hau for the outriggers makes one,
O ka ilihau la akolu, The hau for the joining piece makes two,
O ka laau hau la aha, The hau bark makes three,

O ke opu hau la alima, The haw wood makes four,

O ka nanana hau la aone, The hau bush makes five,

O ka hau i ka mauna la ahiku, The large hau tree makes six,

The mountain haw makes seven.

“Say, young man, you will have no hau, for we have used it all. There is none left.
If you find any more, you shall live, but if you fail you shall surely die. We will twist
your nose till you see the sun at Kumukena. We will poke your eyes with the Kahili
handle, and when the water runs out, our little god of disputation shall suck it up—
the god Kaneulupo.” :

Says the boy, ‘‘ You full-grown men have found so many uses, you whose teeth are
rotten with age, why can’t I, a lad, find other uses, to save myself so that I may live.
I shall search for some more hau, and if I fail you shall live, butrif I find them you
shall surely die.

“Aina hau kinikini o Kona, A land of many hau trees is in Kona
Na’u i helu hookahi hau, Out of a single haw I have counted one,
A ehiku hau keu.’” And found seven hau.

O Honolohau la akahi, Honolahau makes one,

O Lanihau la alua Lanihau makes two,

O Punohau la akolu, Punohau makes three,

O Kahauloa la aha, Kahauloa makes four,

O Auhaukea la alima, Auhaukea makes five,

O Kabauiki la aono, } Kahauiki makes six,

Holo kehau i ka waa kona la ahiku. | The Kehau that drives the canoe at Kona
makes seven.
(All names of places in the Kona district.)

“There are seven hau, you men with rotten teeth.”

BECKWITH] INTRODUCTION 321

And there follows an enumeration of the other nine warriors. <A
similar use is made of counting-out lines in the famous chant of the
“Mirage of Mana” in the story of Lono, evidently with the idea of
completing an inclusive series.

Counting-out formule reappear in story-telling in such repetitive
series of incidents as those following the action of the five sisters
of the unsuccessful wooer in the Latetkhawai story. Here the inter-
est develops, as in the lines from A’waliz, an added emotional element,
that of climax. The last place is given to the important character.
Although everyone is aware that the younger sister is the most
competent member of the group, the audience must not be deprived
of the pleasure of seeing each one try and fail in turn before the
youngest makes the attempt. The story-teller, moreover, varies the
incident; he does not exactly follow his formula, which, however,
it is interesting to note, is more fixed in the evidently old dialogue
part of the story than in the explanatory action.

Story-telling also exhibits how the vital connection felt to exist be-
tween a person or object and the name by which it is distinguished,
which gives an emotional value to the mere act of naming, is extended
further to include scenes with which it is associated. The Hawaiian
has a strong place sense, visible in his devotion to scenes familiar to
his experience, and this is reflected in his language. Inthe Laietkawai
it appears in the plaints of the five sisters as they recall their native
land. In the songs in the Halemano which the lover sings to win his
lady and the chant in Lonoikamakahiki with which the disgraced
favorite seeks to win back his lord, those places are recalled to mind
in which the friends have met hardship together, in order, if possible,
to evoke the same emotions of love and loyalty which were theirs un-
der the circumstances described. Hawaiians of all classes, in mourn-
ing their dead, will recall vividly in a wailing chant the scenes with
which their lost friend has been associated. I remember on a tramp
in the hills above Honolulu coming upon the grass hut of a Hawaiian
lately released from serving a term for manslaughter. The place
commanded a fine view—the sweep of the blue sea, the sharp rugged
lines of the coast, the émerald rice patches, the wide-mouthed valleys
cutting the roots of the wooded hills. “It is lonely here?” we asked
the man. “Aole! maikai keia!” (“No, the view is excellent”) he
answered.

The ascription of perfection of form to divine influence may
explain the Polynesian’s strong sense for beauty.t The Polynesian
sees in nature the sign of the gods. In its lesser as in its more mar-
velous manifestations—thunder, lightning, tempest, the “red rain,”
the rainbow, enveloping mist, cloud shapes, sweet odors of plants, so

1Thomson says that the Fijians differ from the Polynesians in their indifference to
beauty in nature.

74936°—19—33 ETH 21

ow HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

rare in Hawaii, at least, or the notes of birds—he reads an augury of
divine indwelling. The romances glow with delight in the startling
effect of personal beauty upon the beholder—a beauty seldom de-
scribed in detail save occasionally by similes from nature. In the
Laieikawai the sight of the heroine’s beauty creates such an ecstasy
in the heart of a mere countryman that he leaves his business to run
all about the island heralding his discovery. Dreaming of the beauty
of Laieikawai, the young chief feels his heart glow with passion for
this “red blossom of Puna” as the fiery volcano scorches the wind
that fans across its bosom. A divine hero must select a bride of
faultless beauty; the heroine chooses her lover for his physical per-
fections. Now we can hardly fail to see that in all these cases the
delight is intensified by the belief that beauty is godlike and betrays
divine rank in its possessor. Rank is tested by perfection of face and
form. The recognition of beauty thus becomes regulated by express
rules of symmetry and surface. Color, too, is admired according to
its social value. Note the delight in red, constantly associated with
the accouterments of chiefs.

3. ANALOGY: ITS PICTORIAL QUALITY

A second significant trait in the treatment of objective life,
swiftness of analogy, affects the Polynesian in two ways: the first is
pictorial and plays upon a likeness between objects or describes an
idea or mood in metaphorical terms; the second is a mere linguistic
play upon words. Much nomenclature is merely a quick picturing
which fastens attention upon the special feature that attracts atten-
tion; ideas are naturally reinforced by some simple analogy. I
recall a curious imported flower with twisted inner tube which the
natives call, with a characteristic touch of daring drollery, “the
intestines of the clergyman.” Spanish moss is named from a promi-
nent figure of the foreign community “ Judge Dole’s beard.” Some
native girls, braiding fern wreaths, called my attention to the dark,
graceful fronds which grow in,the shade and are prized for such
work. ‘These are the natives,” they said; then pointing slyly to the
coarse, light ferns burned in the sun they added, “these are the for-
eigners.” After the closing exercises of a mission school:-in Hawaii
one of the parents was called upon to make an address. He said:
“As I listen to the songs and recitations I am like one who walks
through the forest where the birds are singing. I do not understand
the words, but the sound is sweet to the ear.” The boys in a certain
district school on Hawaii call the weekly head inspection “ playing
the ukulele” in allusion to the literal interpretation of the name for
the native banjo. These homely illustrations, taken from the every-
day life of the people, illustrate a habit of mind which, when ap-
plied for conscious emotional effect, results in much charm of formal

BECKWITH] INTRODUCTION 323

expression. The habit of isolating the essential feature leads to such
suggestive names as “Leaping water,” “ White mountain,” “The
gathering place of the clouds,” for waterfall or peak; or to such
personal appellations as that applied to a visiting foreigner who
had temporarily lost his voice, “The one who never speaks”; or to
such a description of a large settlement as “many footprints.”+ The
graphic sense of analogy applies to a mountain such a name as
“ House of the sun”; to the prevailing rain of a certain district the
appellation “The rain with a pack on its back,” “Leaping whale” or
“ Ghostlike”; to a valley, “The leaky canoe”; to a canoe,, “ Kel
sleeping in the water.” A man who has no brother in a family is
called “A single coconut,” in allusion to a tree from which hangs a
single fruit. ?

This tendency is readily illustrated in the use of synonyms. O2/i
means “to twist, roll up;” it also means “to be weary, agitated,
tossed about in mind.” Hoolala means “to branch out,” as the
branches of a tree; it is also applied in sailing to the deflection from
a course. Atlohana is the name given to the outside decorated piece:
of tapa in a skirt of five layers; it means generally, therefore, “ the
very best ” in contrast to that which is inferior. Awapaa means liter-
ally “to harden the back” with oppressive work; it is applied to a
breadfruit parched on the tree or to a rock that shows itself above
water. Lzlolilo means “to spread out, expand as blossom from bud ;”
it also applies to an open-handed person. Nee may mean “to hitch
along from one place to another,” or “to change the mind.” Pa/ele
means “separate, put somewhere else when there is no place vacant ;”
it also applies to stammering. These illustrations gathered almost at
random may be indefinitely multiplied. I recall a clergyman in a
small hamlet on Hawaii who wished to describe the character of the
people of that place. Picking up a’stone of very close grain of the
kind used for pounding and called a/apaa, literally, “ close-grained
stone,” he explained that because the people of that section were
“tight” (stingy) they were called Aaweleau alapaa. This ready
imitativeness, often converted into caricature, enters into the minutest
detail of life and is the clew to many a familiar proverb like that of
the canoe on the coral reef quoted in the text.*. The chants abound
in such symbols. Man is “a long-legged fish” offered to the gods.
Ignorance is the “night of the mind.” The cloud hanging over
Kaula is a bird which flies before the wind *—

The blackbird begged,

The bird of Kaula begged,
Floating up there above Waahila.

1Turner, Samoa, p. 220.

2 Ibid. ; Moerenhout, 1, 407-410.

* Turner, Samoa, pp. 216-221; Williams and Calvert, 1, p. 110.
4 Williams and Calvert, 1, 118.

324 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

The coconut leaves are “the hair of the trees, their long locks.”
Kailua district is “a mat spread out narrow and gray.”

The classic example of the use of such metaphor in Hawaiian song
is the famous passage in the Zauikalani in which chiefs at war are
compared with a cockfight, the favorite Hawaiian pastime?! being
realistically described in allusion to Keoua’s wars on Hawaii:

Hawaii is a cockpit; the trained cocks fight on the ground.
The chief fights—the dark-red cock awakes at night for battle;
The youth fights valiantly—Loeau, son of Keoua.
He whets his spurs, he pecks as if eating;
He scratches in the arena—this Hilo—the sand of Waiolama.
* * * * * * *

He is a well-fed cock. The chief is complete,

Warmed in the smokehouse till the dried feathers rattle,

With changing colors, like many-colored paddles, like piles of polished Kahili.
The feathers rise and fall at the striking of the spurs.

Here the allusions to the red color and to eating suggest a chief.
The feather brushes waved over a chief and the bright-red paddles of
his war fleet are compared to the motion of a fighting cock’s bright
feathers, the analogy resting upon the fact that the color and the
motion of rising and falling are common to all three.

This last passage indicates the precise charm of Polynesian meta-
phor. It les in the singer’s close observation of the exact and char-
acteristic truth which suggests the likeness, an exactness necessary to
carry the allusion with his audience, and which he sharpens inces-
santly from the concrete facts before him. Kuapakaa sings:

The rain in the winter comes slanting,
Taking the breath away, pressing down the hair,
Parting the hair in the middle.

The chants are full of such precise descriptions, and they furnish
the rich vocabulary of epithet employed in recalling a place, person,
or object. Transferred to matters of feeling or emotion, they result
in poetical comparisons of much charm. Sings Kuapakaa (Wise’s
translation) : :

The pointed clouds have become fixed in the heavens,

The pointed clouds grow quiet like one in pain before childbirth,
Ere it comes raining heavily, without ceasing.

The umbilicus of the rain is in the heavens,

The streams will yet be swollen by the rain.

Hina’s song of longing for her lost lover in Laieikawai should be
compared with the lament of Laukiamanuikahiki when, abandoned
by her lover, she sees the clouds drifting in the direction he has
taken:

1 Mocrenhout, 11, 146.

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 93

A HAWAIIAN PADDLER (HENSHAW)

BECKWITH] INTRODUCTION 3825

The sun is up, it is up;
My love is ever up before me.
It is causing me great sorrow, it is pricking me in the side,
For love is a burden when one is in love,
And falling tears are its due.
__ How vividly the mind enters into this analogy is proved by its
swift identification with the likeness presented. Originally this
identification was no doubt due to ideas of magic. In romance,
life in the open—in the forests or on the sea—has taken posses-
sion of the imagination. In the myths heroes climb the heavens,
dwelling half in the air; again they are amphibian like their
great lizard ancestors. In the Laietkawai, as in so many stories,
note how much of the action takes place on or in the sea—canoe-
ing, swimming, or surfing. In less humanized tales the realiza-
tion is much more fantastic. To the Polynesian mind such. figurative
sayings as “swift as a bird” and “swim like a fish” mean a literal
transformation, his sense of identity being yet plastic, capable of
uniting itself with whatever shape catches the eye. When the poet
Marvel says—
Casting the body’s vest aside,
My soul into the boughs does glide;
There, like a bird, it sits and sings,
Then whets and combs its silver wings,

And, till prepared for longer flight,
Waves in its plumes the various light—

he is merely expressing a commonplace of primitive mental expe-
rience, transformation stories being of the essence of Polynesian as
of much primitive speculation about the natural objects to which
his eye is drawn with wonder and delight.

4. THE DOUBLE MEANING; PLAYS ON WORDS

Analogy is the basis of many a double meaning. There is, in fact,
no lyric song describing natural scenery that may not have beneath it
some implied, often indelicate, allusion whose riddle it takes an
adroit and practiced mind to unravel.

This riddling tendency of figurative verse seems to be due to the
aristocratic patronage of composition, whose tendency was to exalt
language above the comprehension of the common people, either by
obscurity, through ellipsis and allusion, or by saying one thing and
Meaning another. A special chief’s language was thus evolved, in
which the speaker might couch his secret resolves and commands
unsuspected by those who stood within earshot. Quick interpretation
of such symbols was the test of chiefly rank and training. On the
other hand, the wish to appear innocent led him to hide his mean-
ing in a commonplace observation. Hence nature and the objects

326 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 83

and actions of everyday life were the symbols employed. For the
heightened language of poetry the same chiefly strain was culti-
vated—the allusion, metaphor, the double meaning became essential
to its art; and in the song of certain periods a play on words by pun-
ning and word linking became highly artificial requirements.’

Illustrations of this art do not fall upon a foreign ear with the
force which they have in the Polynesian, because much of the skill
lies in tricks with words impossible to translate, and often the jest
depends upon a custom or allusion with which the foreigner is un-
familiar. It is for this reason that such an art becomes of social
value, because only the chief who keeps up with the fashion and the
follower who hangs upon the words of his chief can translate the
allusion and parry the thrust or satisfy the request. In a Samoan
tale a wandering magician requests in one village “to go dove catch-
ing,” and has the laugh on his simple host because he takes him at
his word instead of bringing hima wife. Ina'Tongan story * the chief
grows hungry while out on a canoe trip, and bids his servant, “ Look
for a banana stall on the weather side of the boat.” As this is the
side of the women, the command meant “ Kill a woman for me to
eat.” The woman designed for slaughter is in this case wise enough
to catch his meaning and save herself and child by hiding under the
canoe. In Fornander’s story a usurper and his accomplice plan the
moment for the death of their chief over a game of konane,
the innocent words which seem to apply to the game being ut-
tered by the conspirators with a more sinister meaning. The lan-
guage of insults and opprobrium is particularly rich in such double
meanings. The pig god, wishing to insult Pélé, who has refused his
advances, sings of her, innocently enough to common ears, as a
“woman pounding noni.” Now, the noni is the plant from which
red dye is extracted; the allusion therefore is to Pélé’s red eyes, and
the goddess promptly resents the implication.

It is to this chiefly art of riddling that we must ascribe the stories
of riddling contests that are handed down in Pelynesian tales. The
best Hawaiian examples are perhaps found in Fornander’s Aepakai-
liula. NWere the hero wins supremacy over his host by securing the
answer to two riddles—* The men that stand, the men that le down,
the men that are folded,” and “Plaited all around, plaited to the
bottom, leaving an opening.” The answer is in both cases a house,
for in the first riddle “the timbers stand, the batons lie down, the
grass is folded under the cords”; in the second, the process of thatch-
ing is described in general terms. In the story of Pikoiakaala, on the
other hand, the hero puzzles his contestants by riddling with the
word “rat.” This word riddling is further illustrated in the story

1 See Moerenhout, 11, 210; Jarves, p. 34; Alexander in Andrews’ Dict., p. xv1; Ellis, 1,
288; Gracia, p. 65; Gill, Myths and Songs, p. 42.
2 Fison, p. 100.

BECKWITH] INTRODUCTION 827

of the debater, Kaipalaoa, already quoted. His opponents produce
this song:

The small bird chirps; it shivers in the rain, in Puna, at Keaau, at Iwainalo,
and challenge him to “ find another nalo.” Says the boy:

The crow caw caws; it shines in the rain. In Kona, at Honalo, it is hidden
(nalo).

Thus, by using nalo correctly in the song in two ways, he has over-
matched his rivals.

In the elaborated hula songs, such as Emerson quotes, the art can
be seen in full perfection. Dangerous as all such interpretation of
native art must be for a foreigner, I venture in illustration, guided
by Wise’s translation, the analysis of one of the songs sung by Hale-
mano to win back his lost lady love, the beauty of Puna. The circum-
stances are as follows: Halemano, a Kauai chief, has wedded a fa-
mous beauty of Puna, Hawaii, who has now deserted him for a
royal lover. Meanwhile a Kohala princess who loves him seeks to
become his mistress, and makes a festival at which she may enjoy
his company. The estranged wife is present, and during the games
he sings a series of songs to reproach her infidelity. One of them
runs thus:

Ke kua ia mai la e ke kai ka hala 0 Hewn down by the sea are the pan-

Puna, ; danus trees of Puna.

I halaoa ana me he kanaka la, They are standing there like men,

Lulumi iho la i kai o Hilo-e, Like a multitude in the lowlands of
Hilo.

Hanuu ke kai i luna o Mokuola. Step by step the sea rises above the
Isle-of-life,

Ua ola ae nei loko i ko aloha-e. So life revives once more within me,

i for love of you.

He kokua ka inaina no ke kanaka. A bracer to man is wrath.

Hele kuewa au i ke alanui e! As I wandered friendless over the high-
ways, alas!

Pela, peia, pehea au e ke aloha? That way, this way, what of me, love?

Auwe kuu wahine—a! Alas, my wife—O!

Kuu hoa 0 ka ulu hapapa o Kalapana. My companion of the shallow planted
breadfruit of Kalapana,

O ka la hiki anuanu ma Kumukahi. Of the sun rising cold at Kumukahi.

Akahi ka mea aloha o ka wahine. Above all else the love of a wife.

Ke hele neiia wela kuu manawa, For my temples burn,

A huihui kuu piko i ke aloha, And my heart (literally “ middle’) is
cold for your love,

Ne aie kuu kino no ia la-e. And my body is under bonds to her
(the princess of Kohala).

Hoi mai kaua he a’u koolau keia, Come back to me, a wandering

Au bird of Koolau,

Kkuu wahine hoi e! Hoi mai. My love, come back.

Hoi mai kaua e hoopumehana. Come back and let us warm each other
with love,

Ka makamaka o ia aina makua ole. Beloved one in a friendless land (lit-

erally, “ without parents’’).

328 HAWAIIAN ROMANCE OF LAIRIKAWAI [ETH. ANN. 38

Paraphrased, the song may mean:

The sea has enroached upon the shore of Puna and Hilo so that the hala ~
trees stand out in the water; still they stand firm in spite of the flood. So love
floods my heart, but I am braced by anger. Alas! my wife, have you forgotten
the days when we dwelt in Kalapana and saw the sun rise beyond Cape Kumu-
kahi? I burn and freeze for your love, yet my body is engaged to the princess
of Kohala, by the rules of the game. Come back to me! I am from Kauai, in
the north, and here in Puna I am a stranger and friendless.

The first figure alludes to the well-known fact that the sinking of
the Puna coast has left the pandanus trunks standing out in the
water, which formerly grew on dry land. The poetical meaning,
however, depends first upon the similarity in sound between Ave kua,
“to eut,” which begins the parallel, and He kokua, which is also
used to mean cutting, but implies assisting, literally “bracing the
back,” and carries over the image to its analogue; and, second, upon
the play upon the word ola, life: “'The sea floods the isle of life—
yes! Life survives in spite of sorrow,” may be the meaning. In
the latter part of the song the epithets anwanu, chilly, and hapapa,
used of seed planted in shallow soil, may be chosen in allusion to the
cold and shallow nature of her love for him.

The nature of Polynesian images must now be apparent. A close
observer of nature, the vocabulary of epithet and image with which
it has enriched the mind is, especially in proverb or figurative verse,
made use of allusively to suggest the quality of emotion or to convey
a sarcasm. The quick sense of analogy, coupled with a precise
nomenclature, insures its suggestive value. So we find in the lan-
guage of nature vivid, naturalistic accounts of everyday happenings
in fantastic reshapings, realistically conceived and ascribed to the
gods who rule natural phenomena; a figurative language of signs to
be read as an implied analogy; allusive use of objects, names, places,
to convey the associated incident, or the description of a scene to
suggest the accompanying emotion; and a sense of delight in the
striking or phenomenal in sound, perfume, or appearance, which is
explained as the work of a god.

5. CONSTRUCTIVE ELEMENTS OF STYLE

Finally, to the influence of song, as to the dramatic requirements
of oral delivery, are perhaps due the retention of certain constructive
elements of style. No one can study the form of Hawaiian poetry
without observing that parallelism is at the basis of its structure.
The same swing gets into the prose style. Perhaps the necessity of
memorizing also had its effect. A composition was planned for oral
delivery and intended to please the ear; tone values were accordingly
of great importance. The variation between narrative, recitative, and
formal song; the frequent dialogue, sometimes strictly dramatic; the

BECKWITH] INTRODUCTION 329

repetitive series in which the same act is attempted by a succession of
actors, or the stages of an action are described in exactly the same
form, or a repetition is planned in ascending scale; the singsong value
of the antithesis; the suspense gained by the ejaculation 2—all these

1 The following examples are taken from the Laieikawai, where antithesis is frequent:

“Four children were mine, four are dead.” (P. 346.)

“Masters inside and outside ’’ (to express masters over everything). (P. 358.)

“T have seen great and small, men and women; low chiefs, men and women; high
chiefs.” (P. 360.)

“When you wish to go, go; if you wish to stay, this is Hana, stay here.” (P. 380.)

“As you would do to me, so shall I to you.” (P. 380.)

“T will not touch you, you must not touch me.” (P. 404.)

“Until day becomes night and night day.’ (P. 412.)

“Tf it seems good I will consent; if not, I will refuse.’ (P. 418.)

“ Camped at some djstance from A’s party and A’s party from them.” (P. 426.)

“Sounds cnly by night, . . . never by day.” (P. 436.)

“Through us the consent, through us the refusal.” (P. 440.)

“You aboye, our wife below.” (P. 492.)

“Thunder pealed, this was Waka’s work; thunder pealed, this was Malio’s work.”
(P. 504.)

“Do not look back, face ahead.’ (P. 504.)

‘“‘ Adversity to one is adversity to all;” “we will not forsake you, do not you forsake
SRY (Gey aly)

“Not to windward, go to leeward.” (P. 558.)

“Never . . . any destruction before like this; never will any come hereafter.”
(P. 574.)

“Everyone has a god, none is without.’ (P. 590.)

“There I stood, you were gone.”’ (P. 596.)

““T have nothing to complain of you, you have nothing to complain of me.” (P. 602.)

The balanced sentence structure is often handled with particular skill:

“Tf . . . a daughter, let her die; however many daughters . . . let them die.”
(P. 344.) :

“The penalty is death, death to himself, death to his wife, death to all his friends.”
(P. 408.)

“Drive him away; if he should tell you his desire, force him away; if he is very
persistent, force him still more.” (P. 462.)

“Again they went up . . . again the chief waited . . . the chief again sent
a band.” (P. 468.)

“A crest arose; he finished his prayer to the amen; again a crest arose, the second
this; not long after another wave swelled.” (P. 506.)

“Tf she has given H. a kiss, if she has defiled herself with him, then we lose the wife,

then take me to my grave without pity. But if she has hearkened .. .
then she is a wife for you, if my grandchild has hearkened to my command.”
(P. 534.)

A series of synonyms is not uncommon, or the repetition of an idea in other words:

“Do not fear, have no dread.” (P. 434.)
“Linger not, delay not your going.” (P. 466.)
“Exert your strength, all yur godlike might.” (P. 466.)
* Lawless one, mischief maker, rogue of the sea.” (P. 466.)
“Princess of broad Hawaii, Laicikawai, our mistress.” (P. 560.)
“House of detention, prison-house.” (P. 548.)
“Daughter, lord, preserver.’”’ (P. 552.)
2In the course of the story of Laieikawai occur more than 50 ejaculatory phrases,
more than half of these in the narrative, not the dialogue, portion:

1. The most common is used to provide suspense for what is to follow and is printed
without the point—aia hoi, literally, “then (or there) indeed,’ with the force of
our lo! or behold! (p. 549).

2. Another less common form, native to the Hawaiian manner of thought, is the con-
tradiction of a plausible conjecture—aole ka! “not so!” (p. 845). Both these
forms occur in narrative or in dialogue. The four following are found in dialogue
alone :

3. Auhea oe? “ where are you?” is used to introduce a vigorous address. (P. 347.)

4. Auwwe! to express surprise (common in ordinary speech), is rare in this story.

330 HAWAIIAN ROMANCE OF LAIEIKAWAI [PTH. ANN. 33

devices contribute values to the ear which help to catch and please
the sense.
IV. Concrusions

1. Much of the material of Hawaiian song and story is traditional within other
Polynesian groups.

2. Verse making is practiced as an aristocratic art of high social value in the

households of chiefs, one in which both men and women take part.

In both prose and poetry, for the purpose of social aggrandizement, the
theme is the individual hero exalted through his family connection and
his own achievement to the rank of divinity.

The action of the story generally consists in a succession of contests in
which is tested the hero’s claim to supernatural power. These contests
range from mythical encounters in the heavens to the semihistorical rival-
ries of chiefs. :

The narrative may take on a high degree of complexity, involving many
well-differentiated characters and a well-developed art of conversation,
and in some instances, especially in revenge, trickster, or recognition
motives, approaching plot tales in our sense of the word.

The setting of song or story, both physical and social, is distinctly realized.
Stories persist and are repeated in the localities where they are localized.
Highly characterisiic are stories of rock transformations and of other
local configurations, still pointed to as authority for the tale.

7. Different types of hero appear :

(a) The hero may be a human being of high rank and of unusual power
either of strength, skill, wit, or craft.

(b) He may be a demigod of supernatural power, half human, half
divine. q

(c) He may be born in shape of a beast, bird, fish, or other object, with
or without the power to take human form or monstrous size.

(d@) He may bear some relation to the sun, moon, or stars, a form rare
in Hawaii, but which, when it does occur, is treated objectively
rather than allegorically.

(e) He may be a god, without human kinship, either one of the “ depart-
mental gods”’ who rule over the forces of nature, or of the hostile
spirits who inhabited the islands before they were occupied by the
present race.

(f) He may be a mere ordinary man who by means of one of tiiese
supernatural helpers achieves success.

8. Poetry and prose show a quite different process of developmeut. In prose,
connected narrative has found free expression. In poetry, the epic process
is neglected. Besides the formal dirge and highly developed lyric songs
(often accompanied and interpreted by dance), the characteristic form is
the eulogistic hymn, designed to honor an individual by rehearsing his
family’s achievements, but in broken and ejaculatory panegyric rather than
in connected narrative. In prose, again, the picture presented is highly

we

‘a

on

o>

5. The expression of surprise, he mea kupanaha, is literally ‘‘a strange thing,” like
our impersonal “it is strange”? (p. 351).

6. The vocable e is used to express strong emotion. (P. 551.)

7. Add to these an occasional use, for emphasis, of the belittling question, whose
answer, although generally left to be understood, may be given; for example
(p. 449): A heaha la o Haua-i-liki ia Laiei-ka-wai? he opala paha, ‘*‘ What was
Hauailiki to Laieikawai? ‘mere chaff!’’’, and the expression of contempt—ka—
with which the princess dismisses her wooer (p. 413).

BECKWITH] INTRODUCTION Dol

realistic. The tendency is to humanize and to localize within the group
the older myth and to develop later legendary tales upon a naturalistic
basis. Poetry, on the other hand, develops set forms, plays with double
meanings. Its character is symbolic and obscure and depends for its style
upon artificial devices.

9. Common to each are certain sources of emotional interest such as depend
upon a close interplay of ideas developed within an intimate social group.
In prose occur conventional episodes, highly elaborated minor scenes,
place names in profusion which have little to do with the action of the
story, repetitions by a series of actors of the same incident in identical
form, and in the dialogue, elaborate chants, proverbial sayings, antithesis
and parallelism. In poetry, the panegyric proceeds by the enumeration of
names and their qualities, particularly place or technical names; by local
and legendary allusions which may develop into narrative or descriptive
passages of some length; and by eulogistic comparisons drawn from nature
or from social life and often elaborately developed. The interjectional
expression of emotion, the rhetorical question, the use of antithesis, repeti-
tion, wordplay (puns and word-linking) and mere counting-out formule
play a striking part, and the riddling element, both in the metaphors em-
ployed and in the use of homonyms, renders the sense obscure.

wp bo

=

PERSONS IN THE STORY

AIWoHI-KuPUA. A young chief of Kauai, suitor to Laie-i-ka-wai.
AKIKEEHIALE. The turnstone, messenger of Aiwohi-kupua.
AwakRra. “ Noonday.” The bird that guards the doors of the sun.
HALA-ANIANI. A young rascal of Puna.

. HALULU-I-KE-KIHE-O-KA-MALAMA. The bird who bears the visitors to the

doors of the sun.
Hava--riki. “ Strike-in-beating.”’ A young chief of Kauai, suitor to Laie-
i-ka-wai.

. Haunaka. A champion boxer of Kohala.

. HINA-I-KA-MALAMA. A chiefess of Maui.

. HvULu-MANIANI. ‘‘ Waving feather.” A seer of Kauai.

. Invu-anu. ‘“ Cold-nose.” A champion boxer of Kohala.

. KA-ELO-I-KA-MALAMA. The ‘mother’s brother” who guards the land of

Nuumealan.

2. KA-HALA-O-MAPU-ANA. “The sweet-scented hala.” The youngest sister of

Aiwohi-kupua.

. KAHAU-O-KAPAKA. The chief of Koolau, Oahu, father of Laie-i-ka-wai.
. KAHOoUPO’KANE. Attendant upon Poliahu.
. KA-ILI-O-KA-LAU-0-KE-KOA. ‘ The-skin-of-the-leaf-of-the-koa (tree). The

wife of Kauakahi-alii.

. Karanumoku. The fighting dog of Aiwohi-kupua.
. KA-OHU-KULO-KAIALEA. ‘“ The-moving-cloud-of-Kaialea.” Guard of the

shade at the taboo house of Kahiki.

. KA-ONOHT-0-KA-LA. “ The-eyeball-of-the-sun.”” A high taboo chief, who lives

in Kahiki.

. KAPUKATI-HAOA. A priest, grandfather of Laie-i-ka-wai.

. KAvuA-KAHI-ALIT. The high chief of Kauai.

. KAULAAI-LEHUA. A beautiful princess of Molokai.

. Ki-KALUKALU-O-KE-WaA. Successor to Kauakahi-alii and suitor to Laie-i-

ka-wai.

. KTHA-NUL-LULU-MOKU. . “ Great-convulsion-shaking-the-island.” A guardian

spirit of Pali-uli.

. Kosar. The tropic bird. Messenger of Aiwohi-kupua.
. Late--KA-wat. A species of the ieie vine. (?) The beauty of Pali-uli.
. LAIE-LOHELOHE. Another species of the ieie vine. (?) Twin sister of

Laie-i-ka-wai.

e
. LANALANA-NUI-AI-MAKUA. ‘“ Great-ancestral-spider.” The one who lets

down the pathway to the heavens.

. LAU-KIELE-ULA, ‘ Red-kiele-leaf.”” The mother who attends the young chief

in the taboo house at Kahiki.

. Lini-Nor. “ Fine-fog.” Attendant to Poli-ahu.
. MAHINA-NUI-KONANE. “ Big-bright-moon.” Guard of the shade at the taboo

house at Kahiki.

. MAILE-HAIWATE. “ Brittle-leafed-maile-vine.” Sister of Aiwohi-kupua.
. MAILE-KALUHEA. “ Big-leafed-maile-vine.” Sister of Aiwohi-kupua.

. MAILE-LAULIT. ‘ Fine-leafed-maile-vine.” Sister of Aiwohi-kupua.

. MAILE-PAKAHA, ‘ Common-maile-vine.” Sister of Aiwohi-kupua.

332

BECKWITH] PERSONS IN THE STORY 333

35. Mawa-wei. “ Terrible-eyes.”’ A young chief of Kauai.
36. MALAEKAHANA. The mother of Laie-i-ka-wai.
37. Maio. A sorceress, sister of the Puna rascal.
38. MoANALIHA-I-KA-WAOKELE. <A powerful chief in Kahiki,
39. MoKU-KELE-KAHIKI. “ Island-sailing-to-Kahiki.”” The mother’s brother who
guards the land of Ke-alohi-lani.
40. Poti-aHvu. ‘ Cold-bosom.’ A high chiefess who dwells on Maunakea.
41. Potoura. A chief at Wailua, Kauai.
42. Utini. The snipe. Messenger to Aiwohi-kupua.
43, Wat-Arr. “ Water-mist.” Attendant of Poli-ahu.
44, Waka. A sorceress, grandmother of Laie-i-ka-wai.
The chief counsellor of Aiwohi-kupua.
The humpbacked attendant of Laie-i-ka-wai.
A canoe owner of Molokai.
A chief of Molokai, father of Kaulaai-lehua.
A countrywoman of Hana.
Paddlers, soldiers, and country people.

ACTION OF THE STORY

Twin sisters, Laieikawai and Laielohelohe, are born in Koolau,
Oahu, their birth heralded by a double clap of thunder. Their
father, a great chief over that district, has vowed to slay all his
daughters until a son is born to him. Accordingly the mother con-
ceals their birth and intrusts them to her parents to bring up in re-
tirement, the priest carrying the younger sister to the temple at
Kukaniloko and Waka hiding Laieikawai in the cave beside the
pool Waiapuka. A prophet from Kauai who has seen the rainbow
which always rests over the girl’s dwelling place, desiring to attach
himself to so great a chief, visits the place, but is eluded by Waka,
who, warned by her husband, flies with her charge, first to Molokai,
where a countryman, catching sight of the girl’s face, is so transported
with her beauty that he makes the tour of the island proclaiming her
rank, thence to Maui and then to Hawaii, where she is directed
to a spot called Paliuli on the borders of Puna, a night’s journey in-
land through the forest from the beach at Keaau. Here she builds a
house for her “ grandchild ” thatched with the feathers of the oo bird,
and appoints birds to’serve her, a humpbacked attendant to wait upon
her, and mists to conceal her when she goes abroad.

To the island of Kauai returns its high chief, Kauakahialii, after
a tour of the islands during which he has persuaded the fair mistress
of Paliuli to visit him. So eloquent is his account of her beauty
that the young chief Aiwohikupua, who has vowed to wed no woman
from his own group, but only one from “the land of good women,”
believes that here he has found his wish. He makes the chief’s
servant his confidant, and after dreaming of the girl for a
year, he sets out with his counsellor and a canoeload of pad-
dlers for Paliuli. On the way he plays .a boxing bout with
the champion of Kohala, named Cold-nose, whom he dispatches
with a single stroke that pierces the man through the chest and
comes out on the other side. Arrived at the house in the forest
at Paliuli, he is amazed to find it thatched all over with the precious
royal feathers, a small cloak of which he is bearing as his suitor’s
gift. Realizing the girl’s rank, he returns at once to Kauai to fetch
his five sweet-scented sisters to act as ambassadresses and bring him
honor as a wooer, Laieikawai, however, obstinately refuses the

334

BECKWITH] ACTION OF THE STORY 335

first four; and the angry lover in a rage refuses to allow the last and
youngest to try her charms. Abandoning them all to their fate in
the forest, he sails back to Kauai. The youngest and favorite, indeed,
he would have taken with him, but she will not abandon her sisters.
By her wit and skill she gains the favor of the royal beauty, and all
five are taken into the household of Laieikawai to act as guardians
of her virginity and pass upon any suitors for her hand.

When Aiwohikupua, on his return, confesses his ill fortune, a hand-
some comrade, the best skilled in surfing over all the islands, lays a bet
to win the beauty of Paliuli. He, too, returns crestfallen, the guards
having proved too watchful. But Aiwohikupua is so delighted to hear
of his sisters’ position that he readily cancels the debt and hurries
off to Puna. His sisters, however, mindful of his former cruelty,
deny him access, and he returns to Kauai burning with rage, to
collect a war party to lead against the obdurate girls. Only after
band after band has been swallowed up in the jaws of the great lizard
who guards Paliuli, and his supernatural fighting dog has returned
with ears bitten off and tail between its legs, does he give over the
attempt and return home disconsolate to Kauai.

Now, on his first voyage to Puna, as the chief came to land at
Hana, Maui, a high chiefess named Hina fell in love with him.
The two staking their love at a game of konane, she won him for
her lover. He excused himself under pretext of a vow to first tour
about Hawaii, but pledged himself to return. On the return
trip he encountered and fell in love with the woman of the
mountain, Poliahu or Snow-bosom, but she, knowing through her
supernatural power of his affair with Hina, refused his advances.
Now, however, he determines to console himself with this lady. His -
bird ambassadors go first astray and notify Hina, but finally the
tryst is arranged, the bridal cortege arrives in state, and the bridal
takes place. On their return to Kauai during certain games cele-
brated by the chiefs, the neglected Hina suddenly appears and de-
mands her pledge. The jealous Poliahu disturbs the new nuptials
by plaguing their couch first with freezing cold, then with burning
heat, until she has driven away her riy sit She then herself takes
her el departure.

Kauakahialii, the high chief of Kauai, now about to die, cedes
the succession to his favorite chief, Kekalukaluokewa, and bids
him seek out the beauty of Paliuli for a bride. He is acceptable
to both the girl and her grandmother—to the first for his good looks,
to the second for his rank and power. But before the marriage can
be consummated a wily rascal of Puna, through the arts of his wise
sister Malio, abducts Laieikawai while she and her lover are
out surfing, by his superior dexterity wins her affection, and makes
off with her to Paliuli. When the grandmother discovers her grand-

336 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

child’s disgrace, she throws the girl over and seeks out her twin
_sister on Oahu to offer as bride to the great chief of Kauai.
So beautiful is Laielohelohe that now the Puna rascal abandons
his wife and almost. tricks the new beauty out of the hands of the
noble bridegroom; but this time the marriage is successfully man-
aged, the mists clear, and bride and bridegroom appear mounted
upon birds, while all the people shout, “The marriage of the chiefs! ”
The spectacle is witnessed by the abandoned beauty and her guard-
ians, who have come thither riding upon the great lizard; and on this
occasion Waka denounces and disgraces her disowned grandchild.

Left alone by her grandmother, lordly lover, and rascally husband,
Laieikawai turns to the five virgin sisters and the great lizard to
raise her fortunes. The youngest sister proposes to make a journey
to Kealohilani, or the Shining-heavens, and fetch thence her oldest
brother, who dwells in the “taboo house on the borders of Tahiti.”
A#a youth of the highest divine rank, he will be a fit mate to wed
her mistress. The chiefess consents, and during the absence of the
ambassadress, goes journeying with her four remaining guardians.
During this journey she is seen and recognized by the prophet of
Kauai, who has for many years been on the lookout for the
sign of the’ rainbow. Under his guardianship she and the four
sisters travel to Kauai, to which place the scene now shifts.
Here they once more face Aiwohikupua, and the prophet pre-
dicts the coming of the avenger. Meanwhile the lizard bears the
youngest sister over sea. She ascends to various regions of the
heavens, placating in turn her maternal uncles, father, and mother,
until finally she reaches the god himself, where he lies basking in the
white radiance of the noonday sun. Hearing her story, this divine
one agrees to lay aside his nature as a god and descend to earth to
wed his sister’s benefactress and avenge the injuries done by his
brother and Waka. Signs in the heavens herald his approach; he
appears within the sun at the back of the mountain and finally stands
before his bride, whom he takes up with him on a rainbow to the
moon. At his return, as he stands upon the rainbow, a great sound
of shouting is heard over the land in praise of his beauty. Thus he
deals out judgment upon Laieikawai’s enemies: Waka falls dead,
and Aiwohikupua is dispossessed of his landed rights. Next, he re-
wards her friends with positions of influence, and leaving the ruling
power to his wife’s twin sister and her husband, returns with
Laieikawai to his old home in the heavens.

In the final chapters the Sun-god himself, who is called “The
eyeball-of-the-sun,” proves unfaithful. He falls captive to the
charms of the twin sister, sends his clever youngest sister, whose
foresight he fears, to rule in the heavens, and himself goes down to

BECKWITH] ACTION OF THE STORY SoU

earth on some pretext in pursuit of the unwilling Laielohelohe.
Meanwhile his wife sees through the “ gourd of knowledge” all that
is passing on earth and informs his parents of his infidelity. They
judge and disgrace him; the divine Sun-god becomes the first lapu, or
ghost, doomed to be shunned by all, to live in darkness and feed upon
butterflies. ‘The beauty of Paliuli, on the other hand, returns to
earth to live with her sister, where she is worshiped and later deified
in the heavens as the “ Woman-of-the-Twilight.”
74936° —19—33 ETH 22

BACKGROUND OF THE STORY

Whatever the original home of the Laieikawai story, the action
as here pictured, with the exception of two chapters, is localized on
the Hawaiian group. This consists of eight volcanic islands lying in
the North Pacific, where torrid and tropical zones meet, about half
again nearer to America than Asia, and strung along like a cluster
of beads for almost 360 miles from Kauai on the northwest to the
large island of Hawaii on the southeast. Here volcanic activity,
extinct from prehistoric ‘times on the other islands, still persists.
Here the land attains its greatest elevation—18,825 feet to the sum-
mit of the highest peak—and of the 6,405 square miles of land area
which constitute the group 4,015 belong to Hawaii. Except in tem-
perature, which varies only about 11 degrees mean for a year, diversity
marks the physical features of these mid-sea islands. Lofty moun-
tains where snow lies perpetually, huge valleys washed by torrential
freshets, smooth sand dunes, or fluted ridges, arid plains and rain-
soaked forests, fringes of white beach, or abrupt bluffs that drop
sheer into the deep sea, days of liquid sunshine or fierce storms from
the south that whip across the island for half a week, a rainfall
varying from 287 to 19 inches in a year in different localities—
these are some of the contrasts which come to pass in spite of the
equable climate. <A similar diversity marks the plant and sea lhfe—
only in animal, bird, and especially insect life, are varieties sparsely
represented.

Most of the action of the story takes place on the four largest
isLands—on Oahu, where the twins are born; on Maui, the home of
Hina, where the prophet builds the temple to his god; on Hawaii,
where lies the fabled land of Paliuli and where the surf rolls in at
Keaau; and on Kauai, whence the chiefs set forth to woo and where
the last action of the story takes place. These, with Molokai and
Lanai, which lie off Maui “ like one long island,” virtually constitute
the group.

Laie, where the twins are born, is a small fishing village on the
northern or Koolau side of Oahu, adjoining that region made famous
by the birth and exploits of the pig god, Kamapuaa. North from
Laie village, in a cane field above the Government road, is still pointed
out the water hole called Waiopuka—a long oval hole like a bath-
tub dropping to the pool below, said by the natives to be brack-
ish in taste and to rise and fall with the tide because of subterranean

338 ‘

BECKWITH] BACKGROUND OF THE STORY 339

connection with the sea. On one side an outjutting rock marks the
entrance to a cave said to open out beyond the pool and be reached
by diving. Daggett furnishes a full description of the place in the
introduction to his published synopsis of the story. The appropri-
ateness of Laie as the birthplace of the rainbow girl is evident to
anyone who has spent a week along this coast. It is one of the most
picturesque on the islands, with the open sea on one side fringed
with white beach, and the Koolau range rising sheer from the narrow
strip of the foothills, green to the summit and fluted into fantastic
shapes by the sharp edge of the showers that drive constantly down
with the trade winds, gleaming with rainbow colors.

Kukaniloko, in the uplands of Wahiawa, where Laielohelohe is
concealed by her foster father, is one of the most sacred places
on Oahu. Its fame is coupled with that of Holoholoku in Wailua,
Kauai, as one of the places set apart for the birthplace of chiefs.
Tradition says that since a certain Kapawa, grandson of a chief
from “Tahiti” in the far past, was born upon this spot, a special
divine favor has attended the birth of chiefs upon this spot.
Stones were laid out right and left with a mound for the back,
the mother’s face being turned to the right. Eighteen chiefs
stood guard on either hand. Then the taboo drum sounded and the
people assembled on the east and south to witness the event. Say
the Hawaiians, “If one came in confident trust and lay properly
upon the supports, the child would be born with honor; it would
be called a divine chief, a burning fire.” Even Kaméhaméha desired
that his son Liholiho’s birth should take place at Kukaniloko. Situ-
ated as it is upon the breast of the bare uplands between the Koolau
and Waianae Ranges, the place commands a view of surprising
breadth and beauty. Though the stones have been removed, through
the courtesy of the management of the Waialua plantation a fence
still marks this site of ancient interest.

The famous hill Kauwiki, where the seer built the temple to his
god, and where Hina watched the clouds drift toward her absent
lover, lies at the extreme eastern end of Maui. About this hill
clusters much mythic lore of the gods. Here the heavens lay within
spear thrust to earth, and here stood Maui, whose mother is called
Hina, to thrust them apart. Later, Kauwiki was the scene of the
famous resistance to the warriors of Umi, and in historic times about
this hill for more than half a century waged a rivalry between
the warriors of Hawaii and Maui. The poet of the Kualii mentions
the hill thrice—once in connection with the legend of Maui, once
when he likens the coming forth of the sun at Kauwiki to the advent

1 Kuakoa, tv, No. 31, translated also in Hawaiian Annual, 1912, p. 101; Daggett,
p. 70; Fornander. 11, 272.

340 HAWAIIAN ROMANCE OF LAIEIKAWAI | ETH. ANN. 33

of Ku, and in a descriptive passage in which the abrupt height is
described :

Shooting up to heaven is Kauwiki,

Below is the cluster of islands,

In the sea they are gathered up,

O Kauwiki,

O Kauwiki, mountain bending over,

Loosened, almost falling, Kauwiki-e.

Finally, Puna, the easternmost district of the six divisions of
Hawaii, is a region rich in folklore. From the crater of Kilauea,
which lies on the slope of Mauna Loa about 4,000 feet above sea
level, the land slopes gradually to the Puna coast along a line of
small volcanic cones, on the east scarcely a mile from the sea. The
slope is heavily forested, on the uplands with tall hard-wood trees of
ohia, on the coast with groves of pandanus. Volcanic action has
tossed and distorted the whole district. The coast has sunk, leaving
tree trunks erect in the sea. Above the bluffs of the south coast le
great bowlders tossed up by tidal waves. Immense earthquake
fissures occur. The soil is fresh lava broken into treacherous hol-
lows, too porous to retain water and preserving a characteristic vege-
tation. About this region has gathered the mysterious lore of the
spirit world. “ Fear to do evil in the uplands of Puna,” warns the old
chant, lest mischief befall from the countless wood spirits who haunt
these mysterious forests. Pélé, the volcano goddess, still loves her
old haunts in Puna, and many a modern native boasts a meeting with
this beauty of the flaming red hair who swept to his fate the brave
youth from Kauai when he raced with her down the slope to the sea
during the old mythic days when the rocks and hills of Puna were
forming.

(MVHSN3H) MONS SO 3TLNVW SLI NI Va VNAVI

v6 ALV1Id LYOd3Y IVANNY GHIHL-ALYIHL ADOIONHIA NVOIYAWV 40 NVAYN|G

LAIE I KA WAI

A HAWAITAN ROMANCE TRANSLATED FROM THE
HAWAIIAN TEXT OF S. N. HALEOLE
(PRINTED IN HONOLULU, 1863) *

1 Title pages.

(First edition.) The story of Laie-i-ka-wai, The Beauty of Pali-uli, the Woman-of-the
Twilight. Composed from the old stories of Hawaii. Written by S. N. Haleole, Honolulu,
Oahu. Published by Henry W. Whitney, editor of the Kuakoa, 1863.

(Second edition.) The Treasure-Book of Hawaii. The Story of Laie-i-ka-wai who is
called The-Woman-of-the-Twilight. Revised and published by Solomon Meheula and Henry
Bolster. For the benefit and progress of the new generation of the Hawaiian race. Hono-
lulu. Printed by the Bulletin, 1888.

341

FOREWORD

The editor of this book rejoices to print the first fruits of his efforts
to enrich the Hawaiian people with a story book. We have previously
had books of instruction on many subjects and also those enlightening
us as to the right and the wrong; but this is the first book printed for
us Hawaiians in story form, depicting the ancient customs of this
people, for fear lest otherwise we lose some of their favorite tradi-
tions. Thus we couch in a fascinating manner the words and deeds
of a certain daughter of Hawaii, beautiful and greatly beloved, that
by this means there may abide in the Hawaiian people the love of
their ancestors and their country.

Take it, then, this little book, for what it is worth, to read and to
prize, thus showing your search after the knowledge of things
Hawaiian, being ever ready to uphold them that they be not lost.

Tt is an important undertaking for anyone to provide us with
entertaining reading matter for our moments of leisure; therefore,
when the editor of this book prepared it for publication he depended
upon the support of all the friends of learning in these islands; and
this thought alone has encouraged him to persevere in his work
throughout all the difficulties that blocked his way. Now, for the
first time is given to the people of Hawaii a book of entertainment
for leisure moments like those of the foreigners, a book to feed our
minds with wisdom and insight. Let us all join in forwarding this
little book as a means of securing to the people more books of the
same nature written in their own tongue—the Hawaiian tongue.

And, therefore, to all friends of learning and to all mative-born
Hawaiians, from the rising to the setting sun, behold the Woman-
of-the-Twilight! She comes to you with greetings of love and it is
fitting to receive her with the warmest love from the heart of Hawaii.
Aloha no!

1For the translation of Haleole’s foreword, which is in a much more ornate and
involved style than the narrative itself, I am indebted to Miss Laura Green, of
Honolulu.

342

OLELO HOAKAKA

Ua hoopuka ka mea nana i pai keia buke me ka olioli nui, ka
makamua o ka hoao ana e hoolako i buke hoonanea na na kanaka
Hawaii. Ua loaa mua mai ia kakou na buke kula o na ano he nu
wale, a he nui no hoi na buke i hoolakoia mai na kakou, e hoike mai
ana ia kakou i ka pono a me ka hewa; aka, o ka buke mua nae keia i
paiia na ka poe Hawaii nei, ma ke ano hoikeike ma ke Kaao i na mea
kahiko a keia lahui kanaka, me ka aua mai hoi mai ka nalowale loa
ana’ku o kekahi o na moolelo punihei a lakou. FE hoike ana iloko
o na huaolelo maikai wale i na olelo a me na hana a kekahi o ko
Hawaii kaikamahine wahine maikai a punahele no hoi, a na ia mea
no hoi e kokua mai i ka noho mau ana o ke aloha o na poe o Hawaii
nei, no ko Jakou mau kupuna a me ko lakou aina.

E lawe hoi ano, i keia wahi buke uuku, a e hoike ia ia ma ke ano o
kona loaa ana mai, e heluhelu, a e malama hoi ia ia, e hoike ana i
kou ini i ka naauao Hawaii, me kou makaukau mau no hoi e kokua
aku ia-mea, i ku mau ai.

He mea nui no ka hapai ana i ka mea nana e hoomaamaa mai ia
*kakou ma ka heluhelu ana, me ka hoonanea pu mai no hoi i na
minute noho hana ole o ko kakou noho ana; nolaila, i ka hoomaka
ana a ka mea nana i pai i keia buke, e hoomakaukau ia ia no ka
hele ana’ku imua o keia Jahui, ua hilinai oia i ke kokua nui mai o na
makamaka a pau o ka naauao iwaena o kela mau pae moku; a na ia
manao wale iho no i hooikaika mai ia ia ma ke kupaa ana mamuli o
kana mea 1 manaolana’i e hana aku, iloko o na pilikia he nui wale e
alai mai ana. Akahi no a haawiia i ka lahui Hawaii, ka buke e pili
ana 1 ka hoonanea’ku i ka noho ana, e like me ka na haole, he mea ia
nana e hanai mai i ko kakou mau manao i ka ike a me ka naauao.
Ua hiki ia kakou a pau ke hui mai ma ka malama ana a me ka hoo-
holomua aku hoi i keia wahi buke, he kumu ia e hapai hou ia mai ai
i mau buke hou na keia lahui, ma kana olelo iho—ka olelo Hawaii.

A nolaila la, e na makamaka a pau o ka naauao a me na keiki kupa
no hoi o Hawaii nei, mai ka la hiki a ka la kau, eia mai Kawahineo-
kaliula, ke hele aku la imua o oukou me ke aloha, a e pono hoi ke
hookipa ia ia me ka aloha makamae o ka puuwai Hawaii. Atona no!

343

CHAPTER I

This tale was told at Laie, Koolau; here they were born, and they
were twins; Kahauokapaka was the father, Malaekahana the mother.
Now Kahauokapaka was chief over two districts, Koolauloa and
Koolaupoko, and he had great authority over these districts.

At the time when Kahauokapaka took Malaekahana to wife,!¢ after
their union, during those moments of bliss when they had just parted
trom the first embrace, Kahauokapaka declared his vow to his wife,
and this was the vow:?

“My wife, since we are married, therefore I will tell you my vow:
If we two live hereafter and bear a child and it is a son, then it shall
be well with us. Our children shall live in the days of our old age,
and when we die they will cover our nakedness.* This child shall
be the one to portion out the land, if fortune is ours in our first born
and it is a boy; but if the first born is a daughter, then let her die;
however many daughters are born to us, let them die; only one thing
shall save them, the birth of a son shall save those daughters who
come after.”

About the eighth year of their living as man and wife, Malaeka-
hana conceived and bore a daughter, who was so beautiful to look
upon, the mother thought that Kahauokapaka would disregard his
vow; this child he would save. Not so! At the time when she was
how. Kahauokapaka was away at the fishing with the men.

W hea Kahauokapaka returned from the fishing he was told that
Malaekahana had born a daughter. The chief went to the house;
the baby girl had been wrapped in swaddling clothes; Kahauokapaka
at once ordered the executioner to kill it.

After a time Malaekahana conceived again and bore a second
daughter, more beautiful than the first; she thought to save it. Not
so! Kahauokapaka saw the baby girl in its mother’s arms wrapped
in swaddling clothes; then the chief at once ordered the executioner
to kill it.

Afterwards Malaekahana bore more daughters, but she could not
save them from being killed at birth according to the chief’s vow.

* The superior figures refer to notes at the end of the story, p. 616.
344

MOKUNA I

I ke kamailio ana i keia kaao, ua oleloia ma Laie, Koolau, kona
wahi 1 hanau ai, a he mau mahoe laua, o Kahauokapaka ka
makuakane, o Malaekahana ka makuahine. O Kahauokapaka nae,
oia ke Alii nona na okana elua, o Koolauloa a me Koolaupoko, a ia
ia ka mana nui maluna o kela mau okana.

I ka manawa i lawe ai o Kahauokapaka ia Malaekahana i wahine
mare nana (hoao) mahope iho o ko lJaua hoao ana, hai mua o
Kahauokapaka i kana olelo paa imua o kana wahine, o laua wale
no ma ke kaawale, oiai iloko o ko laua mau minute oluolu, a eia
ua olelo paa la:

“E kuu wahine, he nani ia ua mare ae nei kaua, a nolaila, ke hai
nei au i kuu olelo paa ia oe; i noho aku auanei kaua, ai loaa ka kaua
keiki, a he keikikane, alaila pomaikai kaua, ola na iwi iloko o ko
kaaa mau la elemakule, a haule aku i ka make, nalo no hoi na wahi
huna; na ia keiki e nai na moku e pau ai, ke loaa hoi ia kaua ke keiki
mua a he keikikane; aka hoi, ina he kaikamahine ke hanau mua mai,
alaila e make, a ina he mau kaikamahine wale no ka kaua ke hanau
maie make no, aia no ke ola a hanau mai a he keikikane, ola na hanau
mui ina he mau kaikamahine.”

I ka ewalu paha o na makahiki o ko laua noho ana he kane a he
wahine, hapai ae la o Malaekahana, a hanau mai la he kaikamahine,
ua maikai na helehelena i ka nana aku, a no ka maikai o na hele-
helena o ua kaikamahine nei, manao iho Ja ka makuahine o ke kumu
la hoi ia e lilo ai ka olelo paa a Kahauokapaka i mea ole, ola Ja hoi ua
kaikamahine nei, aole ka! Ia manawa i hanau ai, aia nae o Kahauo-
kapaka 1 ka lawai-a me na kanaka.

A hoi mai o Kahauokapaka mai ka lawai-a mai, haiia aku la ua
hanau o Malaekahana he kaikamahine. A hiki ke alii i ka hale, ua
wahiua ke kaikamahine i ke kapa keiki, kena koke ae la o Kahauo-
kapaka 1 ka Ilamuku e pepehi.

Ma ia hope iho hapai hou o Malaekahana, a hanau hou mai la he
kaikamahine, o keia nae ke kaikamahine 01 aku o ka maikai mamua
o kela kaikamahine mua, manao iho la e ola la hoi, aole ka! Ike ae
la o Kahauokapaka i ke kaikamahine e hiiia mai ana, ua hoaahuia i
ke kapa keiki, ia manawa, kena koke ae la ke alii i ka Tlamuku e
pepehi.

Mahope mai, ua hapai wale no o Malaekahana, he mau kaika-
mahine wale no, aole nae i ola iki kekahi oia mau hanau ana o
Malaekahana, ua pau wale no i ka pepehiia e like me ka olelo paa a
ke alii.

345

346 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

When for the fifth time Malaekahana conceived a child, near the
time of its birth, she went to the priest and said, “ Here! Where are
you? Look upon this womb of mine which is with child, for I can
no longer endure my children’s death; the husband is overzealous to
keep his vow; four children were mine, fourare dead. Therefore, look
upon this womb of mine, which is with child; if you see it is to be a
girl, I will kill it before it takes human shape.* But if you see it is
to be a boy, I will not do it.”

Then the priest said to Malaekahana, “Go home; just before the
child is to be born come back to me that I may know what you are
carrying.”

At the time when the child was to be born, in the month of Oc-
tober, during the taboo season at the temple, Malaekahana remem-
bered the priest’s command. When the pains of childbirth were
upon her, she came to the priest and said, “I come at the command
of the priest, for the pains of childbirth are upon me; look and see,
then, what kind of child I am carrying.”

As Malaekahana talked with the priest, he said: “I will show you
a sign; anything I ask of you, you must give it.”

Then the priest asked Malaekahana to give him one of her hands,
according to the sign used by this people, whichever hand she wished
to give to the priest.

Now, when the priest asked Malaekahana to give him one of
her hands she presented the ieft, with the palm upward. Then
the priest told her the interpretation of the sign: “ You will bear
another daughter, for you have given me your left hand with the
palm upward.”

When the priest said this, the heart of Malaekahana was heavy,
for she sorrowed over the slaying of the children by her husband;
then Malaekahana besought the priest to devise something to help
the mother and save the child.

Then the priest counseled Malaekahana, “Go back to the house;
when the child is about to be born, then have a craving for the
manint spawn,’ and tell Kahauokapaka that he must himself go
fishing, get the fish you desire with his own hand, for your husband
is very fond of the young manini afloat in the membrane, and while he
is out fishing he will not know about the birth; and when the child
is born, then give it to me to take care of; when he comes back,
the child will be in my charge, and if he asks, tell him it was an
abortion, nothing more.”

KECK WITH] TEXT AND TRANSLATION 847

A i ka hapai hou ana o Malaekahana i ke keiki, o ka lima ia, a
kokoke i na la hanau, hele aku la kela a imua o ke Kahuna, a olelo
aku la, “FE! auhea oe? .E nana mai oe i keia opu o’u e hapai nei,
no ka mea, ua pauaho ae nei hoi i ka pau o na keiki i ka make i ka
pakela pepehi a ke kane, aha ae nei a maua keiki, aha no i ka make;
nolaila, e nana mai oe i keia opu o’u e hapai nei, ina i ike oe he
kaikamahine, e omilomilo ae au, oiai aole i hookanaka ae ke keiki.
Aka hoi, ina i ike mai hoi oe i keia opu o’u e hapai nei a he keikikane,
aole ana.”

Alaila, olelo mai ke Kahuna ia Malaekahana, “O hoi, a kokoke
i ko la hanau, alaila, hele mai oe 1 o’u nei, 1 nana aku au i keia
hapai ana.”

A kokoke i na Ja hanau, i ka malama o Ikuwa, i na la kapu heiau,
hoomanao ae la o Malaekahana i ke kaucha a ke Kahuna. Ia ianei
e nahunahu ana, hele aku la keia imua o ke Kahuna, me ka olelo aku,
“T hele mai nei au ma ke kauoha a ke Kahuna, no ka mea, ke
hoomaka mai nei ka nahunahu hanau keiki ana; nolaila, ano oe e
nana mai oe i kuu keiki e hapai nei.”

Ia Malaekahana me ke Kahuna e kamailio ana no keia mau mea,
alaila, hai aku la ke Kahuna i kana olelo ia Malaekahana, “ E hailona
alcu au ia oe, ma ka mea a’u e noi aku ai, e haawi mai oe.”

Ja manawa, nonoi aku la ke Kahuna ia Malaekahana e haawi mai
1 kekahi lima imua o ke alo o ke Kahuna, e like no me ka hailona
mau o keia lahui, ma ka lima no nae ana e makemake ai e haawi aku
imua o ke Kahuna.
~ Ta manawa a ke Kahuna i noi aku ai i kekahi lima, haawi mai la
o Malaekahana i ka lima hema, me ka hoohuliia o ke alo o ka lima
iluna. Alaila, hai aku la ke Kahuna i ka hailona i ku i kana ike,
“ hanau hou ana no oe he kaikamahine, no ka mea, ua haawi mai
nei oe i kou lima hema ia’u, me ka huli nae o ke alo o ka lima iluna.”

A, no keia olelo a ke Kahuna, kaumaha loa iho Ia ka naau o
Malaekahana, no ka mea, ua kumakena mau kela i ka pepehi mau
a kana kane 1 na keiki mua; nolaila, noi aku la o Malekahana i ke
Kahuna e noonoo mai 1 mea e pono ai ka wahine, a e ola ai hoi ke
keiki.

Alaila, hai aku la ke Kahuna i kana mau olelo ia Malaekahana,
“K hoi oe a ka hale, ina e hiki i ka wa e aneane hanau ai, alaila ea,
e ono ae oe i ka ohua, me ka olelo aku ia Kahauokapaka, nana ponoi
no e lawai-a, o ka i-a ponoi no e loaa ana ma kona lima oia kau i-a
e ono ai; no ka mea, he kanaka puni kaalauohua hoi ko kane, i lilo
ai kela 1 ka lawai-a, ike ole ia 1 kou hanau ana, a ina e hanau ae,
alaila, na’u e malama ke keiki, i hoi mai ia ua lilo ia’u ke keiki, a ina
e niuau mai, hai aku oe he heiki alualu, alaila pau wale.”

3848 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

At the end of this talk, Malaekahana went back to the house, and
when the pains came upon her, almost at the moment of birth, then
Malaekahana remembered the priest’s counsel to her.

When the pain had quieted, Malaekahana said to her husband,
“ Listen, Kahauokapaka! the spawn of the manini come before my
eyes; go after them, therefore, while they are yet afloat in the mem-
brane; possibly when you bring the manini spawn, I shall be eased
of the child; this is the first time my labor has been hard, and that
I have craved the young of the manini; go quickly, therefore, to the
fishing.”

Then Kahauokapaka went out of the house at once and set out.
While they were gone the child was born, a girl, and she was given
to Waka, and they named her Laieikawai. As they were attending
to the first child, a second was born, also a girl, and they named her
Laielohelohe.

After the girls had been carried away in the arms of Waka and
Kapukaihaoa, Kahauokapaka came back from the fishing, and asked
his wife, “ How are you?”

Said the woman, “I have born an abortion and have thrown it
into the ocean.”

Kahauokapaka already knew of the birth while he was on the
ocean, for there came two claps of thunder; then he thought that
the wife had given birth. At this time of Laieikawai and Laielohe-
lohe’s birth thunder first sounded in October,® according to the
legend.

When Waka and Kapukaihaoa had taken their foster children
away, Waka said to Kapukaihaoa, “ How shall we hide our foster
children from Kahauokapaka ? ”

Said the priest, “ You had better hide your: foster child in the
water hole of Waiapuka: a cave is there which no one knows about,
and it will be my business to seek a place of protection for my
foster child.”

Waka took Laieikawai where Kapukaihaoa had directed, and there
she kept Laieikawai hidden until she was come to maturity.

Now, Kapukaihaoa took Laielohelohe to the uplands of Wahiawa,
to the place called Kukaniloko.? 2

All the days that Laieikawai was at Waiapuka a rainbow arch
was there constantly, in rain or calm, yet no one understood the
nature of this rainbow, but such signs as attend a chief were always
present wherever the twins were guarded.

BECK WITH] TEXT AND TRANSLATION 3849

A pau ka laua kamailio ana no keia mau mea, hoi aku la o Malaeka-
hana a hiki i ka hale, in manawa, nui loa mai la ka nahunaht ana a
aneane e hanau, alaila, hoomanao ae la o Malaekahana i na olelo a
ke Kahuna i a-oa-o mai ai ja ja.

Aika mao ana’e o ka eha no ka aneane hanau, olelo aku la o Malae-
kahana i kana kane, “ E Kahauokapaka e! ke kau mai nei i ko’u
mau maka ka ohuapalemo; nolaila, e holo aku oe i ke kaalauohua, me
he mea’la a loaa mai ka ohuapalemo, alaila hemo kuu keiki, akahi
wale no o’u hanau ino ana, a me ka ono o’u i ka ohua; nolaila, e hele
koke aku oe me na kanaka i ka lawai-a.”

Ta manawa, puka koke aku o Kahauokapaka a hele aku la. Ia
lakou e hele ana, hanau ae la ua keiki nei he kaikamahine, a lilo ae la
ia Waka ka hanai, a kapa iho la i ka inoa o Laieikawai. Ia lakou
no hoi e Jawelawe ana i ke keiki mua, hanau hou mai la he kaikama-
hine no, a lilo ae Ja ia Kapukaihaoa, a kapa iho la i ka inoa o ka muli
o Laielohelohe.

A hilo na kaikamahine ma ka lima o Waka a me Kapukaihaoa me
ke kaawale, hoi mai la o Kahauokapaka mai ka lawai-a mai, ninau
iho la i ka wahine, “ Pehea oe? ”

I mai la ka wahine, “ Ua hanau ae nei au he keiki alualu, ua kiola ia
aku nei i ka moana.”

Ua akaka mua no nae ia Kahauokapaka ka hanau ia lakou i ka
moana; no ka mea, elua hekili o ke kui ana, manao ae la no hoi o
Kahauokapaka ua hanau ka wahine; mai ka hanau ana o Laieikawai
me Laielohelohe, oia ka hoomaka ana o ka hekili e kani iloko o
Ikuwa, pela i olelo ia iloko o keia moolelo.

Ta Waka me Kapukaihaoa ma ke kaa wale me na hanai a laua,
olelo aku la o Waka ia Kapukaihaoa, “ Pehea la auanei e nalo ai na
hanai a kaua ia Kahauokapaka? ”

I mai la ke Kahuna, “E pono oe ke huna loa i kau hanai iloko
o ke kiowai i Waiapuka, aia malaila kekahi ana i ike oleia e na mea
a pau, a na’u no hoi e imi ko’u wahi e malama aii ka’u hanai.”

Lawe aku la o Waka ia Laieikawai ma kahi a Kapukaihaoa i
kuhikuhi ai, a malaila oia i malama malui’ai o Laieikawai a hiki i
kona manawa 1 hoomahuahua iki ae ai.

Mahope iho o keia mau la, lawe ae la o Kapukaihaoa ia Laielohe-
lohe i uka 0 Wahiawa-ma kahi i oleloia o Kukaniloko.

Tloko o ko Laieikawai mau la ma Waiapuka, ua hoomauia ka pio
ana o ke anuenue ma kela wahi, iloko 0 ka manawa ua a me ka malie,
i ka po a me ke ao; aka, aole nae i hoomaopopo na mea a pau i ke
ano o keia anuenue; aka, ua hoomauia keia mau hailona alii ma na
wahi i malamai’ai ua mau mahoe nei.

350 HAWAIIAN ROMANCE OF LAIEIKAWAI [ ETH. ANN. 33

Just at this time Hulumaniani was making a tour of Kauai in
his character as the great seer of Kauai, and when he reached the
summit of Kalalea he beheld the rainbow arching over Oahu; there
he remained 20 days in order to be sure of the nature of the sign
which he saw. By that time the seer saw clearly that it was the sign
of a great chief—this rainbow arch and the two ends of a rainbow
encircled in dark clouds.

Then the seer made up his mind to go to Oahu to make sure about
the sign which he saw. He left the place and went to Anahola to
bargain for a boat to go to Oahu, but he could not hire a boat to
goto Oahu. Again the seer made a tour of Kauai; again he ascended
Kalalea and saw again the same sign as before, just the same as at
first; then he came back to Anahola.

While the seer was there he heard that Poloula owned a canoe at
Wailua, for he was chief of that place, and he desired to meet Poloula
to ask the chief for a canoe to go to Oahu.

When Hulumaniani met Poloula he begged of him a canoe to go
to Oahu. Then the canoe and men were given to him. That night
when the canoe star rose they left Kauai, 15 strong, and came first
to Kamaile in Waianae.

Before the seer sailed, he first got ready a black pig, a white fowl,
and a red fish.

On the day when they reached Waianae the seer ordered the
rowers to wait there until he returned from making the circuit of
the island.

Before the seer went he first climbed clear to the top of Mauna-
lahilahi and saw the rainbow arching at Koolauloa, as he saw it
when he was on Kalalea.

He went to Waiapuka, where Laieikawai was being guarded, and
saw no place there set off for chiefs to dwell in. Now, just as the
seer arrived, Waka had vanished into that place where Laieikawai
was concealed.

As the seer stood looking, he saw the rippling of the water where
Waka had dived. Then he said to himself: “ This is a strange thing.
No wind ripples the water on this pool. It is like a person bathing,
who has hidden from me.” After Waka had been with Laieikawai
she returned, but while yet in the water she saw someone sitting above
on the bank, so she retreated, for she thought it was Kahauokapaka,
this person on the brink of the water hole.

BECKWITH] TEXT AND TRANSLATION 351

I kekahi manawa, ia Hulumaniani e kaahele ana ia Kauai apuni, ma
kona ano Makaula nui no Kauai, a ia ia i hiki ai iluna pono o Kalalea,
ike mai la oia i ka pio a keia anuenue i Oahu nei; noho iho la oia
malaila he iwakalua la, i kumu e ike maopopoi’ai o ke ano o kana
mea e ike nei. Ja manawa, ua, maopopo lea i ka Makaula he Ali
Nui ka mea nona keia anuenue e pio nei, a me na onohi elua 1
hoopuniia i na ao polohiwa apuni.

Ia manawa, hooholo ae la ka Makaula 1 kona manao e holo i Oahu,
1 maopopo ai ia ia kana mea e ike nei. Haalele keia ia wahi, hiki
aku la keia 1 Anahola, hoolimalima aku Ja keia i waa e holo ai i
Oahu nei; aka, aole i loaa ia ia he waa e holo aii Oahu nei. Kaapuni
hou ka Makaula ia Kauai a puni, pii hou oia iluna o Kalalea, a. ike
hou no oia i kana mea i ike mua ai, ala no e mau ana e like no me
mamua, alaila, hoi hou keia a hiki 1 Anahola.

IT ua Makaula nei malaila, lohe keia 0 Poloula ka mea waa o
Wailua, no ka mea, he alii ia no ia wahi, ake aku la oia e halawai
me Poloula, me ka manao e noi aku i ke alii i waa e hiki ai i Oahu.

Ta Hulumaniani i halawai aku ai me Poloula, nonoi aku la oia i
waa e holo ai i Oahu nei; alaila, haawiia mai la ka waa me na
kanaka ; ia po iho, 1 ka hiki ana o ka Hokuhookelewaa, haalele lakou
ia Kauai, he umikumamalima ko lakou nui, hiki mua mai la lakou
ma Kamaile, i Waianae. -

Mamua ae nae o ko ka Makaula holo ana mai, ua hoomakaukau
mua oia hookahi puaa hiwa, he moa lawa, a me ka i-a ula.

Ta la o lakou i hiki ai ma Waianae, kauoha ka Makaula i na
kanaka e noho malaila a hoi mai oia mai ka huakai kaapuni ana.

T ua Makaula nei i hele ai, hiki mua keia iluna pono o Mauna-
lahilahi, ike aku Ja keia i ke anuenue e pio ana ma Koolauloa, e like
me kana ike ana 1 kona mau la iluna o Kalalea.

A hiki keia i Waiapuka, kahi i malamaia ai o Laieikawai, ike iho
la oia aole he kuleana kupono o kela wahi e nohoi’ai e na’lii. I kela
manawa nae a ka Makaula i hiki ai ilaila, ua nalo mua aku o Waka
ma kahi i hunai’ai o Laieikawai.

I ka manawa nae a ka Makaula e kunana ana, alaila, ike aku la
oia i ka aleale ana o ka wai o ko Waka luu ana aku. Olelo iho la ka
Makaula iloko ona, “ He mea kupanaha, aole hoi he makani o keia
lua wai e kuleana ai la hoi ka aleale ana o ka wai, me he mea he
mea e auau ana, a ike ae nei ia’u pee iho nei.” A pau ko Waka
manawa ma kahi o Laieikawai, hoi mai la oia; aka, ike ae la keia
maloko o ka wai i keia mea e noho ana maluna iho, emi hope hou
aku la o Waka, no ka mea, ua, manao oia 0 Kahauokapaka, keia mea
ma kae o ka Juawai.

352 HAWAIIAN ROMANCE OF LAIEIKAWATI [ETH. ANN. 33

Waka returned to her foster child, and came back at twilight and
spied to discover where the person had gone whom she saw, but there
was the seer sitting in the same place as before. So Waka went back
again.

The seer remained at the edge of the pool, and slept there until
morning. At daybreak, when it was dawn, he arose, saw the sign of
the rainbow above Kukaniloko, forsook this place, journeyed about
Oahu, first through Koolaupoko; from there to Ewa and Honouliuli,
where he saw the rainbow arching over Wahiawa; ascended Kamaoha,
and there slept over night; but did not see the sign he sought.

BECKWITH] TEXT AND TRANSLATION 3538

Hoi hou aku la o Waka me kana moopuna, a hiki i ka molehulehu
ana, hoomakakiu hou mai la oia me ka manao ua hele aku kela mea
ana 1 ike ai; aka, aia no ua Makaulanei ma kana wahi i noho mua
ai, nolaila, hoi hope hou o Waka.

Ua noho ua Makaula nei ma ke kae o kela luawai, a moe oia
malaila a ao ia po. Ta kakahiaka ana ae, i ka manawa molehulehu,
ala ae la oia, ike aku la kela i ka pio a ke anuenue i uka o Kukani-
loko, haalele keia ia wahi, kaapuni keia ia Oahu nei, ma Koolaupoko
kona hele mua ana, a ma Kona nei, a mai anei aku hiki ma Ewa; a
hiki keia i Honouliuli, ike aku la ua Makaula nei i ka pio o ke
anuenue i uka o Wahiawa, pii loa aku la oia a hiki i Kamaoha, a
malaila oia i moe ai a ao ia po, aole oia i ike i kana mea i ukali mai ai.

74936°—19—33 EvrH—23

CHAPTER II

When the seer failed to see the sign which he was following he left
Kamaoha, climbed clear to the top of Kaala, and there saw the rain-
bow arching over Molokai. Then the seer left the place and jour-
neyed around Oahu; a second time he journeyed around in order to
be sure of the sign he was following, for the rainbow acted strangely,
resting now in that place, now in this.

On the day when the seer left Kaala and climbed to the top of
Kuamooakane the rainbow bent again over Molokai, and there rested
the end of the rainbow, covered out of sight with thunderclouds.
Three days he remained on Kuamooakane, thickly veiled in rain
and fog.

On the fourth day he secured a boat to go to Molokai. He went on
board the canoe and had sailed half the distance, when the paddlers
grew vexed because the prophet did nothing but sleep, while the pig
squealed and the cock crowed.

So the paddler in front’ signed to the one at the rear to turn the
canoe around and take the seer back as he slept.

The paddlers turned the canoe around and sailed for Oahu. When
the canoe turned back, the seer distrusted this, because the wind blew
in his face; for he knew the direction of the wind when he left Oahu,
and now, thought he, the wind is blowing from the seaward.

Then the seer opened his eyes and the canoe was going back to
Oahu. Then the seer asked himself the reason. But just to see for
himself what the canoe men were doing, he prayed to his god, to
Kuikauweke, to bring a great tempest over the ocean.

As he prayed a great storm came suddenly upon them, and the
paddlers were afraid.

Then they awoke him: “ O you fellow asleep, wake up, there! We
thought perhaps your coming on board would be a good thing for
us. Not so! The man sleeps as if he were ashore.”

When the seer arose, the canoe was making for Oahu.

Then he asked the paddlers: “ What are you doing to me to take
the canoe back again? What have I done?”

304

MOKUNA II

A nele ka Makaula i ka ike i kana mea e ukali nei, haalele keia ia
Kamaoha, hiki keia iluna pono o Kaala, a malaila oia i ike ai e pio
ana ke anuenue i Molokai; nolaila, haalele ka Makaula ia wahi,
kaapuni hou ia Oahu nei; o ka lua ia o kana huakai kaapuni ana,
1 mea e hiki ai ia ia ke ike maopopo i kana mea e ukali nei, no ka
mea, ua ano e ka hana a ke anuenue, no ka holoholoke ana i kela wahi
keia wahi.

I ka la a ua Makaula nei i haalele ai ia Kaala, hiki mua aku ola
iluna o Kuamooakane, aia hoi e pio ana ke anuenue i Molokai, e ku
ana ka punohu i uhipaaia e na ao hekili, ekolu mau la oia nei ma
Kuamooakane, ua hoomauia ka uhi paapu a ka ua a me ka noe.

I ka eha o na la oia nei malaila, loaa ia ia he waa e holo ana i
Molokai; kau aku la oia maluna o ka waa, a holo aku la a like a like
o ka moana, loaa ka manao ino i na mea waa, no ka mea, ua uluhua
laua i ua Makaula nei no ka hiamoe, a me ka ala a mau ana o kahi
puaa, a o-o-o mau no hoi o kahi moa.

A no keia mea, kunou aku la ka mea mahope o ka waa i ke kanaka
iluna o kuaiako, e hoi hou ka waa i hope, a hoonoho hou i ka Makaula
1 Oahu nei, a ua like ka manao o na mea waa ma ia mea e hoihoi hope
ka waa, e moe ana nae ka Makaula ia manawa.

Hoohuli ae Ja na mea waa i ka waa i hope a holo i Oahu nei;
ia manawa a ka waa e hoi hope nei, hoohuoi iho la ka Makaula i ka pa
ana a ka makani ma kona papalina, no ka mea, ua maopopo ia ia
kahi a ka makani i pa aii ka holo ana mai Oahu aku nei manao iho
Ja oia, ma kai mai ka makani e pa nei.

Nolaila, kaakaa ae la na maka o ka Makaula, aia hoi e hoi hou
ana ka waa i Oahu nei; ia manawa, nalu iho la ka Makaula i ke
kumu o keia hoi hou ana o ka waa. Aka hoi, no ko ianei makemake
e ike maopopo i ka hana a na mea waa, pule aku la oia 1 kona Akua
ia Kuikauweke, e hooili mai i ka ino nui, maluna o ka moana.

Ta ia e pule ana iloko ona iho, hiki koke mai la ka ino nui maluna
o Jakou, a pono ole ka manao o na mea waa.

Ta manawa, hoala ae la na mea waa ia ianei, “ E keia kanaka e moe
nei! e ala ae paha oe, kainoa paha he pono kau i kau mai ai maluna
o ko maua waa, aole ka! oia no ka moe a nei kanaka la o uka.”

Alaila, ala ae la ua Makaula nei, e hooiho ana ka waa 1 Oahu nei.

Alaila, ninau aku la oia ina mea waa, “ Heaha iho nei keia hana a
olua ia’u i hoi hope ai ka waa? A heaha kuu hewa?”

355

3856 HAWAIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Then the men said: “ We two wearied of your constant sleeping
and the pig’s squealing and the cock’s crowing; there was such a
noise; from the time we left until now the noise has kept up. You
ought to have taken hold and helped paddle. Not so! Sleep was
the only thing for you!”

The seer said: “ You two are wrong, I think, if you say the reason
for your returning to Oahu was my idleness; for I tell you the
trouble was with the man above on the seat, for he sat still and
did nothing.”

As he spoke, the seer sprang to the stern of the canoe, took charge
of the steering, and they sailed and came to Haleolono, on Molokai.

When they reached there, lo! the rainbow arched over Koolau,
as he saw it from Kuamooakane; he left the paddlers, for he wished
to see the sign which he was following.

He went first clear to the top of Waialala, right above Kalaupapa.
Arrived there, he clearly saw the rainbow arching over Malelewaa,
over a sharp ridge difficult to reach; there, in truth, was Laieikawai
hidden, she and her grandmother, as Kapukaihaoa had commanded
Waka in the vision.

For as the seer was sailing over the ocean, Kapukaihaoa had fore-
knowledge of what the prophet was doing, therefore he told Waka in
a vision to carry Laieikawai away where she could not be found.

After the seer left Waialala he went to Waikolu right below Male-
lewaa. Sure enough, there was the rainbow arching where he could
not go. Then he considered for some time how to reach the place to
see the person he was seeking and offer the sacrifice he had prepared,
but he could not reach it.

On the day when the seer went to Waikolu, the same night, came
the command of Kapukaihaoa to Laieikawai in a dream, and when
she awoke, it was a dream. Then Laieikawai roused her grand-
mother, and the grandmother awoke and asked her grandchild why
she had roused her.

The grandchild said to her: “ Kapukaihaoa has come to me in a
dream and said that you should bear me away at once to Hawaii and
make our home in Paliuli; there we two shall dwell; so he told me,
and I awoke and wakened you.”

As Laieikawai was speaking to her grandmother, the same vision
came to Waka. Then they both arose at dawn and went as they had
both been directed by Kapukaihaoa in a vision.

BECKWITH] TEXT AND TRANSLATION 357

Alaila, olelo mai la na mea waa, “ Ua uluhua maua no kou hiamoe,
a me ka alala mau o ko wahi puaa, a me ke kani mau a ko wahi
moa, nolaila kulikuli; mai ka holo ana mai nei no ka ke kulikuli a
hiki i keia manawa, ua pono no la hoi ia, i na la hoi e hoe ana oe,
aole ka, he moe wale iho no ka kau.”

I aku la ka Makaula, “Ua hewa olua i kuu manao; ina o kuu
noho wale ke kumu o ka hoi hou ana o ka waa o kakou i Oahu,
alaila, ke olelo nei au, ua hewa ka mea iluna o kuaiako, no ka mea,
he noho wale iho no kana, aole ana hana.”

Ta lakou e kamailio ana no keia mau mea, lele aku la ka Makaula
mahope o ka waa, a lilo iho la ia ia ka hookele, holo aku la lakou a
kau ma Haleolono i Molokai.

Ta lakou i hiki ‘aku ai malaila, aia hoi, e pio ana ke anuenue i
Koolau, e like me kana ike ana i kona mau la maluna o Kuamoo-
akane, haalele keia 1 na mea waa, ake aku la oia e ike 1 kana mea i
ukali mai ai,

Ta hele ana hiki mua keia i Waialala maluna pono ae o Kalau-
papa; ia lanei malaila, ike maopopo aku la oia e pio ana ke anuenue
iluna o Malelewaa, ma kahi nihinihi hiki ole ke heleia. Aia nae
malaila kahi i hunaia ai o Laieikawai, oia a me kona kupunawahine,
e like me ke kauoha mau a Kapukaihaoa ia Waka ma ka hihio.

No ka mea, i ka Makaula e holo mai ana ma ka moana, ua ike mua
e aku o Kapukaihaoa 1 ka Makaula, a me kana mau hana, nolaila
oia i olelo mau ai ia Waka ma ka hihio e ahai mua ia Laieikawai
ma kahi hiki ole ke loaa.

IT ka Makaula i haalele ai ia Waialala, hiki aku keia ma Waikolu
ilalo pono o Malelewaa, aia nae e pio ana ke anuenue i kahi hiki ole
ia ia ke hele aku; aka, ua noonoo ka Makaula i kekahi manawa, i
wahi e hiki ai e ike 1 kana mea e ukali nei, a waiho aku i kana
kanaenae 1 hoomakaukau mua ai, aole nae e hiki.

I kela la a ka Makaula i hiki ai ma Waikolu, ia po iho, hiki mua
ke kauoha a Kapukaihaoa ia Laieikawai ma ka moeuhane, a puoho
ae la ola, he moeuhane. Alaila, hoala aku la o Laieikawai i kona
kupunawahine, a ala ae la, ninau aku la ke kupunawahine i kana
moopuna i ke kumu o ka hoala ana.

Hai mai la ka moopuna, “ Ua hiki mai o Kapukaihaoa i o’u nei
ma ka moeuhane, e olelo mai ana, e ahai loa oe ia’u i Hawaii a
hoonoho ma Paliuli, a malaila kaua e noho ai, pela mai nei oia ia’u,
a puoho wale ae la wau la, hoala aku la ia oe.”

Ta Laieikawai nae e kamailio ana i ke kupunawahine, hiki iho
la ka hihio ma o Waka la, a ua like me ka ka moopuna e olelo
ana, 1a manawa, ala ae Ja laua i ke wanaao a hele aku la e like me
ke kuhikuhi a Kapukaihaoa ia laua ma ka moeuhane.

858 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

They left the place, went to Keawanui, to the place called Kaleloa,
sand there they met a man who was getting his canoe ready to sail for
Lanai. When they met the canoe man, Waka said: “ Will you let
us get into the canoe with you, and take us to the place where you
intend to go? ”

Said the canoe man: “TI will take you both with me in the canoe;
the only trouble is I have no mate to paddle the canoe.”

And as the man spoke this word, “a mate to paddle the canoe,”
Laieikawai drew aside the veil that covered her face because of her
grandmother’s wish completely to conceal her grandchild from being
seen by anyone as they went on their way to Paliuli; but her grand-
child thought otherwise. ;

When Laieikawai uncovered her face which her grandmother had
concealed, the grandmother shook her head at her grandchild to for-
bid her showing it, lest the grandchild’s beauty become thereafter
nothing but a common thing.

Now, as Laieikawai uncovered her face, the canoe man saw that
Laieikawai rivaled in beauty all the daughters of the chiefs round
about Molokai and Lanai. And lo! the man was pierced through ®
with longing for the person he had seen.

Therefore, the man entreated the grandmother and said: “ Un-
loosen the veil from your grandchild’s face, for I see that she is more
beautiful than all the daughters of the chiefs round about Molokai
and Lanai.”

The grandmother said: “I do not uncover her because she wishes
to conceal herself.”

At this answer of Waka*to the paddler’s entreaties, Laieikawai
revealed herself fully, for she heard Waka say that she wished to
conceal herself, when she had not wanted to at all.

And when the paddler saw Laieikawai clearly, desire came to him
afresh. Then the thought sprang up within him to go and spread
the news around Molokai of this person whom he longed after.

Then the paddler said to Laieikawai and her companion, “ Where
are you! live here in the house; everything within is yours, not a
single thing is withholden from you in the house; inside and outside *
you two are masters of this place.”

When the canoe man had spoken thus, Laieikawai said, “ Our host,
shall you be gone long? for it looks from your charge as if you were
to be away for good.”

BECKWITH] TEXT AND TRANSLATION 359

Haalele laua ia wahi, hiki aku laua ma Keawanui, kahi i kapaia
o Kaleloa, a malaila laua 1 halawai ai me ke kanaka e hooma-
kaukau ana i ka waa e holo aii Lanai. La laua i halawai aku ai
me ka mea waa, olelo aku la o Waka, “ E ae anei oe ia maua e kau pu
aku me oe ma ko waa, a holo aku i kau wahii manao ai e holo? ”

Olelo mai la ka mea waa, “ Ke ae nei wau e kau pu olua me a’u
ma ka waa, aka hookahi no hewa, o ko’u kokoolua ole e hiki ai ka
waa.”

Ta manawa a ka mea waa i hoopuka aii keia olelo “i kokoolua”
hoewaa, wehe ae la o Laieikawai i kona mau maka i uhiia i ka aahu
kapa, mamuli o ka makemake o ke kupunawahine e huna loa i kana
moopuna me ka ike oleia mai e na mea e ae a hikii ko Jaua hiki ana
i Paliuli, aka, aole pela ko ka moopuna manao.

I ka manawa nae a Laieikawai i hoike ai i kona mau maka mai
kona hunaia ana e kona kupunawahine, luliluli ae la ke poo o ke
kupunawahine, aole a hoike kana moopuna ia ia iho, no ka mea, e
lilo auanei ka nani o kana moopuna i mea pakuwa wale.

I ka manawa nae a Laieikawai i wehe ae ai i kona mau maka,
ike aku la ka mea waa i ka oi kelakela o ko Laieikawai helehelena
mamua o na kaikamahine kaukaualii o Molokai a puni, a me Lanai.
Aia hoi, ua hookuiia mai ka mea waa e kona iini nui no kana mea e
ike nel.

A no keia mea, noi aku la ka mea waa i ke kupunawahine, me kz
olelo aku, “EK kuu loa ae oe i na maka o ko moopuna mai kona
hoopulouia ana, no ka mea, ke ike nei wau ua oi aku ka maikai o kau
milimili, mamua 6 na kaikamahine kaukaualii o Molokai nei a me
Lanai.”

T mai la ke kupunawahine, “Aole e hiki ia’u ke wehe ae ia ia, no ks
mea, 0 kona makemake no ka huna ia ia iho.”

A no keia olelo a Waka i ka mea waa mamuli o kana noi, alaila,
‘hoike pau loa ae la o Laieikawai ia ia mai kona hunaia ana, no ka
mea, ua lohe aku la o Laieikawai i ka olelo a kona kupunawahine, o
Laieikawai no ka makemake e huna ia ia; aka, ua makemake ole
kela e huna.

A no ka ike maopopo loa ana aku o ka mea waa ia Laieikawai, alaila,
he nuhou ia i ka mea waa. Alaila, kupu ae la ka manao ano e iloko
ona, e hele e hookaulana ia Molokai apuni, no keia mea ana e lini nei.

Alaila, olelo aku la ua mea waa nei ia Laieikawai ma, “Auhea
olua, e noho olua i ka hale nei, na olua na mea a pau oloko, aole
kekahi mea e koe o ka hale nei ia olua, o olua maloko a mawaho o
keia wahi.”

A no ka hoopuka ana o ka mea waa i keia olelo, alaila, olelo aku
la o Laieikawai, “FE ke kamaaina o maua, e hele loa ana anei oe?
No ka mea, ke ike lea nei maua i kou kauoha honua ana, me he mea
la e hele loa ana oe?”

360 HAWAIIAN ROMANCE OF LAIEIKAWAI [BTEH. ANN. 33

Said the host, “O daughter, not so; I shall not forsake you; but I
must look for a mate to paddle you both to Lanai.”

And at these words, Waka said to their host, “ If that is the reason
for your going away, leaving us in charge of everything in your
house, then let me say, we can help you paddle.”

The man was displeased at these words of Waka to him.

He said to the strangers, “ Let me not think of asking you to paddle
the canoe; for I hold you to be persons of importance.”

Now it was not the man’s intention to look for a mate to paddle
the canoe with him, but as he had already determined, so now he
vowed within him to go and spread around Molokai the news about
Laieikawai.

When they had done speaking the paddler left them and went away
as he had vowed.

As he went he came first to Kaluaaha and slept at Halawa, and
here and on the way there he proclaimed, as he had vowed, the beauty
of Laieikawai.

‘The next day, in the morning, he found a canoe sailing to Kalau-
papa, got on board and went first to Pelekunu and Wailau; after-
wards he came to Waikolu, where the seer was staying.

When he got to Waikolu the seer had already gone to Kalaupapa,
but this man only stayed to spread the news of Laieikawat’s arrival.

When he reached Kalaupapa, behold! a company had assembled for
boxing; he stood outside the crowd and cried with a loud voice:"!
“© ye men of the people, husbandmen, laborers, tillers of the soil; O
ye chiefs, priests, soothsayers, all men of rank in the household of the
chief! All manner of men have I beheld on my way hither; I have
seen the high and the low, men and women; low chiefs, the kau-
haualii, men and women; high chiefs, the niawpio, and the oh, but
never have I beheld anyone to compare with this one whom I have
seen; and I declare to you that she is more beautiful than any of the
daughters of the chiefs on Molokai or even in this assembly.”

Now when he shouted, he could not be heard, for his voice was
smothered in the clamor of the crowd and the noise of the onset.

And wishing his words to be heard aright, he advanced into the
midst of the throng, stood before the assembly, and held up the
border of his garment and repeated the words he had just spoken.

BECKWITH } TEXT AND TRANSLATION 361

I aku Ja ke kamaaina, “ E ke kaikamahine, aole pela, aole au e
haalele ana ia oula; aka, i manao ae nei au e huli i kokoolua no’u e
hoe aku ai ia olua a pae i Lanai.”

A no keia olelo a ka mea waa, i aku la o Waka i ke kamaaina o
laua nei, “Ina o ke kumu ia o kou hele ana i kauoha honua ai oe i
na mea a pau o kou hale ia maua; alaila, ke i aku nei wau, he hiki
ia maua ke kokua ia oe ma ka hoe ana.”

A ike ka mea waa he mea kaumaha keia olelo a Waka imua ona.

Olelo aku la oia imua o na malahini, “Aole o’u manao e hoounauna
aku ia olua e kokua mai ia’u ma ka hoe pu ana i ka waa, no ka mea,
he mea nui olua na’u.”

Aka, aole pela ka manao o ka mea waa e huli i kokoclua hoe waa
pu me ia, no ka mea, ua hooholo mua oia i kana olelo hooholo iloko
ona, e hele e kukala aku ia Laieikawai apuni o Molokai.

A pau ke kamailio ana a lakou i keia mau olelo, haalele iho la ka
mea waa ia laua nei, a hele aku la e like me ka olelo hooholo mua
iloko ona.

Ta hele ana, ma Kaluaaha kona hiki mua ana, a moe aku oia 1
Halawa, a ma keia hele ana a ia nei, ua kukala aku oia i ka maikai o
Laieikawai e like me kona manao paa.

A ma kekahi la ae, i ke kakahiaka nui, loaa ia ia ka waa e holo ana
i Kalaupapa, kau aku la oia maluna o ka waa, hiki mua oia i Pele-
kkunu, a me Wailau, a mahope hiki i Waikolu kahi a ka Makaula e
noho ana. ;

Ta ia nae i hiki aku ai i Waikolu, ua hala mua aku ua Makaula
nel 1 Kalaupapa, aka, o ka hana mau a ua wahi kanaka nei, ke
kukala hele no Laieikawai.

A hiki keia i Kalaupapa, aia hoi, he aha mokomoko e akoakoa ana
ku aku la ola mawaho o ka aha, a kahea aku la me ka leo nui, “ E ka
hu, e na makaainana, e ka lopakuakea, lopahoopiliwale, e na’lii, na
Kahuna, na kilo, na aialo, ua ike au i na mea a pau ma keia hele ana
mai nei a’u, ua ike i na mea nui, na mea liilii, na kane, na wahine, na
kaukaualii kane, na kaukaualii wahine, ka niaupio, ke ohi, aole wau i
ike 1 kekahi 01 o lakou e like me ka’u mea i ike ai, a ke olelo nei au,
oia ka oi mamua o na kaikamahine kaukaualii o Molokai nei apuni,
a me keia aha no hoi.”

Ta manawa nae a ia nei e kahea nei, aole ij lohe pono mai ka aha,
no ka mea, ua uhiia kona leo e ka haukamumu leo o ka aha, a me ka
nene no ka hoouka kaua.

A no ko ianei manao i lohe ponoia mai kana olelo, oi pono
loa aku la ia iwaena o ke anaina, ku iho la oia imua o ka aha, a
kuehu ae la oia i ka lepa o kona aahu, a hai hou ae la i ka olelo ana
i olelo mua ai.

362 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Now the high chief of Molokai heard his voice plainly, so the chief
quieted the crowd and listened to what the stranger was shouting
about, for as he looked at the man he saw that his face was full of
joy and gladness.

At the chief’s command the man was summoned before the chief
and he asked, “ What news do you proclaim aloud with glad face be-
fore the assembly?”

Then the man told why he shouted and why his face was glad in
the presence of the chief: “In the early morning yesterday, while I
was working over the cance, intending to sail to Lanai, a certain
woman came with her daughter, but I could not see plainly the
daughter’s face. But while we were talking the girl unveiled her
face. Behold! I saw a girl of incomparable beauty who rivaled all
the daughters of the chiefs of Molokai.”

When the chief heard these words he said, “ If she is as good look-
ing as my daughter, then she is beautiful indeed.”

At this saying of the chief, the man begged that the chiefess be
shown to him, and Kaulaailehua, the daughter of the chief, was
brought thither. Said the man, “ Your daughter must be in four
points more beautiful than she is to compare with that other.”

Replied the chief, “She must be beautiful indeed that you scorn
our beauty here, who is the handsomest girl in Molokai.”

Then ‘the man said fearlessly to the chief, “Of my judgment of
beauty I can speak with confidence.” ”

As the man was talking with the chief, the seer remained listening
to the conversation; it just came to him that this was the one whom
he was seeking.

So the seer moved slowly toward him, got near, and seized the man
by the arm, and drew him quietly after him.

When they were alone, the seer asked the man directly, “ Did you
know that girl before about whom you were telling the chief?”

The man denied it and said, “ No; I had never seen her before;
this was the very first time; she was a stranger to me.”

So the seer thought that this must be the person he was seeking,
and he questioned the man closely where they were living, and the
man told him exactly.

After the talk, he took everything that he had prepared for sacri-
fice when they should meet and departed.

BECKWITH] TEXT AND TRANSLATION 363

Tloko o keia manawa, lohe pono loa aku la ke Alii nui o Molokai
i keia leo, alaila hooki ae Ja ke alii i ka aha, i loheia aku ai ka olelo
a keia kanaka malahini e kuhea nei; no ka mea, iloko o ko ke ali ike
ana aku i ua wahi kanaka nei, ua hoopihaia kona mau maka 1 ka
olioli, me ke ano pihoihoi.

Kaheaia aku la ua wah! kanaka nei mamuli o ke kauoha a ke alii,
a hele mai la imua o ke alii, a ninau aku la, “ Heaha kou mea e nui nei
kou leo imua o ka aha, me ka maka olioh ?”

Alaila, hai mai la kela i ke kumu o kona kahea ana, a me kona
olioli imua o ke alii. “Ma ke kakahiakanui o ka la i nehinei, e
lawelawe ana wau 1 ka waa no ka manao e holo 1 Lanai, hoea mai
ana keia wahine me ke kaikamahine, aole nae au i ike tea i ke ano 0 ua
kaikamahine la. Aka, iloko o ko maua wa kamailio, hoopuka mai la
ke kaikamahine i kona mau maka mai kona hunaia ana, aia hoi, ike
aku la wau he kaikamahine maikai, i oi aku mamua o na kaikamahine
alii o Molokai nei.”

A lohe ke alii i keia olelo, ninau aku la, “Ina ua like kona maikai
me kuu kaikamahine nei la, alaila, ua nani 10.”

A no keia ninau a ke alii, noi aku la ua wahi kanaka nei e hoikeia
mai ke kaikamahine alii imua ona, a laweia mai la o Kaulaailehua ke
kaikamahine a ke alin.

T aku Ja ua wahi kanaka nei, “ E ke alii! oianei la, eha kikoo i koe
o ko iala maikai ia ianei, alaila, like aku me kela.” I mai la ke alii,
“EE! nani io aku la, ke hoole ae nei oe i ka makou maikai e ike nei,
no ka mea, o ko Molokai oi no keia.”

Alaila, olelo aku la kahi kanaka i ke alii me ka wiwo ole, “ No ko’u
ike 1 ka maikai, ko’u mea no ia i olelo kaena ail.”

Ta manawa a kahi kanaka e kamailio ana me ke alii, e noho ana ka
Makaula ia manawa e hoolohe ana i ke ano o ke kamailio ana, aka, ua
haupu honua ae ka Makaula, me he mea Ja o kana mea e ukali nei.

A no keia mea, neenee loa aku la ka Makaula a kokoke, paa aku
la ma ka lima o kahi kanaka, a huki malu aku la ia ia.

Ta Jaua ma kahi kaawale, ninau pono aku la ka Makaula i ua wahi
kanaka nei, “Ua ike no anei oe i kela kaikamahine mamua au e
kamailio nei i ke alii?”

Hoole aku la ua wahi kanaka nei, me ka i aku, “Aole au i ike
mamua, akahi no wau a ike, a he mea malahini ia i ko’u mau maka.”

A no keia mea, manao ae la ka Makaula, o kana mea i imi mai ai,
me ka ninau pono aku i kahii noho ai, a hai ponoia mai la.

A pau ka Jaua kamailio ana, lawe ae la oia 1 na mea ana i hooma-
kaukau aii mohai no ka manawa e halawai aku ai, a hele aku la.

CHAPTER III

When the seer set out after meeting that man, he went first up
Kawela; there he saw the rainbow arching over the place which the
man had described to him; so he was sure that this was the person
he was following.

He went to Kaamola, the district adjoining Keawanui, where
Laieikawai and her companion were awaiting the paddler. By this
time it was very dark; he could not see the sign he saw from Kawela;
but the seer slept there that night, thinking that at daybreak he
would see the person he was seeking.

That night, while the seer was sleeping at Kaamola, then came
the command of Kapukaihaoa to Laieikawai in a dream, just as he
had directed them at Malelewaa.

At dawn they found a canoe sailing to Lanai, got on board, and
went and lived for some time at Maunalei.

After Laieikawai and her companion had left Kalaeloa, at day-
break, the seer arose and saw that clouds and falling rain obscured
the sea between Molokai and Lanai with a thick veil of fog and mist.

Three days the veil of mist hid the sea, and on the fourth day of
the seer’s stay at Kaamola, in the very early morning, he saw an end
of the rainbow standing right above Maunalei. Now the seer re-
gretted deeply not finding the person he was seeking; nevertheless
he was not discouraged into dropping the quest.

About 10 days passed at Molokai before he saw the end of the
rainbow standing over Haleakala; he left Molokai, went first to
Haleakala, to the fire pit, but did not see the person he was seeking.

When the seer reached there, he looked toward Hawaii; the land
was veiled thick in cloud apd mist. He left the place, went to
Kauwiki, and there built a place of worship’ to call upon his god
as the only one to guide him to the person he was seeking.

Wherever the seer stopped in his journeying he directed the people,
if they found the person he was following, to search him out wher-
ever he might be.

At the end of the days of consecration of the temple, while the seer
was at Kauwiki, near the night of the gods Kane and Lono,™ the
land of Hawaii cleared and he saw to the summit of the mountains.

364

MOKUNA III

Ia hele ana o ka Makaula mahope iho o ko laua halawai ana me
kahi kanaka, hiki mua keia iluna o Kawela; nana aku la oia, e pio
ana ke anuenue i kahi a ua wahi kanaka nei i olelo ai ia ia; alaila,
hoomaopopo lea iho la ka Makaula o kana mea no e ukali nei.

A hiki keia i Kaamola ka aina e pili pu la me Keawanui, kahi
hoi a Laieikawai ma e kali nei i ka mea waa, ia manawa, ua poeleele
loa iho Ja, ua hiki ole ia ia ke ike aku i ka mea ana i ike ai iluna o
Kawela, aka, ua moe ka Makaula malaila ia po, me ka manao i
kakahiaka e ike aii kana mea e imi nei.

I kela po a ka Makaula e moe la i Kaamola, ain hoi, ua hiki ka
olelo kauoha a Kapukaihaoa ia Laieikawai ma ka moeuhane, e like
me ke kuhikuhi ia laua iloko o ko laua mau la ma Malelewaa.

Ta wanaao ana ae, loaa ia laua ka waa e holo ai i Lanai, a kau
laua malaila a holo aku la, a ma Maunalei ko laua wahi i noho ai
i kekahi mau la.

Ja Laieikawai ma i haalele ai ia Kalaeloa ia kakahiaka, ala ae
la ka Makaula, e-ku ana ka punohu i ka moana, a me ka ua koko,
aia nae, ua uhi paapuia ka moana i ka noe a me ke awa, mawaena
0 Molokai, a me Lanai.

Ekolu mau la o ka uhi paapu ana o keia noe i ka moana, a i ka
eha o ko ka Makaula mau la ma Kaamola, i ke kakahiaka nui, ike
aku la oia e ku ana ka onohi iluna pono o Maunalei; aka, ua nui
loa ka minamina o ka Makaula no ke halawai ole me kana mea e
imi nei, aole nae ola i pauaho a hooki i kona manaopaa.

Ua aneane e hala na la he umi ia ia ma Molokai, ike hou aku la
oia e ku ana ka punohu iluna o Haleakala; haalele keia ia Molokai,
hiki mua oia iluna o Haleakala ma kela lua pele, aole nae oia i ike
i kana mea e imi nei.

IT ua Makaula nei nae i hiki ai malaila, ike aku la oia ia Hawaii,
ua uhi paapuia ka aina i ka ohu, a me ka noe. A haalele keia ia
wahi, hiki keia i Kauwiki, a malaila oia i kukulu ai i wahi heiau,
kahi hoi e hoomana ai i kona Aku, ka mea hiki ke kuhikuhi i kana
mea e imi nei.

I ua Makaula nei e kaapuni ana ma na wahi a pau ana i kipa
aku ai, ua kauoha mua aku ka Makaula, i na e loaa kana mea e imi
nei, alaila, e huli aku ia ia ma kahi e loaa ai.

A pau ke kapu heiau a ua Makaula nei ma Kauwiki, i na po o
Kane, a me Lono paha, alaila, ike maopopoia aku la ke kalae ana
o ka aina a puni o Hawaii,.a ua waiho pono mai na kuahiwi.

365

366 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 38

Many days the seer remained at Kauwiki, nearly a year or more,
but he never saw the sign he had followed thither.

One day in June, during the first days of the month, very early
in the morning, he caught a glimpse of something like a rainbow at
Koolau on Hawaii; he grew excited, his pulse beat quickly, but he
waited long and patiently to see what the rainbow was doing. The
whole month passed in patient waiting; and in the next month, on
the second day of the month, in the evening, before the sun had gone
down, he entered the place of worship prepared for his god and
prayed.

As he prayed, in the midst of the place appeared to the seer the
spirit forms’ of Laieikawai and her grandmother; so he left off
praying, nor did those spirits leave him as long as it was light.

That night, in his sleep, his god came to him in a vision and said:
“T have seen the pains and the patience with which you have striven
to find Waka’s grandchild, thinking to gain honor through her grand-
child. Your prayers have moved me to show you that Laieikawai
dwells between Puna and Hilo in the midst of the forest, in a house
made of the yellow feathers of the oo bird"; therefore, to-morrow,
rise and go.”

He awoke from sleep; it was only a dream, so he doubted and
did not sleep the rest of the night until morning.

And when it was day, in the early morning, as he was on Kauwiki,
he saw the flapping of the sail of a canoe down at Kaihalulu. He
ran quickly and came to the landing, and asked the man where the
boat was going. The man said, “It is going to Hawai”; thereupon
he entreated the man to take him, and the latter consented.

The seer returned up Kauwiki and brought his luggage, the things
he had got ready for sacrifice.

When he reached the shore he first made a bargain with them:
“ You paddlers, tell me what you expect of me on this trip; what-
ever you demand, I will accede to; for I was not well treated by the
men who brought me here from Oahu, so I will first make a bargain
with you men, lest you should be like them.”

The men promised to do nothing amiss on this trip, and the talk
ended; he boarded the canoe and set out.

On the way they landed first at Mahukona in Kohala, slept there
that night, and in the morning the seer left the paddlers, ascended
to Lamaloloa, and entered the temple of Pahauna,"? an ancient temple
belonging to olden times and preserved until to-day.

BECKWITH] TEXT AND TRANSLATION 367

Ua nui no na la o ka Makaula ma Kauwiki, aneane makahiki a oi
ae paha, aole nae oia i ike iki i ka hoailona mau ana e ukali nei.

I kekahi la, i ka malama o Kaaona, i na Ku, i ka manawa kaka-
hiaka nui, ike aweawea aku la ola he wahi onohi ma Koolau, 0 Hawaii;
ja manawa, puiwa koke ae la oia me ka lele o kona oili me ka maikai
ole o kona noonoo ana; aka, ua kali loihi no oia me ka hoomanawanui
a maopopo lea ka hana a kela wahi onohi; a pau ia malama okoa
1 ka hoomanawanulia ela, a i kekahi malama ae, i ka la o Kukahi,
i ke ahiahi, mamua o ka napoo ana o ka la, komo aku la oia iloko o
kona wahi heiau, kahi i hoomakaukau ai no kona Akua, a pule aku
la ola. :

Ta ia e pule ana, ai ka waenakonu o ka manawa, ku mai la imua
oua Makaula nei ke kahoaka o Laieikawai, a me kona kupunawahine;
«a no keia mea, hooniau aku la oia i ka pule ana, aole nae i haalele
kela kahoaka ia ia a hiki i ka maamaama ana.

Ia po iho, iloko o kona manawa hiamoe, halawai mai la kona
Akua me ia ma ka hihio, i mai la, “Ua ike au i kou Juhi, a me
kou hoomanawanui ana, me ke ake e loaa ia oe ka moopuna a
Waka, me kou manao hoi e loaa kou pomaikai no kana moopuna
mai. Iloko o kau pule ana, ua hiki ia’u ke kuhikuhi, e loaa no o
Laieikawai ia oe, mawaena o Puna, a me Hilo, iloko o ka ululaau,
e noho ana iloko o ka hale i uhiia i na hulu melemele o ka Oo,
nolaila, apopo e ku oe a hele.”

Puoho ae la oia mai ka hiamoe, aia ka he hihio, a no keia mea,
pono ole iho la kona manao, aole e hiki ia ia ke moe ia po a ao.

Ja po a ao ae i ke kakahiaka nui, ia ia maluna o Kauwiki, ike
aku la oia i ke kilepalepa a ka pea o ka waa ilalo o Kaihalulu;
holo wikiwiki aku la oia a hiki i ke awa, ninau aku la i kahi a
keia waa e holo ai, haiia mai la, “ E holo ana i Hawaii,” a noi aku
la oia e kau pu me lakou ma ka waa, a aeia mai la oia pu me Jakou.

Hoi hou aku la ka Makaula iluna o Kauwiki, e lawe mai i kana
mau wahi ukana, na mea ana i hoomakaukau ai i kanaenae.

Ja manawa, aia nei i hiki ai i ka waa, hai mua aku la oia i kona
manao i na mea waa, “E na mea waa, e hai mai oukou i ka’u hana
ma keia holo ana o kakou; ma ka oukou mea e olelo mai ai, malaila
wau e hoolohe ai, no ka mea, he kanaka wau i hana pono oleia e
na mea waa i ko’u holo ana mai Oahu mai, nolaila wau e hai mua
aku nei ia oukou e na mea waa, malia o like oukou me laua.”

A no keia olelo a ka Makaula, olelo mai la na mea waa, aole e
hanaia kekahi, mea pono ole ma ia holo ana o lakou; a pau keia mau
mea kau lakou ma ka waa a holo aku la.

Ma ia holo ana hiki mua lakou i Mahukona, ma Kohala, moe malaila
ja po, ai ke kakahiaka ana ae, haalele ka Makaula i na mea waa, pii
aku la oia a hiki i Lamaloloa, a komo aku la i Pahauna ka heiau, he
heiau kahiko kela mai ka po mai, a hikii keia manawa.

368 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Many days he remained there without seeing the sign he sought;
but in his character as seer he continued praying to his god as when
he was on Kauwiki, and in answer to the seer’s prayer, he had again
the same sign that was shown to him on Kauwiki.

At this, he left the place and traversed Hawaii, starting from
Hamakua, and the journey lasted until the little pig he Ae
with had grown too big to be carried.

Having arrived at iste kua, he dwelt in the Waipio Valley at the
temple of Pakaalana but did not stay there long.

The seer left that place, went to Laupahoehoe, and thence to
Kaiwilahilahi, and there remained some years.

Here we will leave the story of the seer’s search. It will be well
to tell of the return of Kauakahialii to Kauai with Kailiokalauoke-
koa. As we know, Laieikawai is at Paliuli.

In the first part of the story we saw that Kapukaihaoa commanded
Waka in a dream to take Laieikawai to Paliuli, as the seer saw.

The command was carried out. Laieikawai dwelt at Paliuli until
she was grown to maidenhood.

When Kauakahialii and Wailiokalauokekoa returned to Kauai
after their meeting with the “ beauty of Paliuli” there were gathered
together the high chiefs, the low chiefs, and the country aristocracy
as well, to see the strangers who came with Kailiokalauokekoa’s
party. Aiwohikupua came with the rest of the chiefs to wail for the
‘strangers.

After the wailing the chiefs asked Kauakahiali, “ How did your
journey go after your marriage with Kailiokalauokekoa ?”

Then Kauakahiali told of his journey as follows: * Seeking hence
after the love of woman, I traversed Oahu and Maui, but found no
other woman to compare with this Kailiokalauokekoa here. I went
to Hawaii, traveled all about the island, touched first at Kohala,
went on to Kona, Kau, and came to Keaau, in Puna, and there I tar-
ried, and there I met another woman surpassingly beautiful, more so
than this woman here (Kailiokalauokekoa), more thun all the beauties
of this whole group of islands.”

During this speech Aiwohikupua seemed to see before him the
lovely form of that woman.

BECKWITH] TEXT AND TRANSLATION 369

Ua nui loa na la ona malaila o ka noho ana, aole nae oia i ike i
kana mea e imi ai; aka, ma kona ano Makaula, hoomau aku la oia i
ka pule i ke Akua, e like me kona mau la ma Kauwiki, a no ka pule
hoomau a ua Makaula nei, ua looa hou ia ia ke kuhikuhi ana e like
me kela hoike ia ia ma Kauwiki.

A no keia mea, haalele oia ia wahi, kaahele aku la oia ia Hawaii;
ma Hamakua kona hiki mua ana, oi hele aku oia mai ka manawa
uuku o kahi puaa a nui loa, a na ka puaa no e hele.

Ta ia i hiki ai i Hamakua, malalo o Waipio kona wahi i noho ai
ma Pakaalana, aole nae he nui kona mau la malaila.

Haalele ka Makaula ia wahi, hiki aku oia i Laupahoehoe, a malaila
aku a hiki i Kaiwilahilahi, a malaila oia i noho ai he mau makahiki.

(Maanei, e waiho kakou i ka moolelo no pa imi ana o ka Makaula.
Pono e kamailio no ka hoi ana o Kauakahialii, i Kauai, me Kailio-
kalauokekoa ; 1 ike ai kakou, aia o Laieikawai i Paliuli.)

Ma na Helu mua o keia Kaao, ua ike kakou na Kapukaihaoa i
kauoha, ia Waka ma ka moeuhane e hoihoi ia Laieikawai i Paliuli,
mamuli o ka ike a ka Makaula.

Ua hookoia no nae e like me ke kauoha, ua noho o Laieikawai ma
Paliuli, a hiki i kona hookanakamakua ana.

Ta Kauakahialii, laua o Kailiokalauokekoa i hoi ai i Kauai,
mahope iho o ko laua halawai ana me ka Olali o Paliuli (Laieika-
wai), a hiki lakou i Kauai, mauka o Pihanakalani, kui aku la ka lono
ia Kauaia puni; akoakoa mai la na’lii,na kaukaualii, a me na makaai-
nana a pau e ike i ka puka malahini ana aku o Kailiokalaokekoa ma,
e like me ka mea mau; o Aiwohikupua nae kekahi oia poe Alii i
akoakoa pu mai ma keia aha uwe o na malihini.

A pau ka uwe ana a lakou, ninau aku la na’lii ia Kauakahiali
“ Pehea kau hele ana aku nei mamuli o kou hoaa’ia ianei?” (Kailio-
kalauokekoa.)

Alaila, hai aku la o Kauakahialii i kona hele ana, penei: “I ko’u
hele ana mai anei aku mamuli o ke aloha o ka wahine, a puni Oahu, a
me Maui, aole i loaa ia’u kekahi wahine e like me Kailiokalauokekoa
nei; a hiki aui Hawaii, kaapuni wau ia mokupuni. Ma Kohala kuu
hiki mua ana. Kaahele au ma Kona, Kau, a hiki au i Keaau, a ma
Puna, a malaila wau i noho ai, a malaila wau i halawai ai me kelahi
wahine maikai i 01 aku mamua o ianei (Kailiokalaukekoa). A o ka
oi no hoi ia mamua o na wahine maikai o keia mau mokupuni a pau.”

Tloko o keia olelo ana a Kauakahialii, hoomaopopo loa mai la o
Aiwohikupua i ka helehelena maikai o ua wahine nei.

74936°—_19—33 ETH 24

370 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN.-33

Then said Kauakahialii: “ On the first night that she met my man
she told him at what time she would reach the place where we were
staying and the signs of her coming, for my man told her I was to
be her husband and entreated her to come down with him; but she
said: ‘Go back to this ward of yours who is to be my husband and
tell him this night I will come. When rings the note of the oo bird
I am not in that sound, or the a/a/a, I am not in that sound; when
rings the note of the elepaio then am I making ready to descend;
when the note of the apapane sounds, then am I without the door of
my house; if you hear the note of the ziwipolena,® then am I without
your ward’s house; seek me, you two, and find me without; that is
your ward’s chance to meet me.” So my man told me.

“When the night came that she had promised she did not come;
we waited until morning; she did not come; only the birds sang. IL
thought my man had lied. Kailiokalauokekoa and her friends were
spending the night at Punahoa with friends. Thinking my man
had led, I ordered the executioner to bind ropes about him; but he
had left me for the uplands of Paliul to ask the woman why she
had not come down that night and to tell her he was to die.

“When he had told Laieikawai all these things the woman said
to him, ‘ You return, and to-night I will come as I promised the night
before, so will I surely do.’

“That night, the night on which the woman was expected, Kailio-
kalauokekoa’s party had returned and she was recounting her adven-
tures, when just at the edge of the evening rang the note of the oo;
at 9 in the evening rang the note of the ala/a,; at midnight rang the
note of the elepaio,; at dawn rang the note of the apapane; and at the
first streak of ight rang the note of the dwipolena; as soon as it
sounded there fell the shadow of a figure at the door of the house.
Behold! the room was thick with mist, and when it passed away she
lay resting on the wings of birds in all her beauty.”

At these words of Kauakahialii to the chiefs, all the body of
Aiwohikupua pricked with desire, and he asked, “ What was the
woman’s name?”

They told him it was Laieikawai, and such was Aiwohikupua’s
longing for the woman of whom Kauakahialii spoke that he thought
to make her his wife, but he wondered who this woman might be.
Then he said to Kauakahiali: “I marvel what this woman may be,
for I am a man who has made the whole circuit of the islands, but I
never saw any woman resting on the wings of birds. It may be she
is come hither from the borders of Tahiti, from within Moaula-
nuiakea.” °°

BECKWITH] TEXT AND TRANSLATION sy (1h

Alaila, hai aku la o Kauakahialii, “I ka po mua, mahope iho o ko
laua halawai ana me kuu wahi kahu nei, hai mai la ola 1 kona manawa
e hiki mai ai i kahi o ko makou wahi e noho ana, a hai mai la no
hoi oia i na hoailona o kona hiki ana mai; no ka mea, ua olelo aku
kuu wahi kahu nei i kane au na ua wahine nei, me ke koi aku no hoi
e iho pu mai laua me ua wahi kahu nei o’u, aka, ua hai mai kela i
kana olelo, ‘E hoi oe a ko hanai, kuu kane hoi au e olelo mai nei,
olelo aku oe ia ia, a keia po wau hiki aku, ina e kani aku ka leo o
ka Ao, aole wau iloko oia leo; a kani aku ka leo 0 ka Alala, aole no
wau loko oia leo; i na e kani aku ka leo 0 ka Elepaio, hoomakaukau
wau no ka iho aku; ai kani aku ka leo 0 ka Apapane, alaila, ua puka
wau mawaho o kuu hale nei; hoolohe mai auanei oe a1 kani aku ka
leo o ka Liwipolena, alaila, aia wau mawaho o ka hale o ko hanai;
imi ae olua a loaa wau mawaho, ola kuu manawa e launa ai me ko
hanai.’ Pela mai ka olelo ua wahi kahu nei o’u.

“T ka po hoi ana e kauoha nei, aole 1 hiki ae, 0 1 kali aku makou
a ao ia po, aole i hiki ae; o na manu wale no kai kani mai, manao
iho la wau he wahahee na kuu wahi kahu; 1 Punahoa nae lakou nei
(Kailiokalauokekoa ma) kahi i moe ai mena aikane. No kuu manao
he wahahee na kuu wahi kahu, nolaila, kauoha ae ana wau i ka
Hamuku e hoopaa i ke kaula; aka, ua hala e ua wahi kahu nei 0’ i
uka o Paliuli, e ninau aku i ua wahine nei i ke kumu o kona hiki ole
ana 1 kai 1a po, me ka hai aku no hoi e make ana ia.

“A pau kana olelo.ana ia Laieikawai i keia mau mea, i mai la ka
wahine i ua wahi kahu nei 0’u, ‘ E hoi oe, a ma keia po hiki aku au, e
lke me ka’u kauoha ia oe 1 ka po mua, pela no wau e hiki aku ai.’

“Ta po iho, oia ka po e hiki mai ai ua wahine nei, ua puka mua ae
jakou nei (Kailiokalauokekoa ma) 1 ke ao, i ua po nei e kaao ana
no o ianei ia makou, i ke kihi o ke ahiahi, kani ana ka leo 0 ka Ao;
i ka pili o ke ahiahi, kani ana ka leo o ka Alala; i ke kau, kani ka
leo o ka Elepaio; i ka-pili o ke ao, kani ana ka leo o ka Apapane;
a 1 ka owehewhe ana o ke alaula, kani ana ka leo o ka Liwipolena;
ia kani ana no hoi, malu ana ke aka ma ka puka o ka hale, aia hoi,
ua paa oloko i ka noe, a i ka mao ana ae, e kau mai ana kela iluna
o ka eheu o na manu, me kona nani nui.”

A no keia olelo a Kauakahialii imua o na’lii, ua hookuiia mai ko
Aiwohikupua kino okoa e ka imi nui, me ka ninau aku, “ Owai ka
inoa ola wahine?”

Hatia aku la oia o Laieikawai; a no ka iini nui o Aiwohikupua i
keia mea a Kauakahialii e olelo nei, manao iho la ia e kii 1 wahine
mare nana, aka, ua haohao o Aiwohikupua no keia wahine. Nolaila,
hai aku oia i kana olelo imua o Kauakahialii, “ Ke haohao nei wau i
keia wahine, no ka mea, owau ka mea nana i kaapuni keia mau
mokupuni, aole wau i ike i kekahi wahine e kau mai iluna o ka
eheu o na manu; me he mea la no kukulu o Tahiti mai ia wahine,
noloko o Moaulanuiakea.”

372 HAWAIIAN ROMANCE OF LATEIKAWAI LETH. ANN. 33

Since Aiwohikupua thought Laieikawai must be from Moaulanui-
akea, he determined to get her for his wife. For before he had heard
all this story Aiwohikupua had vowed not to take any woman of
these islands to wife; he said that he wanted a woman of Moaula-
nulakea.

The chiefs’ reception was ended and the accustomed ceremonies
on the arrival of strangers performed. And soon after those days
Aiwohikupua took Kauakahialii’s man to minister in his presence,
thinking that this man would be the means to attain his desire.

Therefore Aiwohikupua exalted this man to be head over all things,
over all the chief’s land, over all the men, chiefs, and common people,
as his high counsellor.

As this man became great, jealous grew the former favorites of
Aiwohikupua, but this was nothing to the chief.

BECKWITH] TEXT AND TRANSLATION 373

No ka manao o Aiwohikupua no Moaulanuiakea, 0 Laieikawai, oia
kona mea i manao ai e kii i wahine nana. No ke mea, manua aku
o kona lohe ana i keia mau mea, ua olelo paa o Aiwohikupua, aole e
lawe i kekahi wahine o keia mau mokupuni i wahine mare nana;
ua olelo ola, aia kana wahine makemake noloko o Moaulanuiakea.

A pau ke kamailio ana a na’lii no keia mau mea, a me ka walea
ana e like me ka mea mau o ka puka malihini ana. A mahope koke iho
oia mau la, lawe ae la o Aiwohikupua i kahi o Kauakahialii, i kanaka
lawelawe imua o kona alo, me ka manao o Aiwohikupua o kela wahi
kanaka ka mea e loaa ai ko ke Alii makemake.

A no keia kumu, hoolilo loa ae la o Aiwohikupua 1 ua wahi kanaka
nei i poo kiekie maluna o na mea a pau, o ko ke Alii mau aina a pau,
ame na kanaka a pau loa, na’lii a me na makaainana, ma kona ano
Kuhina Nui. :

A lilo ae la ua wahi kanaka nei i mea nui, huahua mai la na puna-
hele mua a Aiwohikupua, aka, he mea ole lakou i ko ke Alii manao.

CHAPTER IV

After this man had become great before the chief, even his high
counsellor, they consulted constantly together about those matters
which pleased the chief, while the people thought they discussed the
administration of the land and of the substance which pertained to
the chief; but it was about Laieikawai that the two talked and very
seldom about anything else.

Even before Aiwohikupua heard from Kauakahialii about Laiei-
kawai he had made a vow before his food companions, his sisters,
and before all the men of rank in his household: “ Where are you,
O chiefs, O my sisters, all my food companions! From this day
until my last I will take no woman of all these islands to be my wife,
even from Kauai unto Hawaii, no matter how beautiful she is re-
ported to be, nor will I get into mischief with a woman, not with any-
one at all. For I have been ill-treated by women from my youth up.
She shall be my wife who comes hither from other islands, even from
Moaulanuiakea, a place of kind women, I have heard; so that is the
sort of woman I desire to marry.”

When Aiwohikupua had heard Kauakahialii’s story, after confer-
ring long with his high counsellor about Laieikawai, then the chief
was convinced that this was the woman from Tahiti.

Next day, at midday, the chief slept and Laieikawai came to
Aiwohikupua in a dream *! and he saw her in the dream as Kauaka-
hialii had described her.

When he awoke, lo! he sorrowed after the vision of Laieikawal,
because he had awakened so soon out of sleep; therefore he wished to
prolong his midday nap in order to see again her whom he had be-
held in his dream.

The chief again slept, and again Laieikawai came to him for a
moment, but he could not see her distinctly; barely had he seen her
face when he waked out of sleep.

For this reason his mind was troubled and the chief made oath
before all his people:

374

MOKUNA IV

Mahope iho o ka lilo ana 0 ua wahi kanaka nei i mea nui imua o ke
Alii, me he Kuhina Nui la; a oia ka hoa kuka mau o ke Alii ma na
mea e lealea ai ke Alii, me ka manao aku o ka poe e, e kuka ana ma
na mea pili i ka aina, a me na waiwai e like me ka mea mau i ka noho
Alii ana. Ejia ka o Laieikawai no ka laua kuka mau, a he uuku ke
kuka ma na mea e ae.

Mamua aku nae o ko Aiwohikupua lohe ana ia Kauakahialii no
Laieikawai, ua hoike e oia 1 kana olelo paa imua o kona mau kau-
kaualii, a me na kaikuahine ona, a me kona poe aialo a pau, a eia
kana olelo paa, “Auhea oukou e ko’u mau kaukaualii, a me na kaikua-
hine o’u ko’u mau aialo a pau; mai keia Ja aku a hiki i ko’u mau la
hope, aole loa ana wau e lawe i kekahi wahine o keia mau mokupuni
i wahine mare na’u, mai Kauai nei a hala loa 1 Hawaii, ina i oleloia
mai he mau wahine maikai, aole no hoi au e haawi 1 ko’u kino e komo
aku ma ke ano kolohe, he oleloa no. No ka mea, he kanaka hana pono
oleia wau e na wahine, mai ko’u wa opiopio mai a hiki i ko’u hooka-
nakamakua ana. Aia no ka’u wahine ae ke kii mai, no kekahi mau
aina e mai, ina noloko mai o Moaulanuiakea, kahi o na wahine oluolu
a’u 1 lohe ai; alaila, o ka’u wahine makemake ia, i na i kiiia mai wau
ma na ano elua.”

Iloko o ko Aiwohikupua lohe ana ia Kauakahialii, a me ko laua
kuka mau ana me kona Kuhina Nui no Laieikawai, alaila, manaopaa
ae la ke Alii no Tahiti mai ua wahine la.

I kekahi Ja, i ke awakea, hiamoe iho la ke Alii, loaa iho la o Laiei-
kawai ia Aiwohikupua ma ka moeuhane, ua like kana ike ana ia
Laieikawai ma ka moeuhane me ka Kauakahialii olelo ana ia ia. A
puoho ae la ke Alii he moeuhane kana.

iloko oia ala ana ae, aia hoi, he mea minamina loa i ke Alii i kona
ike ana ia Laieikawai ma ka moeuhane, no ka mea, ua ala e mai ka
hiamoe o ke Alii; a no ia mea, makemake iho la ke Alii e loaa hou ia
ia ka hiamoe loihi ana ma ia awakea, i kumu e ike hou aku aii kana
mea i ike ai ma ka moeuhane.

Hoao hou iho la ke Alii e hiamoe hou, loaa hou no o Laieikawai ma
ka hihio pokole loa, aole nae oia 1 ike maopopo loa aku, he wahi
helehelena wale no kana ike lihi ana, a hikilele ae a oia.

A no keia mea, ua ano e loa ko ke Alii manao, ia manawa ka
hoopuka ana a ke Alii i olelo paa imua o kona mau mea a pau, penei
no ia:

375

376 HAWAIIAN ROMANCE OF LATEIKAWAI [ETH. ANN. 33

“Where are you? Do not talk while I am sleeping; if one even
whispers, if he is chief over a district he shall lose his chiefship; if
he is chief over part of a district, he shall lose his chiefship; and if a
tenant farmer break my command, death is the penalty.”

The chief took this oath because of his strong desire to sleep
longer in order to make Laieikawai’s acquaintance in his dream.

After speaking all these words, he tried once more to sleep, but
he could not get to sleep until the sun went down.

During all this time he did not tell anyone about what he saw in
the dream; the chief hid it from his usual confidant, thinking when
it came again, then he would tell his chief counsellor.

And because of the chief’s longing to dream often, he commanded
his chief counsellor to chew awa.

So the counsellor summoned the chief’s awa chewers and made
ready what the chief commanded, and he brought it to him, and the
chief drank with his counsellor and drunkenness possessed him.
Then close above the chief rested the beloved image of Laieikawai
as if they were already lovers. Then he raised his voice in song, as
follows: 7?

“Rising fondly before me,
The recollection of the lehua blossom of Puna,
Brought hither on the tip of the wind,
By the light keen wind of the fiery pit.
Wakeful—sleepless with heart longing,
With desire—O!”

Said the counsellor to the chief, after he had ended his singing,
“This is strange! You have had no woman since we two have been
living here, yet in your song you chanted as if you had a woman
here.”

Said the chief, “ Cut short your talk, for I am cut off by the drink.”
Then the chief fell into a deep sleep and that ended it, for so heavy
was the chief’s sleep that he saw nothing of what he had desired.

A night and a day the chief slept while the effects of the awa
lasted. Said the chief to his counsellor, “ No good at all has come
from this awa drinking of ours.”

The counsellor answered, “ What is the good of awa drinking?
T thought the good of drinking was that admirable scaley look of
the skin?” ?8

Said the chief, “ Not so, but to see Laieikawai, that is the good
of awa drinking.”

After this the chief kept on drinking awa many days, perhaps a
year, but he gained nothing by it, so he quit it. ,

BECKWITH] TEXT AND TRANSLATION Berl

“Auhea oukou, mai walaau oukou iloko o kuu wa hiamoe, mai
hamumumzu, a ina e walaau, he alii aimoku, e pau kona aimoku ana;
ina he alii aiahupuaa, e pau ia; a ina he konohiki, a lopa paha ka
mea nana i hahai kuu olelo paa, alaila, o ka make ka uku.”

Oia iho la ka olelo paa a ke Alii, no ka mea, ua makemake loa ke
Alii e loaa ia ia ka hiamoe loihi i kumu e launa hou ai laua ma ka
raoeuhane me Laieikawai.

A pau ka ke Alii olelo ana no keia mau mea, hoomaka hou oia e
hiamoe, aole nae 1 loaa ia ia ka hiamoe a hiki i ka napoo ana o
ka la.

Iloko o keia hana a ke Alii, aole nae oia i hai aku i keia mea ana
e ike nei ma ka moeuhane, ua huna loa ke Alii i kona hoa kuka mau,
manao la hoi oia, aia a loaa hou aku, alaila hai aku i kona hoa
Kuhina Nui.

A no ka makemake loa o ke Alii e loaa mau ia ia ka moeuhane mau
no Laieikawai, kauoha ae la oia 1 kona Kuhina Nui e mama i awa.

A nolaila, hoolale koke ae Ja ke Kuhina i na mea mama awa o ke
Alii e mama i ka awa, a makaukau ko ke Alii makemake, a laweia mai
la, inu iho la ke Alii me kona Kuhina, a oki mai Ja ka ona a ka awa.
Kau koke mai la nae iluna o ke Alii ka halialia aloha o Laieikawai,
me he mea ala ua launa kino mamua. Alaila, hapai ae la ia 1 wahi
olelo ma ke mele penei:

“Kau mai ana i o’u nei
Ka halialia nae lehua o Puna,
I lawea mai e ka lau makani,
Eka ahe makani puulena o ka lua,
Hia—moe ole loko i ka minamina,
I ka makemake—e.”

T aku Ja ke Kuhina o ke Alii, mahope iho o ka pau ana o ke mele
ana, “ He mea kupanaha, aole hoi au wahine a kaua e noho nei,
alka, iloko o kau mele e heluhelu nei, me he wahine la kau.”

I mai la ke Alii, “ Ua oki na olelo a kaua, no ka mea, ke oki mai
nei ka ona o ka awa ia’u.” Iloko oia manawa, haule aku la ke Alit
i ka hiamoe nui, o ke oki no ia, no ka mea, ua poina loa ka hiamoe
o ke Alii, ua ike ole ke Alii i kana mea e manao ai.

Hookahi po, hookahi a0 o ka moe ana mama ka ona awa o ke
Ali. Olelo aku la ke Alii i kona hoa kuka, “Ma keia ona awa o
kaua, aole 1 waiwai 1ki.”

IT mai la kona hoa kuka, “ Pehea la ka hoi ka waiwai o ka ona
awa? Kainoa o ka ona no kona waiwai, o ka mahuna alua.”

I mai la ke Alii, “Aole hoi paha oia, o ka ike aku ka hoi paha la
ia Laieikawai, alaila waiwai ka ona ana o ka awa.”

Mahope iho oia manawa, hoomau aku la ke Alii i ka inu awa a
hala na Ja he nui, ua like paha me hookahi makahiki, aole nae ke
Alii i ike 1 ka waiwai oia hana ana, nolaila, hoopau iho la ke Alii
ia hana.

378 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

It was only after he quit awa drinking that he told anyone how
Laieikawai had come to him in the dream and why he had drunk
the awa and also why he had laid the command upon them not to
tallx while he slept.

After talking over all these things, then the chief fully decided to
go to Hawaii to see Laieikawai. At this time they began to talk
about getting Laieikawai for a wife.

At the close of the rough season and the coming of good weather
for sailing, the counsellor ordered the chief’s sailing masters to make
the double canoe ready to sail for Hawaii that very night; and at
the same time he appointed the best paddlers out of the chief's
personal attendants.

Before the going down of the sun the steersmen and soothsayers
were ordered to observe the look of the clouds and the ocean to see
whether the chief could go or not on his journey, according to the
signs. And the steersmen as well as soothsayers saw plainly that he
might go on his journey.

And in the early morning at the rising of the canoe-steering star
the chief went on board with his counsellor and his sixteen paddlers
and two steersmen, twenty of them altogether in the double canoe,
and set sail. : -

As they sailed, they came first to Nanakuli at Waianae. In the
early morning they left this place and went first to Mokapu and
stayed there ten days, for they were delayed by a storm and could
not go to Molokai. After ten days they saw that it was calm to sea-
ward. That night and the next day they sailed to Polihua, on
Lanai, and from there to Ukumehame, and as the wind was unfavor-
able, remained there, and the next day left that place and went to
Kipahulu.

At Kipahulu the chief said he would go along the coast afoot and
the men by boat. Now, wherever they went the people applauded
the beauty of Aiwohikupua.

They left Kipahulu and went*to Hana, the chief and his counsellor
by land, the men by canoe. On the way a crowd followed them for
admiration of Aiwohikupua.

When they reached the canoe landing at Haneoo at Hana the
people crowded to behold the chief, because of his exceeding beauty.

When the party reached there the men and women were out surf
riding in the waves of Puhele, and among them was one noted prin-
cess of Hana, Hinaikamalama by name. When they saw the princess
of Hana, the chief and his counsellor conceived a passion for her;
that was the reason why Aiwohikupua stayed there that day.

BECKWITH] TEXT AND TRANSLATION 379

Mahope iho o ko ke Alii hoopau ana no ka inu awa, akahi no a
hai aku ke Alii i ka loaa ana o Laieikawai ma ka moeuhane, a me
‘ke kumu o kona hoomau ana i ka inu awa, a hai pu aku la no hoi
kke Alii i ke kumu o kona kau ana i kanawai paa, no ka mea walaau
iloko o kona wa hiamoe.

Ta laua e kamailio ana no keia mau mea, alaila, hoomaopopo loa
ae la ke Alii e holo i Hawaii e ike ia Laieikawai. Ja wa ka hoopuky
ana o laua i olelo hooholo no ke kii ia Laieikawai i wahine mare.

I ka pau ana o na la ino, a hiki mai ka manawa kupono no ka
holo moana, kauoha ae la ke Kuhina i na Kapena waa o ke Alii, e
hoomakaukau i na waa no ka holo 1 Hawaii ia po iho, ia manawa ke
koho ana a ke Alii i na hoewaa kupono ke holo pu,.ko ke Alii mau
iwikuamoo ponoi.

Mamua o ka napoo ana o ka la, kauohaia ka poe nana uli o ke
Alii, a me na Kilokilo e nana i na ouli o ke ao a me ka moana, i na
he hiki i ke Alii ke hele, a ina he hiki ole e like me ka mea mau; aka,
ua maopopo i kona poe nana uli a Milokilo hoi, he hike i ke Alii ke
hele 1 kana huakai.

A i ka wanaao, i ka puka ana o ka Hokuhookelewaa, kau aku la
ke Alii a me kona Kuhina, na hoewaa he umikumamaono, na hookele
elua, he iwakalua ko lakou nui maluna o na kaulua, a holo aku la.

Ta holo ana a Jakou ma keia holo ana, hiki mua lakou ma Nanakuli,
i Waianae, ia wanaao, haalele lakou ia wahi, hiki mua lakou i
Mokapu, a malaila lakou i noho ai he umi la, no ka mea, ua loohia
lakou e ka ino, hiki ole ke holo i Molokai. A pau na la he umi, ike
maopopoia aku la ka malie, a maikai ka moana. Ia po iho a ao,
hiki lakou i Polihua, ma Lanai, a mailaila aku hiki ma Ukumehame,
a no ka makani ino ia la, ua noho lakou malaila, a i kekahi la ae,
haalele lakou ia wahi, hiki lakou i Kipahulu ia la.

Ta lakou ma Kipahulu, hooholo ae la ke Alii i olelo e hele wawae
mauka, a ma na waa na kanaka. Ma kahi nae a lakou i noho ai,
ua nui ka poe mahalo no Aiwohikupua no ke kanaka maikai.

Haalele lakou ia Kipahulu, hiki lakou ma Hana, ma uka no ke
‘Alii me kona Kuhina, ma na waa no na kanaka. I ke Alii nae e
hele ana, he nui ka poe i ukali ia laua, no ka makemake ia Aiwohiku-
pua.

Ta lakou i hiki aku ai ma ke°awa pae waa o Haneoo i Hana, he
nue ka poe i lulumi mai e makaikai i ke Alii, no ka pakela o ka
maikai.

Ta Aiwohikupua ma nae i hiki aku ai, e heenalu mai ana na kane
a me na wahine i ka nalu o Puhele, aia nae ilaila kekahi kaila-
mahine Alii maikai kaulana o Hana, o Hinaikamalama kona inoa.
Toko hoi o ko laua ike ana i ua kaikamahine Alii nei o Hana, alaila,
ua hoopuniia ke Alii kane, a me kona Kuhina e na kuko; a oia no
hoi ke kumu o ko Aiwohikupua ma noho ana malaila 1a la.

380 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

When the people of the place had ended surfing and Hinaika-
malama rode her last breaker, as she came in, the princess pointed
her board straight at the stream of Kumaka where Aiwohikupua and
his companion had stopped.

While the princess was bathing in the water of Kumaka the chief
and his counsellor desired her, so the chief’s counsellor pinched
Aiwohikupua quietly to withdraw from the place where Hinaika-
malama was bathing, but their state of mind got them into trouble.

When Aiwohikupua and his companion had put some distance be-
tween themselves and the princess’s bathing place, the princess called,
“O chiefs, why do you two run away? Why not throw off your
garment, jump in, and join us, then go to the house and sleep!
There is fish and a place to sleep. That is the wealth of the people
of this place. When you wish to go, go; if you wish to stay, this is
Hana, stay here.”

At these words of the princess the counsellor said to Aiwohi-
kupua, “Ah! the princess would like you for her lover! for she has
taken a great fancy to you.”

Said Aiwohikupua, “I should like to be her lover, for I see well
that she is more beautiful than all the other women who have tempted
me; but you have heard my vow not to take any woman of these
islands to wife.”

At these words his counsellor said, “ You are bound by that vow
of yours; better, therefore, that this woman be mine.”

After this little parley, they went out surf riding and as they-rode,
behold! the princess conceived a passion for Aiwohikupua, and many
others took a violent liking to the chief.

After the bath, they returned to the canoe thinking to go aboard
and set out, but Aiwohikupua saw the princess playing konané**
and the stranger chief thought he would play a game with her; now,
the princess had first called them to come and play.

So Aiwohikupua joined the princess; they placed the pebbles on
the board, and the princess asked, “ What will the stranger stake
if the game is lost to the woman of Hana?”

Said Aiwohikupua, “TI will stake my double canoe afloat here on
the sea, that is my wager with you.”

Said the princess, “ Your wager, stranger, is not well—a still
lighter stake would be our persons; if I lose to you then I become
yours and will do whatever you tell me just as we have agreed, and
if you lose to me, then you are mine; as you would do to me, so shall
T to you, and you shall dwell here on Maui.”

BECKWITH] TEXT AND TRANSLATION 381

A pau ka heenalu ana a na kamaaina, a i ka nalu pau loa o ko
Hinaikamalama hee ana, o ka nalu ia i pae, hoopolilei mai la ka
hee ana a ke kaikamahine Alii ma ka wai o Kumaka, kahi hoi a
Aiwohikupua ma e noho mai ana.

I ke kaikamahine Alii nae e auau ana i ka wai o Kumaka, ua
hoopuiwaia ke Alii kane, a me kona Kuhina e ke kuko ino. A no
ia mea, iniki malu aku la ke Kuhina o ke Alii ia Aiwohikupua, e
hookaawale ia lana mai kahi a Hinaikamalama e auau ana, i ole laua
e pilikia ma ka manao.

Ta Aiwohikupua ma i hoomaka ai e hookaawale ia laua mai ko ke
Alii wahine wahi e auau ana, alaila, pane aku la ke Alii wahine, “ E
nalii! he holo ka hoi ka olua, kainoa hoi he wehe ko ke kapa, lele
iho hoi he wai, hookahi hoi ka auau ana o kakou, hoi aku he hale,
a moe, he ai no, he i-a no hoi, a he wahi moe no hoi, oia iho la no ka
Waiwai a ke kamaaina, i makemake no hoi e hele, hele no, ina he
makemake e noho, o Hana no hoi nei noho iho.”

A no keia olelo a ke Alii wahine, I aku la ke Kuhina i ke Alii,
“EE! pono ha ka manao o ke Alii wahine, no ka mea, ua makemake
loa ke Alii wahine ia oe.”

I mai la o Aiwohikupua, “ Ua makemake au i ke Alii wahine, no
ka mea, ke ike lea nei au i ka oi loa o kona maikai mamua o ka’u
mau wahine mua nana i kumakaia; aka, ua lohe oe i ka’u hoohiki
paa ana, aole au e lawe mai i kekahi wahine o keia mau moku 1
wahine na’u.”

A no keia olelo a Aiwohikupua, i aku kona Kuhina, “ Ua laa oe
no kela hoohiki au, alaila, e ahona’u ka wahine a kaua.”

A pau keia kamailio lili ana a laua, hele aku la laua i ka heenalu.
A ia laua e heenalu ana, aia hoi, ua hoopuniia mai la ke Alii wahine
no Aiwohikupua, a ua nui ka poe i hoopuni paaia no ka makemake
i ke Alii kane.

A pau ka auau ana a laua, hoi aku la laua me ka manao e kau
maluna o na waa a holo aku; aka, ike aku la o Aiwohikupua 1 ke
Alii wahine e konane mai ana, a manao iho la ke Alii kane malihini
e hele i ke konane; aka, ua lilo mua na ke Alii wahine ke kahea e
konane laua.

A hiki o Aiwohikupua ma kahi o ke Alii wahine, kau na ilili a
paa ka papa, ninau mai ke Alii wahine, “ Heaha ke kumu pili o ka
malihini ke make 1 ke kamaaina?”

T aku o Aiwohikupua, “ He mau waa kaulua ko’u kumu pili, aia ke
lana mai la iloko o ke kai, oia ko’u kumu pili me oe.”

TI mai la ke Alii wahine, “Aole he maikai o kou kumu pili e ka
malihini, hookahi no kumu pili mama loa, oia na kino no o kaua, ina e
make au ia oe, alaila, e lilo wau nau, ma kau hana e olelo mai ai,
malaila wau e hoolohe ai, a e hooko ai hoi, ma ka mea kupono nae i
ka hooko aku, a ina hoi e make oe ia’u, alaila, 0 oe no ka’u, e like
me kau hana ia’u, pela no au e hana ai ia oe, me ko noho i Maui nei.”

382 HAWAITAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

The chief readily agreed to the princess’s words. In the first game,
Aiwohikupua lost.

Then said the princess, “I have won over you; you have nothing
more to put up, unless it be your younger brother; in that case I
will bet with you again.”

To this jesting offer of the princess, Aiwohikupua readily gave
his word of assent.

During the talk, Aiwohikupua gave to the princess this coun-
sel. “ Although I belong to you, and this is well, yet let us not at
once become lovers, not until I return from my journey about
Hawaii; for I vowed before sailing hither to know no woman until
I had made the circuit of Hawaii; after that I will do what you
please as we have agreed. So I lay my command upon you before I
go, to live in complete purity, not to consent to any others, not to do
the least thing to disturb our compact; and when I return from
sight-seeing, then the princess’s stake shall be paid. If when I re-
turn you have not remained pure, not obeyed my commands, then
there is an end of it.”

Now, this was not Aiwohikupua’s real intention. After laying his
commands upon Hinaikamalama, they left Maui and went to
Kapakai at Kohala.

The next day they left Kapakai and sailed along by Kauhola, and
Aiwohikupua saw a crowd of men gathering mountainward of
Kapaau. ‘

Then Aiwohikupua ordered the boatmen to paddle inshore, for he
wanted to see why the crowd was gathering.

When they had come close in to the landing at Kauhola the chief
asked why the crowd was gathering; then a native of the place said
they were coming together for a boxing match.

At once Aiwohikupua trembled with eagerness to go and see the
boxing match; they made the canoe fast, and Aiwohikupua, with his
counsellor and the two steersmen, four in number, went ashore.

When they came to Hinakahua, where the field was cleared for
boxing, the crowd saw that the youth from Kauai surpassed in beauty
all the natives of the place, and they raised a tumult.

After the excitement the boxing field again settled into order; then
Aiwohikupua leaned against the trunk of a milo tree to watch the
attack begin.

. BECK WiTH] TEXT AND TRANSLATION 383

A no keia olelo a ke Alii wahine, hochelo koke ae la ke Alii kane
i ka olelo ae. I ka hahau ana a laua i ka papa mua, make o Aiwohi-
kupua.

Alaila, i mai la ke Alii wahine, “ Ua eo ia’u, aohe ou kumu e ae e
pili mai ai, a ina nae he kaikaina kou, alaila ae aku au e pili hou kaua.”

A no keia mau olelo maikai a ke Alii wahine imua o Aiwohikupua,
alaila, hooholo koke ae la oia i kona manao ae ma ka waha wale no.

A iloko o ko Jaua manawa kamailio, hoopuka aku la o Aiwohikupua
i kona manao imua o ke Alii wahime, “ He nani hoi ia ua pili ae nei
ko’u kino me oe, a ua maikai no; aka, aole kaua e launa koke, aia a
hoi mai au mai kuu kuakai kaapuni ia Hawaii; no ka mea, ua hoohiki
wau mamua o kuu holo ana mai nei, aole wau e Jauna me kekahi o na
wahine e ae, ala no a puni o Hawaii, alaila, hana wau e like me kuu
makemake, e like me ka kaua e kamailio nei, a oia hoi ka hookoia ana
o kou makemake. Nolaila, ke kauoha mua aku nei wau ia oe mamu:
o kuu hele ana, e noho oe me ka maluhia loa, aole e lilo i kekahi mea
e ae, aole hoi e hana iki i kekahi mea pono ole e keakea aii ka kaua
hoohiki, a hoi mai wau mai kuu huakai makaikai mai, alaila, e hookoia
ke kumu pili o ka wahine Alii. Ina i hoi mai wau, aole oe i maluhia,
aole hoi oe i hooko i ka’u mau kauoha, alaila, o ka pau no ia.”

Aole nae keia o ko Aiwohikupua manao,maoli. A pau na kauoha
a Aiwohikupua ia Hinaikamalama, haalele lakou ia Maui, hiki lakou
nei 1 Kapakai ma Kohala.

I kekahi la ae, haalele lakou ia Kapakai, holo aku la lakou a
mawaho pono o Kauhola, nana aku la o Aiwohikipua i ka akoakoa
lehulehu ana o na kanaka mauka o Kapaau.

Ta manawa, kauoha ae la o Aiwohikupua i na hoewaa, e hookokoke
aina aku na waa, no ka mea, ua makemake ke Alii e ike i ke kumu o
keia akoakoa lehulehu ana o na kanaka.

A hiki Jakou i ke awa pae waa ma Kauhola, ninau aku la ke Alii i ke
kumu o ka akoakoa lehulehu ana o na kanaka, alaila, hai mai la na
kamaaina, he aha mokomoko ke kumu o ia lehulehu ana.

Ia manawa, okalakala koke ae la o Aiwohikupua e hele e makaikai
i ka aha mokomoko, a hekau iho la na waa o lakou, pii aku la o
Aiwohikupua, a me kona Kuhina, a me na hookele elua, eha ko
lakou nui o ka pii ana.

A hiki lakou i Hinakahua i ke kahua mokomoko, ia manawa,
ike mai la ka aha mokomoko i ke keiki Kauai, no ka oi o kona
kanaka maikai mamua o na keiki kamaaina, a lilo iho la ka aha
i mea haunaeie.

Mahope iho o keia haunaele ana, hoomaka hou ka hoonoho o
_ ke kahua mokomoko, ia manawa, pili aku la o Aiwohikupua ma
ke kumu laau milo, e nana ana no ka hoouka kaua.

384 HAWAIIAN ROMANCE OF LAIBIKAWAIL [ETH. ANN. 33

As Aiwohikupua stood there, Cold-nose entered the open space and
stood in the midst to show himself off to the crowd, and he called out
in a loud voice: “ What’ man on that side will come and box?” But
no one dared to come and stand before Cold-nose, for the fellow was
the strongest boxer in Kohala.

As Cold-nose showed himself off he turned and saw Aiwohikupua
and called out, “ How are you, stranger? Will you have some fun?”

When Aiwohikupua heard the voice of Cold-nose calling him, he
came forward and stood in front of the boxing field while he bound
his red loin cloth 2° about him in the fashion of a chief’s bodyguard,
and he answered his opponent:

“© native born, you have asked me to have some fun with you,
and this is what I ask of you: Take two on your side with you, three
of you together, to satisfy the stranger.”

When Cold-nose heard Aiwohikupua, he said, “ You are the great-
est boaster in the crowd! 7° I am the best man here, and yet you talk
of three from this side; and what are you compared to me?”

Answered Aiwohikupua, “I will not accept the challenge without
others on your side, and what are you compared to me! Now, I
promise you, I can turn this crowd into nothing with one hand.”

At Aiwohikupua’s words, one of Cold-nose’s backers came up be-
hind Aiwohikupua and said: “ Here! do not speak to Cold-nose; he
is the best man in Kohala; the heavy weights of Kohala can not
master that man.” ??

Then Aiwohikupua turned and gave the man at his back a push,
and he fell down dead.*§

BECKWITH | TEXT AND TRANSLATION 385

Ia Aiwohikupua nae e ku ana ma kona wahi, puka mai la o Ihuanu
a ku iwaena o ke kahua mokomoko, e hoike ana ia ia iho imua
o ke anaina, a kahea mai la me ka leo nui, “ Owai ka mea ma kela
aoa0 mai e hele mai e mokomoko?” Aka, aole e hiki i kekahi mea
ke aa mai e ku imua o Ihuanu, no ka mea, o ko Kohala oi kelakela
no ia ma ka ikaika i ke kuikui.

Ia Ihuanu e hoike ana ia ia iho, huli ae la oia, a ike ia
Aiwohikupua, kahea mai la, “‘ Pehea oe e ka malihini? E pono paha
ke lealea?”

A lohe o Aiwohikupua i keia leo kahea a Ihuanu, hele aku la a
ku imua o ke kahua kaua, e hawele ana me kona aahu pukohukohu, i
like me ke ano mau o na Puali o ke Alii. Pane aku la oia imua o
kona hoa hakaka.

“i ke kamaaina, ua noi nai oe ia’u e lealea kaua, a eia hoi ka’u
noi ia oe, 1 elua mai ma kou aoao, huipu me oe, akolu oukou, alaila
mikomiko iki iho ka malihini.”

A lohe o Ihuanu i keia olelo a Aiwohikupua, i mai la oia, “ He
oi oe o ke kanaka nana i olelo hookano iho nei wau imua o keia
aha a pau, owau no ka oi mamua o na kanaka a pau, a ke olelo mai
nei hoi oe i ekolu aku ma keia aoao, a heaha la oe i mua o’u?”

Olelo mai la o Aiwohikupua, “ Aole au e aa aku e hakaka me oe
ma kau noi, ke ole oe e ku mai me na mea e ae ma kou aoao, a heaha
hoi oe imua o’u! Nolaila, ke olelo paa nei wau ano, he hiki ia’u
ke hoolilo i keia Aha i mea ole iloko o kuu lima.”

A no keia olelo a Aiwohikupua, hele mai la kekahi o na puali
ikaika a ma ke kua o Aiwohikupua, olelo mai la. “ E! mai olelo aku
oe ia Ihuanu, o ko Kohala 01 no kela; aohe puko momona o Kohala
nei i kela kanaka.”

Ta manawa, huli ae la o Aiwohikupua, a pale ae la i ka mea nana
i olelo mai ma kona kua, haula aku la ilalo a make loa.

74936°—_19—33 ETH 25

CHAPTER V

When all the players on the boxing field saw how strong Aiwohi-
kupua was to kill the man with just a push;

Then Cold-nose’s backers went to him and said: “ Here, Cold-nose,
I see pretty plainly now our side will never get the best of it; I am
sure that the stranger will beat us, for you see how our man was
killed by just a push from his hand; when he gives a real blow the
man will fly into bits. Now, I advise you to dismiss the contestants
and put an end to the game and stop challenging the stranger. So,
you go up to the stranger and shake hands,?° you two, and welcome
him, to let the people see that the fight is altogether hushed up.”

These words roused Cold-nose to hot wrath and he said: “ Here!
you backers of mine, don’t be afraid, don’t get frightened because
that man of ours was killed by a push from his hand. Didn’t I do
the same thing here some days ago? Then what are you afraid of?
And now I tell you if you fear the stranger, then hide your eyes in
the blue sky. When you hear that Cold-nose has conquered, then
remember my blow called Zhe-end-that-sang, the fruit of the tree
which you have never tasted, the master’s stroke which you have
never learned. By this sign I know that he will never get the better
of me, the end of my girdle sang to-day.” *°

At these words of Cold-nose his supporters said, “ Where are you!
We say no more; there is nothing left to do; we are silent before
the fruit of this tree of yours which you say we have never tasted,
and you say, too, that the end of your girdle has sung; maybe you
will win through your girdle!” Then his backers moved away from
the crowd.

While Cold-nose was boasting to his backers how he would over-
come Aiwohikupua, then Aiwohikupua moved up and cocked his
eye at Cold-nose, flapped with his arms against his side like a cock
getting ready to crow, and said to Cold-nose, “ Here, Cold-nose! strike
me right in the stomach, four time four blows! ”

When Cold-nose heard Aiwohikupua’s boasting challenge to strike,
then he glanced around the crowd and saw someone holding a very
little child; then said Cold-nose to Aiwohikupua, “I am not the man
to strike you; that little youngster there, let him strike you and let
him be your opponent.”

386

MOKUNA V

A ike mai la ka aha kanaka a pau o ke kahua mokomoko i ka
oi ana o ka ikaika o Aiwohikupua, no ka make loa ana o ke kanaka ma
ke pale wale ana no.

Ta manawa, hele mai la kekahi mau puali o Ihuanu, a olelo mai la
ia Ihuanu penei: “E Ihuanu e! ke ike maopopo lea aku nei wau
ano 1 keia manawa, aole e Janakila ana ko kakou aoao, a ma kuu
manao paa hoi, e lanakila ana ka malihini maluna o kakou, no ka mea,
ke ike maopopo aku la no oe, ua make loa ko kakou kanaka i ka welau
wale no o koia la lima, ahona a kui maoli aku kela, lele ili. Nolaila,
ke noi aku nei au ia oe, e hui ka aha, e pono ke hoopau ka mokomoko
ana, a me kou aa ana aku i ka malihini, a nolaila, e hele oe a i ka
malihini, e lulu lima olua, a e haawi aku i kou aloha nona, i aloha
pu ai olua me ka ike aku o ka aha ua hoomoe a pau wale ke kaua.”

Iloko o keia olelo, alaila, ua ho-ai’a ka imaina wela o Ihuanu no
keia olelo, me ka olelo aku, “ E ko’u poe kokua, mai maka’u oukou,
mai hopohopo no ka make ana o kela kanaka o kakou ma ke pale ana
i ka welau o kona lima, aole anei wau i hana pela i kekahi mau la,
mamua ae nei maanei? A heaha la oukou i maka’u ai; a nolaila,
ke hai aku nei wau ia oukou, ina i hopo oukou no kela malihini, alai-
la, e huna oukou i ko oukou mau maka i ke aouli, aia a lohe aku ou-
kou ua lanakila o Ihuanu, alaila, hoomanao oukou i kuu puupuu ia
Kanikapiha, ka ai a ke kumu i ao oleia ia oukou. No ka mea, ke ike
nei wau, aole e lanakila mai oia maluna o’u, no ka mea, ua kani ka
pola o kuu malo i keia la.”

A no keia olelo a Ihuanu, i aku kona mau hoa hui mokomoko,,
“Auhea oe! Ua pau ka makou olelo, aohe hana i koe, kulia imua o ka
ai a ke kumu a kakou 1 ao pu oleia mai ia makou, a ke olelo mai nei
hoi oe, ua kani ka pola o ko malo, malia o lanakila oe 1 ua malo ou.”
Alaila, nee aku la kona mau hoa mawaho o ka aha.

Ia Ihuanu nae e olelo kaena ana ia ia iho imua o kona mau hoa
no kona Janakila maluna o Aiwohikupua, alaila, oi mai la o Aiwo-
hikupua a kokoke iki ma ke alo o Ihuanu, upoipoi ae la oia i kona
mau lima ma ka poohiwi, me he moa kane la e hoomakaukau ana
no ke kani ana, a olelo aku la oia ia Ihuanu, “E Thuanu! Kuiia i
kuu piko a pololei i eha kauna kui?”

A lohe o Ihuanu 1 keia kaena a Aiwohikupua e kui, alaila, leha
ae la na maka o Ihuanu a puni ka aha, ike aku la oia e hilia mai
ana kekahi keiki opiopio loa, alaila, olelo aku la o Ihuanu ia Aiwohi-
kupua, “Aole na’u oe e kui, na kela wahi keiki e hiiia mai la, nana

oe e kui, a oia kou hoa hakaka.”
387

388 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

These words enraged Aiwohikupua. Then a flush rose all over his
body as if he had been dipped in the blood of a lamb.*t He turned
right to the crowd and said, “ Who will dare to defy the Kauai boy,
for I say to him, my god can give me victory over this man, and my
god will deliver the head of this mighty one to be a plaything for
my paddlers.

Then Aiwohikupua knelt down and prayed to his gods as follows:
“O you Heavens, Lightning, and Rain, O Air, O Thunder and Earth-
quake! Look upon me this day, the only child of yours left upon
this earth. Give this day all your strength unto your child; by your
might turn aside his fists from smiting your child, and I beseech you
to give me the head of Ihuanu into my hand to be a plaything for
my paddlers, that all this assembly may see that I have power over
this uncircumcised *? one. Amen.” **

At the close of this prayer Aiwohikupua stood up with confident
face and asked Cold-nose, “Are you ready yet to strike me?”

Cold-nose answered, “ I am not ready to strike you; you strike me
first !”

When Cold-nose’s master heard these words he went to Cold-nose’s
side and said, “ You are foolish, my pupil. If he orders you forward
again then deliver the strongest blow you can give, for when he
gives you the order to strike he himself begins the fight.” So Cold-
nose was satisfied.

After this, Aiwohikupua again asked Cold-nose, “ Are you ready
yet to strike me? Strike my face, if you want to!”

Then Cold-nose instantly delivered a blow like the whiz of the
wind at Aiwohikupua’s face, but Aiwohikupua dodged and he
missed it.

As the blow missed, Aiwohikupua instantly sent his blow, struck.
right on the chest and pierced to his back; then Aiwohikupua lifted
the man on his arm and swung him to and fro before the crowd,
and threw him outside the field, and Aiwohikupua overcame Cold-
nose, and all who looked on shouted.

When Cold-nose was dead his supporters came to where he was
lying, those who had warned him to end the fight, and cried, “ Aha!
Cold-nose, could the fruit we have never tasted save you? Will you
fight a second time with that man of might?” These were the
scornful words of his supporters.

BECKWITH | TEXT AND TRANSLATION 389

A lohe o Aiwohikupua i keia olelo, he mea e kona ukiuki, ia
manawa, pii ae la ka ula o Aiwohikupua a puni ke kino, me he mea
la ua hooluuia i ke koko o na hipa keiki. Huli ae la oia a kupono
imua o ka aha, a olelo aku la, “ Owai keia kanaka 1 aa mai ai ola
i ke keiki Kauai nei, nolaila, ke olelo nei wau i keia, he hiki i kuu
Akua ke haawi mai ia’u e lanakila maluna o keia kanaka, a e hoolilo
ae kuu Akua i ke poo o ko oukou ikaika i mea milimili na kuu mau
hoewaa.”

Alaila, kukuli iho la o Aiwohikupua a pule aku la i kona mau
Akua penei: “ E Lanipipili, Lanioaka, Lanikahuliomealani, e Lono,
e Hekilikaakaa, a me Nakolowailani, i keia la, e ike mai oukou ia’u
i ka oukou kama, ka oukou pua i koe ma ke ao nei, ma keia la, e
haawi mai oukou i ka ikaika a pau maluna o ka oukou kama nel, e
hiki no ia oukou ke hoohala i kana puupuu ma kona kui ana mai i
ka oukou kama, a ke noi aku nei wau e haawi mai i ke poo o Thuanu i
kuu lima, i mea paani na ko’u mau hoewaa, i ike ai keia aha a pau,
owau ke lanakila maluna o keia kanaka 1 Okipoepoe Oleia. Amene.”
(Amama.)

A pau kana pule ana, ku ae la o Aiwohikupua iluna me ka maka
ikaika a makaukau no ka hoouka kaua, a ninau aku la ia Thuanu,
“Ua makaukau anei oe e kue mai ia’u?”

Olelo mai la o Thuanu, “Aole au e kui aku ia oe, nau e kui mua
mai ia’u.”

A lohe ke kumu kui a Ihuanu i keia mau olelo, hele mai la a ma
ka aoao o Ihuanu, i mai la, “ Hawawa oe e kuu haumana, ina e
kena hou mai kela, alaila, e hoomaka oe e kui me kou ikaika a pau,
no ka mea, o kona manawa e kena mai ai e kui, oia iho la no ka
hoomaka ana,” a nolaila, ua pono keia ia Thuanu.

A pau ka Jaua kamailio ana, ninau hou aku la o Aiwohikupua ia
Thuanu, “ Ua makaukau anei oe e kui mai ia’u; ina he manao e kui,
kui mai I kuu maka.”

Ia manawa, 1 waiho koke mai ana o Ihuanu i ka puupuu, hu ka
makani ma ka papalina o Aiwohikupua, aole nae i ku, no ka mea,
ua alo o Aiwohikupua, oia ka mea i hala’i.

A hala ka puupuu a Ihuanu, e waiho koke ae ana o Aiwohikupua
i kana puupuu, ku no i ka houpo, hula ma ke kua; ia manawa,
kaikai ae la o Aiwohikupua i ke kanaka me kona lima, a kowali ae
la ia Ihuanu imua o ke anaina, a kiola aku la i waho o ka aha, a
lanakila iho la o Aiwohikupua maluna o Thuanu uwauwa aku la
ka pihe me ka hui o ka aha i ka poe makaikai.

A make iho la o Ihuanu, hele mai la kona mau hoa, e waiho ana,
na mea hoi nana i olelo mai e hooki ka hakaka, me ka ninau iho,
“ Thuanu! ua hiki anei i ko aii ao oleia ia makou ke hoola ia oe,
e hakaka hou me kela kanaka ikaika lua ole?” Olja ke olelo hene-
hene a kona mau hoa.

390 * HAWAITAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 33

As the host were crowding about the dead body of their champion
and wailing, Aiwohikupua came and cut off Cold-nose’s head with
the man’s own war club ** and threw it contemptuously to his fol-
lowers; thus was his prayer fulfilled. This ended, Aiwohikupua left
the company, got aboard the canoe, and departed; and the report of
the deed spread through Kohala, Hamakua, and all around Hawaii.

They sailed and touched at Honokaape at Waipio, then came off
Paauhau and saw a cloud of dust rising landward. Aiwohikupua
asked his counsellor, “ Why is that crowd gathering on land? Per-
haps it is a boxing match; let us go again to look on!”

His counsellor answered, “ Break off that notion, for we are not
taking this journey for boxing contests, but to seek a wife.”

Said Aiwohikupua to his counsellor, “Call to the steersman to
turn the canoe straight ashore to hear what the crowd is for.” The
chief’s wish was obeyed, they went alongside the cliff and asked the
women gathering shellfish, “ What is that crowd inland for?”

The women answered, “ They are standing up to a boxing match,
and whoever is the strongest, he will be sent to box with the Kauai
man who fought here with Cold-nose and killed Cold-nose; that is
what all the shouting is about.”

So Aiwohikupua instantly gave orders to anchor the canoe, and
Aiwohikupua landed with his counsellor and the two steersmen, and
they went up to the boxing match; there they stood at a distance
watching the people.

Then came one of the natives of the place to where they stood and
Aiwohikupua asked what the people were doing, and the man
answered as the women had said.

Aiwohikupua said to the man, “ You go and say I am a fellow
to have some fun with the boxers, but not with anyone who is not
strong.”

The man answered, “ Haunaka is the only strong one in this crowd,
and he is to be sent to Kohala to fight with the Kauai man.”

Said Aiwohikupua, “Go ahead and tell Haunaka that we two will
have some fun together.”

When the man found Haunaka, and Haunaka heard these words,
he clapped his hands, struck his chest, and stamped his feet, and
beckoned to Aiwohikupua to come inside the field, and Aiwohikupua
came, took off his cape,?° and bound it about his waist.

BECKWITH] TEXT AND TRANSLATION 391

I ka lehulehu e lulumi ana no ka make o Thuanu ko lakou Pu-
kaua, a e uwe ana hoi, hele aku la o Aiwohikupua, a oki ae la i ke
poo o Ihuanu, a me ka laau palau a Ihuanu, a kiola aku la i kona
mau hookele, oia ka hooko hope loa ana o kana pule. A pau keia
mau mea, haalele o Aiwohikupua i ka aha, a hoi aku la a kau iluna
o na waa, a holo aku la, kui aku la ka lono o keia make a puni o
Kohala, Hamakua, a puni o Hawaii.

Holo aku la lakou nei a kau i Honokaape, ma Waipio, mailaila
aku a waho o Paauhau, nana ae la lakou e ku ana ka ea o ka lepo 0
uka, ninau aku la o Aiwohikupua i kona Kuhina, “ Heaha la kela
lehulehu e paapu mai nei o uka? He mokomoko no paha? Ina he
aha mokomoko kela, e hele hou kaua e makaikai.”

Olelo aku la kona Kuhina, “ Ua oki ia manao ou, no ka mea, aole
he huakai mokomoko ka kaua i hele mai nei, he huakai imi wahine
ka kaua.”

I mai o Aiwohikupua i ke Kuhina, “ Kaheaia aku na hookele, e
hooponopono ae na waa a holo pololei aku i ke awa, i lohe aku kakou
i kela lehulehu.” A hookoia ko ke Alii makemake; a holo aku lakou
a malalo o ka pali kahakai, ninau aku la i na wahine e kuiopihi ana,
“ Heaha kela lehulehu o uka? ”

Hai mai la na wahine ia lakou, “He aha hookuku mokomoko, a
o ka mea oi o ka ikaika, alaila, oia ke hoounaia e hele e kuikui me
ke kanaka Kauai i hakaka mai nei me Ihuanu, a make mai nei ua
o Ihuanu; oia ia pihe e uwa ala.”

A no keia mea, kena koke ae la o Aiwohikupua e hekau na waa,
a lele aku la o Aiwohikupua, o kona Kuhina aku me na hookele elua,
pii aku la lakou nei a hiki i ka aha mokomoko, aia nae lakou ma
kahi kaawale mai e nana ana i ka aha.

Alaila, hele mai la kekahi kamaaina ma ko lakou nei wahi e noho
ana, ninau aku la o Aiwohikupua i ka hana a ka aha, haiia mai la e
like me ka olelo a kela mau wahine i olelo ai.

Olelo aku la o Aiwohikupua i kahi kamaaina, “E hele oe a olelo
aku, owau kekahi e lealea me kela poe, aole nae e lealea me ka poe
ikaika ole.”

I mai la ua wahi kamaaina nei, “ Hookahi no ikaika o keia aha
o Haunaka, a oia ke hoounaia ana i Kohala, e hakaka me ke kanaka
Kauai.”

Olelo aku la o Aiwohikupua, “ E hele koke oe, a olelo aku ia Hau-
naka e lealea maua.”

A hiki aku ua wahi kanaka kamaaina nei a halawai me Haunaka;
a lohe o Haunaka i keia mau olelo, lulu iho la oia i kona mau lima,
paipai ae la i ka umauma, keekeehi na wawae, a peahi mai la ia-
Aiwohikupua e hele aku iloko o ka aha, a hele aku la o Aiwohikupua,
a wehe ae la i kona kihei, a kaei ae la ma kona puhaka.

392 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

When Aiwohikupua was on the field he said to Haunaka, “ You
can never hurt the Kauai boy; he is a choice branch of the tree that
stands upon the steep.” **

As Aiwohikupua was speaking a man called out from outside the

crowd, who had seen Aiwohikupua fighting with Cold-nose, “O
Haunaka and all of you gathered here, you will never outdo this
man; his fist is ike a spear! Only one blow at Cold-nose and the
fist went through to his back. This is the very man who killed
Cold-nose.”
* Then Haunaka seized Aiwohikupua’s hand and welcomed him, and
the end of it was they made friends and the players mixed with the
crowd, and they left the place; Aiwohikupua’s party went with
their friends and boarded the canoes, and went on and landed at
Laupahoehoe.

BECKWITH] TEXT AND TRANSLATION 393

Ta Aiwohikupua ma ka aha, olelo aku la oia imua o Haunaka,
“Aole e eha ke keiki Kauai ia oe, he lala kamahele no ka laau ku
1 ka pali.”

Ia manawa a Aiwohikupua e kamailio ana no keia mau mea,
kahea mai la mawaho o ka aha he wahi kanaka i ike i ka hakaka
ana a Aiwohikupua me Ihuanu, “E Haunaka, a me ka aha, aole
oukou e pakele i keia kanaka, ua like ka puupuu o keia kanaka me
ka pololu, hookahi no kui ia Ihuanu, hula pu ka puupuu ma ke kua,
a o ke kanaka no keia i make mai nei o Ihuanu.”

Ta manawa, lalau mai la o Haunaka i na lima o Aiwohikupua, a
aloha mai la oia, a o ka pau no ia, hoaikane laua, hui ka aha. A
hhaalele lakou ia wahi, hele pu aku la o Aiwohikupua ma me ke
aikane a kau lakou la ma na waa, a holo aku la a pae i Laupahoehog,

CHAPTER VI

In Chapter V of this story we have seen how Aiwohikupua got to
Laupahoehoe. Here we shall say a word about Hulumaniani, the
seer who followed Laieikawai hither from Kauai, as described in the
first chapter of this story.

On the day when Aiwohikupua’s party left Paauhau, at Hamakua,
on the same day as he sailed and came to Laupahoehoe, the prophet
foresaw it all on the evening before he arrived, and it happened
thus:

That evening before sunset, as the seer was sitting at the door
of the house, he saw long clouds standing against the horizon where
the signs in the clouds appear, according to the soothsayers of old
days even until now.

Said the seer, “A chief’s canoe comes hither, 19 men, 1 high chief,
a double canoe.”

The men sitting with the chief started up at once, but could see
no canoe coming. Then the people with him asked, “ Where is the
canoe which you said was a chief’s canoe coming? ”

Said the prophet, “ Not a real canoe; in the clouds I find it; to-
morrow you will see the chief’s canoe.”

A night and a day passed; toward evening he again saw the
cloud rise on the ocean in the form which the seer recognized as
Aiwohikupua’s—perhaps as we recognize the crown of any chief
that comes to us, so Aiwohikupua’s cloud sign looked to the seer.

When the prophet saw that sign he arose and caught a little pig
and a black cock, and pulled a bundle of awa root to prepare for
Aiwohikupua’s coming.

The people wondered at his action and asked, “Are you going away
that you make these things ready?”

The seer said, “I am making ready for my chief, Aiwohikupua;
he is the one I told you about last evening; for he comes hither
over the ocean, his sign is on the ocean, and his mist covers it.”

As Aiwohikupua’s party drew near to the harbor of Laupahoehoe,
20 peals of thunder sounded, the people of Hilo crowded together,
and as soon as it was quiet all saw the double cance coming to land
carrying above it the taboo sign *’ of a chief. Then the seer’s pre-

diction was fulfilled.
394

MOKUNA VI

(Ma ka Mokuna V o keia Kaao, ua ike kakou ua hiki aku a Aiwo-
hikupua ma Laupahoehoe; maanei e kamailio iki kakou no Hulu-
maniani ka Makaula nana i ukali mai o Laieikawai, mai Kauai mai,
ka mea i olelomuaia ma ka helu mua o keia Kaao.)

I ka la a Aiwohikupua ma i haalele ai ia Paauhau, ma Hamakua,
i ka la hoi i holo mai ai a hiki i Laupahoehoe, ua ike mua aku ka
Makaula i na mea a pau i kekahi ahiahi iho mamua o ko Aiwohi-
kupua hiki ana ma Laupahoehoe, a penei kona ike ana:

T ua ahiahi la, mamua o ka napoo ana o ka la, e noho ana ka Ma-
kaula ma ka puka o ka hale, nana aku la oia i ke kuku o na opua ma
ka nana ana ina ouli o ke ao, a like me ka mea mau i ka poe kilokilo
mai ka wa kahiko mai a hiki i keia manawa.

IT aku la ua Makaula nei, “ He waa Alii hoi keia e holo mai nei, he
umikumamaiwa kanaka, hookahi Alii Nui, he mau waa kaulua nae.”

Ia manawa, puiwa koke ae la ka lehulehu e noho pu ana me ka
Makaula, a nana aku la aole he mau waa holo mai; nolaila, ninau
aku la ka poe me ia, “Auhea hoi na waa au i olelo mai nei he mau
waa Alii?”

Olelo aku ka Makaula, “Aole he mau waa maoli, ma ka opua ka’u
ike ana aku la, apopo e ike kakou he waa Alii.”

Ia po a ao ae, mahope o ka auina la, ike hou aku la oia i ke ku a ka
punohu i ka moana, ma ka hoailona i ku ia Aiwohikupua e like me
ka mea i maa i ua Makaula nei. (E like paha me ka ike ana i ke
Kalaunu Moi o kela Alii keia Alii ke hiki mai io kakou nei, pela paha
ka maopopo ana o ko Aiwohikupua punohu 1 ikeia e ua Makaula nei.)

A no ka ike ana o ka Makaula i kela hoailona, ku ae la oia a hopu
he wahi puaa, he moa Jawa, me ka puawa, e hoomakaukau ana no ka
hiki mai o Aiwohikupua.

A no keia hana a ka Makaula, he mea haohao loa ia i ko lakou poe,
me ka ninau aku, “ EK hele ana oe e hoomakaukau nei keia ukana au? ”

Hai mai la ka Makaula, “ E hoomakaukau mua ana wau no ka
hiki mai o kuu Alii o Aiwohikupua, oia kela mea a’u 1 olelo aku ai
ja oukou i ke ahiahi nei, nolaila, eia oia ke holo mai nei i ka moana,
nona kela kualau i ka moana, a me keia noe e uhi nei.”

A kokoke o Aiwohikupua ma i ke awa pae o Laupahoehoe, ia
manawa ke kui ana o na hekili he iwakalua, pili pu na kanaka o Hilo
nokeia mea, a 1 ka mao ana ae, ike aku la na mea a pau i keia
kaulua e holo mai ana a pae 1 ke awa, me ka puloulou Alii iluna o
na waa, alaila, maopopo ae la ka wanana a ka Makaula

395

896 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

When the canoe came to land the seer was standing at the land-
ing; he advanced from Kaiwilahilahi, threw the pig before the chief,
and prayed in the name of the gods of Aiwohikupua, and this was his
prayer:

“© Heavens, Lightning, and Rain; O Air, Thunder, and Earth-
quake; O gods of my chief, my beloved, my sacred taboo chief, who
will bury these bones! Here is a pig, a black cock, awa, a priest, a
sacrifice, an offering to the chief from your servant here; look upon
your servant, Hulumaniani; bring to him life, a great life, a long life,
to live forever, until the staff rings as he walks, until he is dragged
upon a mat, until the eyes are dim.** Amen, it is finished, flown
away.”

As the chief listened to the prophet’s prayer, Aiwohikupua recog-
nized his own prophet, and his heart yearned with love toward him;
for he had been gone a long while; he could not tell how long it was
since he had seen him.

As soon as the prayer was ended, Aiwohikupua commanded his
counsellor to “ present the seer’s gifts to the gods.”

Instantly the seer ran and clasped the chief’s feet and climbed up-
ward to his neck and wept, and Aiwohikupua hugged his servant’s
shoulders and wailed out his virtues.

After the wailing the chief asked his servant: “ Why are you
living here, and how long have you been gone?”

The servant told him all that we have read about in former chap-
ters. When the seer had told the business on which he had come and
his reason for it, that was enough. Then it was the seer’s turn to
question Aiwohikupua, but the chief told only half the story, saying
that he was on a sight-seeing tour.

The chief stayed with the seer that night until at daybreak they
made ready the canoe and sailed.

They left Laupahoehoe and got off Makahanaloa when one of the
men, the one who is called the counsellor, saw the rainbow arching
over Paliuli.

He said to the chief: “ Look! Where are you! See that rainbow
arch? Laieikawai is there, the one whom you want to find, and there
is where I found her.

Said Aiwohikupua: “I do not think Laieikawai is there; that is
not her rainbow, for rainbows are common to all rainy places. But
let us wait until it is pleasant and see whether the rainbow is there
then; then we shall know it is her sign.

e)

BECKWITH] TEXT AND TRANSLATION 397

I na waa e holo mai ana a pae, ku ana ka Makaula i ke awa, mai
luna mai o Kaiwilahilahi, hahau iho la ka Makaula i ka puaa imua
0 ke Alii, a pule aku Ja oia ma ka inoa o na Akua o Aiwohikupua,
a ela kana pule.

“KK Lanipipili, e Lanioaka, e Lanikahuliomealani, e Lono, e
Hekilikaakaa, e Nakoloailani. E na Akua o kuu Alii, kuu milimili,
kuu ihi kapu, ka mea nana e kalua keia mau iwi. Eia ka puaa, ka
moa lawa, ka awa, he makana, he mohai, he kanaenae i ke Alii na
ka oukou kauwa nei, e ike i ka oukou kauwa ia Hulumaniani homai
he ola, i ola nui, i ola loa, a kau i ka puaneane, a kani koo, a
palalauhala, a haumakaiola, amama, ua noa, lele wale aku la.”

Ja manawa a ke Alii e hoolohe ana i ka pule a ka Makaula, ike
mai la o Aiwohikupua, o kana Makaula keia, ua mokumokuahua
ka manawa o ke Alii i ke aloha i kana kauwa, no ka mea, ua loihi
ka manawa o ka nalo ana, aole no hoi i ikeia ka manawa i nalo ai.

A pau ka pule ana a ua Makaula nei, kena koke ae ana o
Aiwohikupua i kona Kuhina, “ E haawi na makana a ka Makaula
na na Akua.”

Lele koke aku la ka Makaula a hopu i na wawae o ke Alii, a kau
iho la iluna o ka a—, a uwe iho la; a o Aiwohikupua hoi, apo aku
la ma na poohiwi o kana kauwa, a uwe helu iho la.

A pau ka uwe ana, ninau iho la ke Alii i kana kauwa, “ Heaha
Ikxou mea 1 hiki mai ai a noho ianei; a pehea ka loihi o kou hele ana.”

Hai aku la ke kauwa e like me ka kakou heluhelu ana ma na
Mokuna mua. Ia manawa a ka Makaula i olelo aku aii ke Alii i na
kumu a me na kuleana o kona hele ana, a pau ia. Alaila, na ka
Makaula ka ninau hope ia Aiwohikupua; aka hoi, ma ka paewaewa
.0 ka ke Alii olelo ana, me ka olelo aku, e huakai kaapuni kana.

Walea iho la ke Alii me ka Makaula ia po a wanaao, hoo makaukau
na waa, a holo aku la.

Holo aku la lakou mai Laupahoehoe aku a hiki lakou i waho o
Makahanaloa, nana aku la ua wahi kanaka nei (ka mea i kapaia
he Kuhina), i ka pio mai a ke anuenue iuka o Paliuli.

Olelo aku la oia i ke Alii, “E! auhea oe? E nana oe i kela
anuenue e pio mai la, aia ilaila o Laieikawai, ka mea a kaua e kii nei,
a malaila no kahii loaa ai ia’u.”

Olelo aku la o Aiwohikupua, “Ke manao nei wau aole kela o
Laieikawai, aole no nona kela anuenue, no ka mea, he mea mau no ia
no na wahi ua a pau, he pio no ke anuenue. Nolaila, ke noi aku nei
wau ia oe, e kali kaua a ike ia mai ka malie ana, a ikeia aku ka pio
mai o ke anuenue iloko o ka manawa malie, alaila maopopo nona
kela hoailona.”

398 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

At the chief’s proposal they anchored their canoes in the sea, and
Aiwohikupua went up with his counsellor to Kukululaumania to
the houses of the natives of the place and stayed there waiting for
pleasant weather. After four days it cleared over Hilo; the whole
country was plainly visible, and Panaewa lay bare.

On this fourth day in the early morning Aiwohikupua awoke and
went out of the house, lo! the rainbow arching where they had seen
it before; long the chief waited until the sun came, then he went in
and aroused his counsellor and said to him: “ Here! perhaps you
were right; I myself rose early while it was still dark, and went
outside and actually saw the rainbow arching in the place you had
pointed out to me, and I waited until sunrise—still the rainbow!
And I came in to awaken you.”

The man said: “ That is what I told you; if we had gone we should
have been staying up there in Paliuli all these days where she is.”

That morning they left Makahanaloa and sailed out to the harbor
of Keaau.

They sailed until evening, made shore at Keaau and saw Kaua-
kahialii’s houses standing there and the people of the place out
surf riding. When they arrived, the people of the place admired
Aiwohikupua as much as ever.

The strangers remained at Keaau until evening, then Aiwohikupua
ordered the steersmen and rowers to stay quietly until the two of
them returned from their search for a wife, only they two alone.

At sunset Aiwohikupua caught up his feather cloak and gave it to
the other to carry, and they ascended.

They made way with difficulty through high forest trees and
thickets of tangled brush, until, at a place close to Paliuli, they heard .
the crow of a cock. The man said to his chief: “ We are almost out.”

They went on climbing, and heard a second time the cock crow
(the cock’s second crow this). They went on climbing until a great
light shone.

The man said to his chief, “ Here! we are out; there is Laieikawai’s
grandmother calling together the chickens as usual.” *°

Asked Aiwohikupua, “ Where is the princess’s house ?”

Said the man, “ When we get well out of the garden patch here,
then we can see the house clearly.”

BECKWITH] TEXT AND TRANSLATION 399

A ma keia olelo a ke Alii, hekau iho la na waa o lakou i ke kai,
pii aku Ja o Aiwohikupua me kona Kuhina a hiki i Kukululaumania,
ma ke kauhale 0 na kamaaina, a noho iho la malaila e kali ana no
ka malie o ka ua. A hala na Ja eha malaila, haalele loa ka malie
o Hilo, ike maopopoia aku la ke kalae ana mai o ka aina, a waiho
wale mai o Panaewa.

I ka eha o ka la, i ke kakahiaka nui, ala ae la o Aiwohikupua, a
puka aku la mawaho o ka hale, aia hoi, e pio mai ana no ke anuenue
i kahi a laua i ike mua ai, kakali, loihi iho la ke Alii a hiki i ka puka
ana o ka Ja, hoi aku Ja a kona Kuhina aia kela e hiamoe ana, hooala
aku Ja, me ka i aku i ke Kuhina, “ E! pono io paha kau e olelo nei,
ia’u no kakahiaka poeleele, ala e aku nei no wau iwaho, ike aku nei
no au, e pio mai ana ke anuenue i kahi no au i kuhikuhi ai ia’u, 2
ke kali mai la no wau a puka ka la, aia no ke mau la ke anuenue,
hoi mai la wau hoala aku nei ia oe.”

Olelo aku la ua wahi kanaka nei, “O ka’u ia e olelo aku ana ia oe,
e holo kakou, i na paha aia kakou i uka o Paliuli kahi i noho ai i
keia mau la.”

Ta kakahiaka, haalele Jakou ia Makahanaloa, holo waho na waa o
lakou, o Keaau ke awa.

Ta holo ana o lakou a ahiahi, pae lakou i Keaau, nana aku la lakou
e ku mai ana no na hale o Kauakahialii ma, e heenalu mai ana no
hoi na kamaaina; a hiki lakou, mahalo mai la na kamaaina no
Aiwohikupua e like me kona ano mau.

Noho malihini iho la lakou ia Keaau, a ahiahi, kauoha mua iho la
o Aiwohikupua i na hookele a me na hoewaa, e noho malie a hoi
mai laua mai ka laua huakai imi wahine mai, oiai o lakou wale no.

I ka napoo ana o ka la, hopu aku la o Aiwohikupua i kona aahu
Ahuula, a haawi aku lai kahi kanaka, a pii aku la.

Pui aku la laua iloko o na ululaau loloa, i ka hihia paa o ka
nahelehele, me ka luhi, a hiki laua ma kahi e kokoke ana i Paliuli,
lohe laua i ka leo o ka moa. I aku la kahi kanakai ke Alii, “ Kokoke
puka kaua.”

Hoomau aku Ja no laua i ka pii a lohe hou Jaua i ka leo 0 ka moa
(o ka moa kua-lua ia). Hoomau aku laua i ka pii a hiki i ka mala-
malama loa ana. -

I aku la kahi kanaka i ke Alii, “FE! puka kaua, aia ke kupuna-
wahine o Laieikawai ke houluulu mai la i na moa, e like me kana
hana mau.”

Ninau aku la o Aiwohikupua, “Auhea ka hale o ke Alii Wahine? ”

IT aku la kahi kanaka, “Aia a puka lea aku kaua iwaho o ka ma-
hinaai nei la, alaila, ike maopopo leaia aku ka hale.”

400 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

When Aiwohikupua saw that they were approaching Laieikawai’s
house, he asked for the feather cloak to hold in his hand when they
met the princess of Paliuli.

The garden patch passed, they beheld Laieikawai’s house covered
with the yellow feathers of the vo bird, as the seer had seen in his
vision from the god on Kauwiki.

When Aiwohikupua saw the house of the princess of Paliuli, he
felt strangely perplexed and abashed, and for the first time he felt
doubtful of his success.

And by reason of this doubt within him he said to his companion,
“Where are you? We have come boldly after my wife. I supposed
her just an ordinary woman. Not so! The princess’s house has no
equal for workmanship; therefore, let us return without making our-
selves known.”

Said his counsellor, “This is strange, after we have reached the
woman’s house for whom we have swum eight seas, here you are
begging to go back. Let us go and make her acquaintance, whether
for failure or success; for, even if she should refuse, keep at it; we
men must expect to meet such rebuffs; a canoe will break on a coral
reeks. isc

“Where are you?” answered Aiwohikupua. “We will not meet
the princess, and we shall certainly not win her, for I see now the
house is no ordinary one. I have brought my cloak wrought with
feathers for a gift to the princess of Paliuli and I behold them here
as thatch for the princess’s house; yet you know, for that matter,
even a cloak of feathers is owned by none but the highest chiefs; so
let us return.” And they went back without making themselves
known.

BECKWITH] TEXT AND TRANSLATION 401

A maopopo ia Aiwohikupua, ke kokoke hiki o laua i ka hale o
Laieikawai, nonoi aku la oia e haawi mai kahi kanaka i ka ahuula, 1
paa iho ai o Aiwohikupua ia mea ma kona lima, a hiki i ko laua
jauna ana me ke Alii wahine o Paliuli.

A hala ka mahinaai, ike aku la laua i ka hale o Laieikawai, ua
uhila me no hulu melemele o ka Oo, e like me ka alelo a ke akua i ka
Makaula, ma ka hihio iluna o Kauwiki.

Ja Aiwohikupua e nana ana i ka hale o ke Alii wahine o Paliuli,
he mea e ke kahaha a me ka hilahila, ia manawa ka hoomaka ana o ko
Aiwohikupua kanalua ana.

A no ke kanalua i joaa ia Aiwohikupua, olelo aku oia i kona
kokoolua, “Auhea oe, ua hele mai nei kaua me ka manao ikaika no
kuu wahine, kuhi iho nei wau, he wahine a lohe mai i ke ao, aole ka!
i ike aku nei ka hana 1 ka hale o ke Alii Wahine, aole no ona lua,
nolaila, ano e hoi kaua me ka launa ole.”

I mai la kona Kuhina, “ He mea kupanaha, a hiki ka hoi kaua i
ka hale o ko wahine, ka kaua mea i au mai nei i keia mau kai
ewalua, eia ka hoi he koi kau e hoi; e hele no kaua a launa, aia mai
ilaila ka nele a me ka loaa; no ka mea, ina no paha ia e hoole mai,
hoomano aku no, ua akaka no he waa naha i kooka ko kaua, ko ke
kane.”

“Auhea oe?” Wahi a Aiwohikupua, “Aole e hiki ia kaua ke hele
e halawai me ke Alii wahine, a aole no hoi e loaa; no ka mea, ke ike
nei wau, ua ano e loa ka hale. Ua lawe mai nei au i ko’u ahuula, i
makana e haawi aku aii ke Alii wahine e Paliuli nei; aka, ke nana
aku nei wau o ke pili iho la ia o ka hale o ke Alii; no ka mea, ua
ike no oe, o keia mea, he ahuula aole ia e loaa i na mea e ae, i na
Alii aimoku wale no e loaa’i, nolaila, e hoi kaua.” O ka hoi iho la no
ia me ka launa ole.

74936°—19—33 ETH——26

CHAPTER VII

When Aiwohikupua and his companion had left Paliuli they re-
turned and came to Keaau, made the canoe ready, and at the ap-
proach of day boarded the canoe and returned to Kauai.

On the way back Aiwohikupua would not say why he was return-
ing until they reached Kauai; then, for the first time, his counsellor
knew the reason.

On the way from Keaau they rested at Kamaee, on the rocky side
of Hilo, and the next day left there, went to Humuula on the
boundary between Hilo and Hamakua; now the seer saw Aiwohi-
kupua sailing over the ocean.

After passing Humuula they stopped right off Kealakaha, and
while the chief slept they saw a woman sitting on the sea cliff by the
shore.

When those on board saw the woman they shouted, “Oh! what a
beautiful woman ! ”

At this Aiwohikupua started up and asked what they were shout-
ing about. They said, “There is a beautiful woman sitting on the
sea cliff.” The chief turned his head to look, and saw that the
stranger was, indeed, a charming woman.

So the chief ordered the boatmen to row straight to the place where
the woman was sitting, and as they approached they first encountered
a man fishing with a line, and asked, “ Who is that woman sitting
up there on the bank directly above you?”

He answered, “ It is Poliahu, Cold-bosom.”

As the chief had a great desire to see the woman, she was beckoned
to; and she approached with her cloak all covered with snow and
gave her greeting to Aiwohikupua, and he greeted her in return by
shaking hands.

After meeting the stranger, Aiwohikupua said, “O Poliahu, fair
mistress of the coast, happily are we met here; and therefore, O prin-
cess of the cliff, I wish you to take me and try me for your husband,
and I will be the servant under you; whatever, commands you utter
I will obey. If you consent to take me as I beseech you, then come
on board the canoe and go to Kauai. Why not do so?”

The woman answered, “I am not mistress of this coast. I come
from inland; from the summit of that mountain, which is clothed in
a white garment like this I am wearing; and how did you find out
my name so quickly ?”

402

MOKUNA VII

Ta Aiwohikupua ma i haalele ai ia Paliuli, hoi aku la laua a hikii
Keaau, hoomakaukau na waa, a ma ia wanaao, kau maluna o na waa,
a hoi 1 Kauai.

Ma ia hoi ana, aole nae i hai aku o Aiwohikupua i kekahi kumu o
ka hoi ana, aia i ka hiki ana i Kauai, ma keia hoi ana, akahi no a ike
kona Kuhina i ke kumu.

Ma keia holo ana mai Keaau mai, a kau i Kamaee, ma Hilopaliku,
a ma kekahi la ae, haalele lakou ia laila, hiki lakou 1 Humuula, ma
ka palena o Hilo, me Hamakua, ia manawa ka ike ana mai a ka
Makaula ia Aiwohikupua e holo ana i ka moana.

A hala hope o Humuula ia lakou, hiki lakou mawaho pono o
Kealakaha, ike mai la lakou nei i keia wahine e noho ana i ka pali
kahakai, e hiamoe ana nae ke Alii ia manawa.

Ta lakou i ike aku aii kela wahine, hooho ana lakou iluna o na waa,
“i! ka wahine maikai hoi!”

A no keia, hikilele ae la ka hiamoe o Aiwohikupua, ninau ae lai ka
lakou mea e walaau nei, haiia aku la, “ He wahine maikai aia ke noho
mai la i ka pali.” Alawa ae la ke Alii, a ike aku la he mea e o ka
wahine maikai.

A no keia mea, kauoha ae la ke Alii i na hoewaa e hoe pololei aku
ma kahi a ka wahine e noho mai ana, a holo aku la a kokoke, halawai
mua iho la lakou me ke kanaka e paeaea ana, ninau aku la, “ Owai
kela wahine e noho mai la iluna o ka pali maluna pono ou?”

Haiia mai la, “ O Poliahu.”

A no ka manao nui o ke Alii e ike 1 kela wahine, peahiia aku la, a
iho koke mai la kela me kona aahukapa i hoopuniia i ka hau, a haawi
mai la i kona aloha ia Aiwohikupua, a aloha aku la no hoi ke Alii
kane i kona aloha ma ka lululima ana.

Ta laua e halawai malihini ana, i aku o Aiwohikupua “ E Poliahu
e! E ka wahine maikai o ka pali, pomaikai wale wau ia oe ma ko
kaua halawai ana iho nei, a no aila, e ke Alii wahine o ka pali nei, ke
makemake nei wau e lawe oe ia’u 1 kane hoao nau, a e noho kanaka
lawelawe aku malalo ou, ma kau mau olelo e olelo ai, a malaile wale
no wau. Ina hoie ae oe e lawe ia’u e like me ka’u e noi aku nei ia oe,
alaila, e kau kaua maluna o na waa, a holo aku i Kauai, a pehea ia?”

I mai la ka wahine, “Aole wau he wahine no keia pali, no uka
lilo mai wau, mai ka piko mai o kela mauna, e aahu mau ana i na
kapa keokeo e like me keia kapa a’u e aahu aku nei. A pehea la i
hikiwawe ai ka loaa ana o ko’u inoa 1a oe e ke Alii?”

403

404 HAWAIIAN ROMANCE OF LAIEIKAWAT [ ETH. ANN. 33

Said Aiwohikupua, “ This is the first I knew about your coming
from the White Mountain, but we found out your name readily from
that fisherman yonder.”

“As to what the chief desires of me,” said Poliahu, “I will take
you for my husband; and now let me ask you, are you not the chief
who stood up and vowed in the name of your gods not to take any
woman of these islands from Hawaii to Kauai to wife—only a
woman who comes from Moaulanuiakea? Are you not bethrothed
to Hinaikamalama, the famous princess of Hana? After this trip
around Hawaii, then are you not returning for your marriage? And
as to your wishing our union, I assure you, until you have made an
end of your first vow it is not my part to take you, but yours to take
me with you as you desire.”

At Poliahu’s words Aiwohikupua marveled and was abashed; and
after a while a little question escaped him: “ How have you ever
heard of these deeds of mine you tell of? It is true, Poliahu, all that
you say; I have done as you have described; tell me who has told
you.” ;
“No one has told me these things, O chief; I knew them for my-
self,” said the princess; “ for I was born, like you, with godlike pow-
ers, and, like you, my knowledge comes to me from the gods of my
fathers, who inspire me; and through these gods I showed you what
I have told you. As you were setting out at Humuula I saw your
canoe, and so knew who you were.”

At these words Aiwohikupua knelt and did reverence to Poliahu
and begged to become Poliahu’s betrothed and asked her to go with
him to Kauai.

“We shall not go together to Kauai,” said the woman, “but I
will go on board with you to Kohala, then I will return, while you
go on.”

Now, the chiefs met and conversed on the deck of the canoe.

Before setting out the woman said to Aiwohikupua and his com-
panion, “ We sail together; let me be alone, apart from you two,
fix bounds between us. You must not touch me, I will not touch
you until we reach Kohala; let us remain under a sacred taboo; ” and
this request pleased them.

As they sailed and came to Kohala they did not touch each other.

b)

BECKWITH] TEXT AND TRANSLATION : 405

Olelo aku la o Aiwohikupua, “Akahi no wau a maopopo no
Maunakea mai oe, a ua loaa koke kou inoa ia makou ma ka haiia ana
e kela kanaka paeaea.”

“A no kau noi e ke Alii,” wahi a Poliahu, “ E lawe wau ia oe i
kane na’u, a nolaila, ke hai aku nei wau ia oe, me ka ninau aku;
aole anei o oe ke Alii i ku iluna a hoohiki ma ka inoa o kou mau
Akua, aole oe e lawe i hookahi wahine o keia mau mokupuni, mai
Hawaii nei, a Kauai; aia kau wahine lawe noloko mai o Moaulanuia-
kea? Aole anei oe i hoopalau me Hinaikamalama, ke kaikamahine
Alii kaulana o Hana? A pau ko huakai kaapuni ia Hawaii nei, alaila,
hoi aku a hoao olua? A no kau noi mai e lawe kaua ia kaua i mau
mea hoohui nolaila, ke hai aku nei wau ia oe; aia a hoopau oe i
kau hoohiki mua, alaila, aole na’u e lawe ia oe, nau no e lawe ia’u a
hui kaua e like me kou makemake.”

A no keia olelo a Poliahu, pili pu iho la ko Aiwohikupua manao
me ke kaumaha no hoi; a liuliu hoopuka aku la o Aiwohikupua
i wahi ninau pokole penei, “ Pehea la oe i ike ai, a i lohe ai hoi no
ka’u mau hana au e hai mai nei? He oiaio, e Poliahu e, 0 na mea
a pau au e olelo mai nei, ua liana wau e like me ia nolaila, e hai
mai i ka mea nana i olelo aku ia oe.”

“Aole o’u mea nana i hai mai i keia mau mea, e ke Alii kane, no’u
iho no ko’u ike,” wahi a ke Alii wahine, “no ka mea, ua hanau
kupuaia mai wau e like me oe, a ua loaa no ia’u ka ike mai ke Akua
mai o ko’u mau kupuna a hooili ia’u, e like me oe, a na ia Akua wau
i kuhikuhi mai e like me ka’u e olelo nei ia oukou. Ia oukou no e
holo mai ana 1 Humuula, ua ike wau nou na waa, a pela wau i ike
al ia oe.”

A no keia olelo, kukuli iho la o Aiwohikupua, a hoomaikai aku
la imua o Poliahu, me ke noi aku e lilo ia i kane hoopalau na Poliahu,
me ke noi aku e holo pu i Kauai.

“Aole kaua e holo pu i Kauai,” wahi a ka wahine, “aka, e kau
wau me oukou a Kohala, hoi mai wau, alaila hoi oukou.”

Mai ka hoomaka ana e halawai na’lii a hiki i ka pau ana o na
olelo a laua, iluna no o na waa keia mau kamailio ana. .

Mamua o ka holo ana, olelo aku ka wahine ia Aiwohikupua, “ Ke
holo pu nei kakou, e hookaawale mai ko’u wahi, kaawale aku ko
olua wahi, aole o na kanaka, ua akaka ko lakou wahi, mai hoopa
mai oukou ia’u, aole hoi au e hoopa ia oukou a hiki wale i Kohala,
e noho maluhia loa kakou a pau.” A ua maikai ia mea imua o
lakou.

Ta holo ana o lakou a hiki i Kohala, aole i hanaia kekahi mea iho
iwaena o lakou.

406 . HAWATIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

They reached Kohala, and on the day when Aiwohikupua’s party
left, Poliahu took her garment of snow and gave it to Aiwohikupua,
saying, “Here is my snow mantle, the mantle my parents strictly
forbade my giving to anyone else; it was to be for myself alone; but
as we are betrothed, you to me and I to you, therefore I give away
this mantle until the day when you remember our vows, then you
must seek me, and you will find me above on the White Mountain;
show it to me there, then we shall be united.”

When Aiwohikupua heard these things the chief’s heart was glad,
and his counsellor and the paddlers with him.

Then Aiwohikupua took out his feather cloak, brought it and
threw it over Poliahu with the words, “As you have said to me
before giving me the snow mantle, so do you guard this until our
promised union.”

When their talk was ended, at the approach of day, they parted
from the woman of the mountain and sailed and came to Hana and
met Hinaikamalama.

BECKWITH] TEXT AND TRANSLATION 407

Ta lakou ma Kohala, a hiki i ka la i haalele ai o Aiwohikupua ma
ia Kohala, lawe ae la o Poliahu i kona kapa hau, a haawi aku la ia
Aiwohikupua me ka olelo aku, “O kuu kapa hau, he kapa 1 papa
loaia e ko’u mau makua, aole e lilo i kekahi mea e ae, ia’u wale iho |
no; aka, no ko kaua lawe ana ia kaua i kane hoao oe na’u, a pela hoi
wau ia oe, nolaila, ke haawi lilo aku nei wau i keia kapa, a hiki i kou
la e manao mai ai ia’u ma na hoohiki a kaua, alaila, loaa kou kuleana
e imi ae ai ia’u a loaa, iluna o Maunakea, alaila, hoike ae oe ia’u,
alaila, hui kino kaua.”

A lohe o Aiwohikupua i keia mau mea, alaila, he mea olioli nui
loa ia i ko ke Alii kane naau, a me kona Kuhina, a me na kanaka
hoewaa. ;

Ta manawa, kii aku la o Aiwohikupua i kona Ahuula, lawe mai la
a hoouhi aku la ia Poliahu, me ka olelo aku, “E like me kau olelo
ia’u mamua o kou haawi ana mai ja’u 1 ke kapa hau, pela no oe e
malama ai a hiki i ko kaua hui ana e like me ke kauoha.”

A pau ka laua kamailio ana i ka wanaao, hookaawale lakou i ka
wahine noho mauna, a holo aku Ja a hiki i Hana, a halawai me
Hinaikamalama.

CHAPTER VIII

When Aiwohikupua reached Hana, after parting with Poliahu at
Kohala, his boat approached the canoe landing at Haneoo, where
they had been before, where Hinaikamalama was living.

When Aiwohikupua reached the landing the canoe floated on the
water; and as it floated there Hinaikamalama saw that it was Ai-
wohikupua’s canoe; joyful was she with the thought of their meet-
ing; but still the boat floated gently on the water.

Hinaikamalama came thither where Aiwohikupua and his men
floated. Said the woman, “ This is strange! What is all this that
the canoe is kept afloat? Joyous was I at the sight of you, believing
you were coming to land. Not so! Now, tell me, shall you float
there until you leave?”

“Yes,” answered Aiwohikupua.

“You can not,” said the woman, “ for I will order the executioner
to hold you fast; you became mine at konane and our vows are
spoken, and I have lived apart and undefiled until your return.”

“QO princess, not so!” said Aiwohikupua. “It is not to end our
vow—that still holds; but the time has not come for its fulfillment.
For I said to you, ‘When I have sailed about Hawaii then the
princess’s bet shall be paid;’? now, I went meaning to sail about
Hawaii, but did not; still at Hilo I got a message from Kauai that
the family was in trouble at home, so I turned back; I have stopped
in here to tell you all this; and ehenerore: live apart, oad on my next
return our vow shall be fulfilled.’

At these words of Aiwohikupua the princess’s faith returned.

After this they left Hana and sailed and came to Oahu, and on
the sea halfway between Oahu and Kauai he laid his command upon
the oarsmen and the steersmen, as follows: “Where are you? I
charge you, when you come to Kauai, do not say that you have been
to Hawaii to seek a wife lest I be shamed; if this is heard about, it
will be heard through you, and the penalty to anyone who tells of the
journey to Hawaii, it is death, death to himself, death to his wife,
death to all his friends; this is the debt he shall pay.” This was the
charge the chief laid upon the men who sailed with him to Hawaii.

408

MOKUNA VIII

A hiki o Aiwohikupua ma i Hana, mai Kohala aku mahope iho
o ko lakou hookaawale ana ia Poliahu, ma ke awa pae waa o Haneoo
ko Jakou hiki mua ana, ma ko Hinaikamalama wahi e noho ana.

Ta Aiwohikupua nae i hiki aku ai ma kela awa pae waa, i ka
moana no lakou i lana aku ai; a ia lakou e lana ana malaila, ike
mai la o Hinaikamalama, o Aiwohikupua keia mau waa, mahamaha
mai la ka wahine me ka manao e hele aku ana a halawai me ka
wahine; aka, aia no lakou ke lana malie mai Ja i ka moana.

Hele mai o Hinaikamalama a ma kahi a Aiwohikupua ma e lana
ana; I aku la ka wahine, “He mea kupanaha! heaha iho nei hoi
keia o ka lana ana o na waa iloko o ke kai? Mahamaha mai nei
keia i ka ike ana mai,nei ia oukou, kainoa la hoi he holo mai a pae
ae, aole ka! Nolaila, ke ninau aku nei wau ia oe; malaila no anei
oukou e lana aia holo aku?”

“Ae,” wahi a Aiwohikupua.

“Aole oukou e hiki,” wahi a ka wahine “no ka mea, e kauoha no
wau i ka Ilamuku e hoopaa ia oe, ua lilo oe ia’u i ke konaneia, a
ke waiho nei no ia hoohiki a kaua, a ua noho maluhia wau me ka
malu loa a hiki i kou hoi ana mai la.”

_“E ke Alii Wahine, aole pela,” wahi a Aiwohikupua, “aole au
i hoopau i ka kaua hoohiki, ke mau nei no ia, aole no i hiki i ka
manawa e hookoia ai ia hoohiki a kaua, no ka mea, ua hal mua aku
Wau ia oe, ala a puni o Hawaii ia’u, alaila, hookoia kou kumu pili
e ke Alii wahine. Nolaila, holo aku nei wau me ka manao e puni
e Hawaii, aole nae i puni, a Hilo no, loaa ae nei i ka uhai mai Kauai
nai no ka pilikia o ko ka hale poe, nolaila, hoi mai nei; i kipa mai
pei 1 ou la e hai aku no keia mau mea ia oe, a nolaila, e noho malu
oe a hiki i kuu hoi hou ana mai, hookoia ka hoohiki.”

A no keia olelo a Aiwohikupua, hoi mai la ka manao o ke Alii
wahine, a like me mamua.

A pau keia mau mea, haalele lakou ia Hana, a holo mai lakou
a hiki i Oahu nei, a mai anei aku a like a like o ka moana o Oahu
nei, a me Kauai, hai aku Ja oia i kana olelo i na hoewaa, a me na
hookele, penei: “Auhea oukou, ke hai aku nei wau i kuu olelo paa;
ina 1 hiki kakou 1 Kauai, mai olelo oukou i Hawaii aku nei kakou i ka
imi wahine, o lilo auanei ia i mea hoohilahila ia’u, i na e loheia
ma keia hope aku, alaila, i loheia no ia oukou, a o ka uku o ka
mea nana e hai keia olelo no ka holo ana i Hawaii, o ka makemake
ka mea nana e olelo, make mai kana wahine, o ka ohi no ia o ka
make a ka mea hoaikane mai.” Oia ke kanawai-paa a ke Alii i kau
ai no ka poe i holo pu me ia i Hawaii.

409

410 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Aiwohikupua reached Kauai at sunset and met his sisters. Then
he spoke thus to his sisters: “ Perhaps you wondered when I went on
my journey, because I did not tell you my reason, not even the place
where I was to go; and now L[ tell it to you in secret, my sisters, to
you alone. ‘To Hawaii I disappeared to fetch Laieikawai for my
wife, after hearing Kauakahialii’s story the day when his party
returned here. But when I came there I did not get sight of the
woman’s face; I did not see Laieikawai, but my eyes beheld her
house thatched with the yellow feathers of the vo bird, so I thought
I could not win her and came back here unsuccessful. And as I
thought of my failure, then I thought of you sisters,‘‘ who have won
my wishes for me in the days gone by; therefore I came for you to
go to Hawaii, the very ones to win what I wish, and at dawn let us
rise up and go.” Then they were pleased with their brother’s words
to them.

As Aiwohikupua talked with his sisters, his counsellor for the
first time understood the reason for their return to Kauai.

The next day Aiwohikupua picked out fresh paddlers, for the
chief knew that the first were tired out. When all was ready for
sailing, that very night the chief took on board 14 paddlers, 2 steers-
men, the 5 sisters, Mailehaiwale, Mailekaluhea, Mailelaulii, Maile-
pakaha, and the youngest, Kahalaomapuana, the chief himself, and
his counsellor, 23 in all. That night, at the approach of day, they
left Kauai, came to Puuloa, and there rested at Hanauma; the next
day they lay off Molokai at Kaunakakai, from there they went ashore
at Mala at Lahaina; and they left the place, went to Keoneoio in
Honuaula, and there they stayed 30 days.

For it was very rough weather on the ocean; when the rough
weather was over, then there was good sailing.

Then they left Honuaula and sailed and came to Kaelehuluhulu,
at Kona, Hawaii.

As Aiwohikupua’s party were on the way from Maui thither,
Poliahu knew of their setting sail and coming to Kaelehuluhulu.

Then Poliahu made herself ready to come to wed Aiwohikupua;
one month she waited for the promised meeting, but Aiwohikupua
was at Hilo after Laieikawai.

BECKWITH] TEXT AND TRANSLATION 411

A hiki lakou i Kauai, ma ka napoo ana o ka la, a halawai me na
kaikuahine. Ia manawa ka hoopuka ana i olelo i kona mau kai-
kuahine, penei: “Ia’u i hele aku nei i ka’u huakai hele, ua haohao
paha oukou, no ka mea, aole wau i hai aku ia oukou i ke kumu o ia
hele ana, aole no hoi wau i hai aku i ka’u wahi e hele ai; a nolaila,
ke hai malu aku nei wau ia oukou e o’'u mau kaikuahine o kakou
wale. I Hawaii aku nei makou i nalo iho nei, i kii aku nei wau
ia Laieikawai i wahine mare (hoao) na’u, no ko’u lohe ana no ia
Kauakahialii e olelo ana i ka la a lakou i hiki mai ai. I ka hele ana
aku nei hoi, aole no hoi i kanamai a ke ano-e o ka wahine; aole nae
au i ike aku ia Laieikawai; aka, o ka hale ka’u i ike maka aku, ua
uhiia mai i ka hulu melemele 0 na manu Oo; nolaila, manao no au
aole e loaa, hoi okoa mai nei me ka nele. A no ia manao o’u, aole e
loaa ia’u, manao ae au ia oukou e na kaikuahine, ka poe no e loaa
ai ko’u makemake i na la i hala, nolaila, kii mai nei au ia oukou e
holo i Hawaii, o oukou no ka poe e loaa ai ko’u makemake, a ma
keia wanaao, e ku kakou a e hele.” Alaila, he mea maikai keia olelo
a ko Jakou kaikunane ia lakou.

Iloko o keia manawa a Aiwohikupua e olelo ana me na kai-
kuahine, akahi no a maopopo i kona Kuhina, oia ka ke kumu o ka
hoi wikiwiki ana ia Kauai.

I kekahi la ae, wae ae la o Aiwohikupua i mau hoewaa hou, no
ka mea, ua maopopo i ke Alii ua luhi na hoewaa mua; a makaukau
ka holo ana, ia po iho, lawe ae la ke Alii he umikumamaha hoewaa,
elua hookele, o na kaikuahine elima, o Mailehaiwale, o Mailekaluhea,
0 Mailelaulii, o Mailepakaha, a me ko lakou muli loa 0 Kahalaoma-
puana, o ke Alii a me kona Kuhina, he iwakalua-kumakolu ko lakou
nui. I ka wanaao oia po, haalele lakou ia Kauai, hiki ma Puuloa,
a mailaila aku a kau ma Hanauma, i kekahi la ae kau i Molokai, ma
Kaunakakai; mailaila aku a pae i Mala, ma Lahaina; a haalele lakou
ia wahi, hiki lakou i Keoneoio, ma Honuaula; a malaila i noho loihi
ai ekolu anahulu.

No ka mea, ua nui ka ino ma ka moana, a pau na la ino, alaila, ua
ikeia mai ka maikai o ka moana.

Ta manawa ko lakou haalele ana ia Honuaula, a holo aku la a hiki
ma Kaelehuluhulu, ma Kona, Hawaii.

Ta Aiwohikupua ma i holo aku ai mai Maui aku a hiki i kela
wahi, ua ike mua mai o Poliahu 1 ko lakou holo ana a me ka hiki
ana i Kaelehuluhulu.

Nolaila, hoomakaukau mua o Poliahu ia ia no ka hiki aku o
Aiwohikupua, alaila hoao; hookahi malama ke kali ano o Poliahu
no ko laua hoao e like me ka laua hoohiki ana; aka, ua hala o Ai-
wohikupua ma Hilo, no ke kii no ia Laieikawai.

412 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 23

Then was revealed to Poliahu the knowledge of Aiwohikupua’s
doings; through her supernatural power she saw it all; so the woman
laid it up in her mind until they should meet, then she showed what
she saw Aiwohikupua doing.

From Kaelehuluhulu, Aiwohikupua went direct to Keaau, but
many days and nights the voyage lasted.

At noon one day they came to Keaau, and after putting to rights
the canoe and the baggage, the chief at once began urging his sisters
and his counsellor to go up to Paliuli; and they readily assented to
the chief’s wish.

Before going up to Paliuli, Aiwohikupua told the steersmen and
the paddlers, “ While we go on our way to seek her whom I have so
longed to see face to face, do you remain here quietly, doing nothing
but guard the canoes. If you wait until this night becomes day and
day becomes night, then we prosper; but if we come back to-morrow
early in the morning, then my wishes have failed, then face about
and turn the course to Kauai;” so the chief ordered.

After the chief’s orders to the men they ascended half the night,
reaching Paliuli, Said Aiwohikupua to the sisters: “This is Paliuli
where Laieikawai is, your sister-in-law. See what you are worth.”

Then Aiwohikupua took Mailehaiwale, the first born; she stood
right at the door of Laieikawai’s house, and as she stood there she
sent forth a fragrance which filled the house; and within was Laiei-
kawai with her nurse fast asleep; but they could no longer sleep,
because they were wakened by the scent of Mailehaiwale.

And starting out of sleep, they two marveled what this wonderful
fragrance could be, and because of this marvel Laieikawai cried out
in a voice of delight to her grandmother :

Larmercawat: “O Waka! O Waka—O! ”

Waka: “ Heigh-yo! why waken in the middle of the night?”

Larermkawat: “A fragrance is here, a strange fragrance, a cool
fragrance, a chilling fragrance; it goes to my heart.”

Waxa: “ That is no strange fragrance; it is certainly Mailehaiwale,
the sweet-smelling sister of Aiwohikupua, who has come to get you
for his wife, you for the wife and he for the husband; here is the
man for you to marry.”

Larerkawat: “ Bah! I will not marry him.” #

When Aiwohikupua heard Laieikawai’s refusal to take Aiwohi-
kupua for her husband, then he was abashed, for they heard her
refusal quite plainly.

BECKWITH] TEXT AND TRANSLATION 413

I kekahi manawa, ku mai ia Poliahu ka ike no ka Aiwohikupua
mau hana; ma ko Poliahu ano kupua keia ike ana, a no ia mea, waiho
wale no iloko o ka wahine kona manao, aia a halawai laua, alaila,
hoike aku i kana mea e ike nei no ka Aiwohikupua mau hana.

Ma keia holo ana a Aiwohikupua, mai Kaelehuluhulu aku, hiki
mua lakou ma Keaau, aka, ua nui no na la, a me na po o keia hele
ana.

I ke awakea o kekahi la, hiki aku lakou ma Keaan, a pau na waa i
ka hooponopono, a me na ukana o lakou, ia wa no, hoolale koke ae
una ke Alii i na kaikuahine, a me kona Kuhina e pii i uka o Paliuli;
a ua hooholo koke lakou ia manao o ke Alii.

Mamua o ko Jakou pii ana i Paliuli, kauoha iho la o Aiwohikupua
i na hookele, a me na hoewaa, “ Eia makou ke hele nei i ka makou
huakai hele, ka mea hoi a kuu manao i kau nui ai a halawai maka,
e noho malie loa oukou, aia no ka oukou mea malama o na waa; 1
kali oukou ai ao keia po, ai po ka la apopo, alaila, ua waiwai makou;
aka, i hoi kakahiaka mai makou i ka la apopo, alaila, ua nele no
ka’u mea i manao ai, alaila, o Kauai ke alo, huli aku hoi.” Oia ke
kauoha a ke Alii.

A pau ke kauoha a ke Alii i na kanaka, pii aku la a like a like o
ka po, hiki lakou i Paliuli. Olelo aku la o Aiwohikupua i na kaikua-
hine, “O Paliuli keia, eia ianei o Laieikawai, ko oukou kaikoeke,
nolaila, imiia ka oukou pono.”

Alaila, lawe ae la o Aiwohikupua ia Mailehaiwale, i ka hanau mua
o lakou e like me ko lakou hanau ana. Ku iho la ma ka puka ponoi
o ka hale o Laieikawai, ia Mailehaiwale e ku la ma ka puka o ka
Halealii, kuu aku ana keia i ke ala, po oloko i ke ala, aia nae o
Laieikawai me kona kahu ua pauhiaia e ka hiamoe nui; aka, aole
nae e hiki ke hiamoe i kela manawa, no ka mea ua hoalaia e ke ala o
Mailehaiwale.

Ia puoho ana ae o laua mai ka hiamoe, haohao ana laua nei i keia
ala launa ole; a no keia haohao, kahea aku la o Laieikawai me ka
Jeo oluolu i kona kupunawahine penei:

Larerxawat: “EK Waka, e Waka—e.”

Waka: “ E—o, heaha kau o ka po e ala nei?”

Larerxawat: “ He ala, eia—la, he ala e wale no keia, he ala anuanu,
he ala huihui, eia Ja i ka houpo i ka manawa o maua.”

Waka: “ Aole no he ala e, o Mailehaiwale aku la na, o na kaikua-
hine aala o Aiwohikupua i kii mai la ia oe i wahine oe, a i wahine
oe, ai kane ia; o ke kane ia moeia.”

Latermawat: “ Ka! aole au e moe ia 1a.”

A lohe aku la o Aiwohikupua i ka hoole ana mai a Laieikawai, no
ka makemake ole e lawe ia Aiwohikupua i kane mare, alaila, he mea
e ka hilahila, no ka mea, ua lohe maopopo aku la lakou nei i ka hoole
ana mai.

CHAPTER IX

After this refusal, then Aiwohikupua said to his counsellor, “ You
and I will go home and let my sisters stay up here; as for them, let
them live as they can, for they are worthless; they have failed to
gain my wish.”

Said the counsellor, “ This is very strange! I thought before we
left Kauai you told me that your sisters were the only ones to get
your wish, and you have seen now what one of them can do; you
have ordered Mailehaiwale to do her part, and we have heard, too, the
refusal of Laieikawai. Is this your sisters’ fault, that we should go
and leave them? But without her you have four sisters left; it may
be one of them will succeed.”

Said Aiwohikupua, “If the firstborn fails, the others perhaps will
be worthless.”

His counsellor spoke again, “ My lord, have patience; let Maile-
kaluhea try her luck, and if she fails then we will go.”

Now, this saying pleased the chief; said Aiwohikupua, “ Suppose
you try your luck, and if you fail, all is over.”

Mailekaluhea went and stood at the door of the chief-house and
gave out a perfume; the fragrance entered and touched the rafters
within the house, from the rafters it reached Laieikawai and her
companion; then they were startled from sleep.

Said Laieikawai to her nurse, “This is a different perfume, not
like the first, it is better than that; perhaps it comes from a man.”

The nurse said, “Call out to your grandmother to tell you the
meaning of the fragrance.”

Laieikawai called:

Larerkawat: “O Waka! O Waka—O!”

Waka: “ Heigh-yo! why waken in the middle of the night? ”

Larerkawat: “ Here is a fragrance, a strange fragrance, a cool fra-
grance, a chilling fragrance; it goes to my heart.”

Waka. “That is no strange fragrance, it is Mailekaluhea, the
sweet-smelling sister of Aiwohikupua, who has come to make you
his wife to marry him.”

Larerkawat: “ Bah! I will not marry him!”

Said Aiwohikupua to his counsellor, “See! did you hear the
princess’s refusal ?”

414

MOKUNA IX

Mahope tho o ka manawa i hooleia ai ko ke Alii kane makemake;
alaila, olelo aku la o Aiwohikupua i kona Kuhina, “FE hoi kaua, a e
noho na kaikuahine o’u iuka nei, a na lakou no e imi ae ko lakou
wahi e noho ai, no ka mea, aole a lakou waiwai, ua nele ae la no ka
mea i Manaoia ai e loaa ia lakou.”

TI mai Ja kona Kuhina, “ He mea kupanaha loa ia oe, kainoa, ua
olelo oe ia’u mamua o ko kakou la i haalele ai ia Kauai; o na kai-
kuahine wale no ou ka mea nana e kii kou makemake, a ua ike no hoi
oe i ke ko ana o ka Jakou mau hana; ua kena ae nei oe ia Mailehaiwale
1 kana loaa, a ua lohe aku la no hoi kakou i ka hoole ana mai a
Laieikawai, aole paha no ko kaikuahine ia hewa, e hiki ai ia kaua
ke haalele ia lakou. Nolaila, hele.ae la ia ia, eha ou mau kaikuahine
1 koe, malia paha o loaa i kekahi o lakou.”

T aku Ja o Aiwohikupua, “ Nele ae la kai ka hanau mua, okiloa aku
paha lakou.”

I hou aku kona Kuhina, “ E kuu Haku, e hoomanawanui hou kaua,
6 hoao ae o Mailekaluhea i kana loaa, a i nele, alaila, hoi kakou.”

Alaila, ua maikai iki ia olelo i ke Alii, olelo aku la o Aiwohikupua,
“FE hoao aku hoi oe 7 kau loaa, a i nele oia iho la no.”

Hele aku la o Mailekaluhea, a ma ka puka o ka Halealii, ku iho la,
kuu aku la 1 ke ala, ola hele no o ke ala a pai kaupoku maloko o ka
hale, mai kaupoku ka hoi ana iho loaa ia Laieikawai ma, ia manawa,
hikilele hou ae laua mai ka hiamoe ae.

T aku Ja o Laieikawai i kahi kahu, “ He ala okoa hoi keia, aole hoi e
like me ke ala mua iho nei, he oi nae hoi keia mamua o kela iho nei,
he kane paha ka mea nona keia ala.”

Olelo aku kahi kahu, “ Kaheaia ko kupunawahine, e hai mai i ke
ano o keia ala.”

Kahea aku la o Laieikawai.

Larerkawat: “ E Waka, e Waka—e.”

Wana: “ E—o, heaha kau o ka po e ala nei?”

Larerkawat: “ Eia la he ala, he ala e wale no keia, he ala anuanu,
he ala huihui, eia la i ka houpo i ka manawa o maua.”

Waka: “ Aole na he ala e, o Mailekaluhea aku la, 0 kekahi kai-
kuahine aala o Aiwohikupua, i kii mai la ia oe i wahine oe i kane
ia, o ke kane ia moeia.”

Laterkawat: “ Ka! aole au e moe ia ia.”

T aku la o Aiwohikupua i ua wahi Kuhina nei ona, “FE! ke lohe
pono aku la oe i ka hoole ana ae la a ke Alii wahine.”

415

416 HAWAITAN ROMANCE OF LATEIKAWAI [ETH. ANN. 33

“Yes, I heard it; what of her refusing! it is only their scent she
does not like; perhaps she will yield to Mailelaulii.”

“You are persistent,” said Aiwohikupua. ‘Did I not tell you I
wanted to go back, but you refused—you would not consent !”

“We have not tried all the sisters; two are out; three remain,”
said his counsellor. “ Let all your sisters take a chance; this will be
best; perhaps you are too hasty in going home; when you reach
Keaau and say you have not succeeded, your other sisters will say:
‘Tf you had let us try, Laieikawai would have consented;’ so, then,
they get something to talk about; let them all try.”

“ Where are you, my counsellor!” said Aiwohikupua. “It is not
you who bears the shame; I am the one. If the grandchild thought
as Waka does all would be well.”

“ Let us bear the shame,” said his counsellor. ‘“ You know we men
must expect such rebuffs; ‘a canoe will break on a coral reef;’ and
if she should refuse, who will tell of it? We are the only ones to
hear it. Let us try what Mailelaulii can do.”

And because the counsellor urged so strongly the chief gave his
consent.

Mailelaulii went right to the door of the chief-house; she gave out
her perfume as the others had done; again Laieikawai was startled
from sleep and said to her nurse, “This is an entirely different fra-
grance—not like those before.”

Said the nurse, “ Call out to Waka.”

Larerkawat: “O Waka! O Waka—O!”

Waxa: “ Heigh-yo! Why waken in the middle of the night ?”

Larercawat: “ Here isa fragrance, a strange fragrance, a cool fra-
grance, a chilling fragrance; it goes to my heart.”

Waxa: “ That is no strange fragrance; it is Mailelaulii, one of the
sweet-smelling sisters of Aiwohikupua, who has come to get you for
his wife; he is the husband, the husband for you to marry.”

Larerkawat: “ Bah! I will not marry him!”

“One refusal is enough,” said Aiwohikupua, “ without getting four
more! You have brought this shame upon us both, my comrade.”

“Let us endnre the shame,” said his counsellor, “and if our sisters
do not succeed, then I will go and enter the house and tell her to take
you for her husband as you desire.”

Then the chief’s heart rejoiced, for Kauakahialii had told him
how this same man had got Laieikawai to come down to Keaau, so
Aiwohikupua readily assented to his servant’s plea.

BECKWITH] TEXT AND TRANSLATION 417

“Ae, ua loke, heaha la auanei ko ia hoole ana ae la, o ko laua
aala no kai makemake oleia ae la, malia hoi o ae ia Mailelaulii.”

“ Hoopaa no hoi oe,” wahi a Aiwohikupua, “kainoa ua hai mua
iho nei wau ia oe i ko’u manao e hoi kakou, eia kau he hoololohe,
hoololohe iho la oe la, aeia mai la.”

“Aole ka hoii pau na kaikuahine o kaua, alua i hala, ekolu i koe,”
wahi a kona Kuhina, “kuuia aku paha i pau, he nani ia, ua pau
na kaikuahine o kaua i ke kii, wikiwiki auanei hoi paha oe e hoi,
a hiki kakou i kai o Keaau, olelo kakou no ka loaa ole, e olelo ae
auanei ka poe kaikuahine ou i koe; ina no ia makou ka olelo ana
mai e kii, ina no ua ae mai o Laieikawali, aia la, loaa ka lakou mea
e kamailio ai, kuuia aku i pau.”

“Auhea oe e kuu Kuhina,” wahi a Aiwohikupua, “aole o oe ke
hilahila ana, owau no, ina e like ana ka manao o ka moopuna me
ko Waka la, ina ua pono.”

“WKuuia aku paha i ka hilahila,’ wahi a kona Kuhina, “ kainoa
ua ike no oe, he waa naha i kooka ko kaua ko ke kane, a hoole mai
aunei ia nawai e olelo kana hoole ana, kainoa o kakou wale no kai
lohe, hoaoia’ku paha o Mailelaulii.”

A no ka ikaika loa o ua wahi Kuhina nei ona i ke koi, hooholo
ke Alii i ka ae.

Hele aku la o Mailelaulii a kupono i ka puka o ka Halealii, kuu
aku ana oia i kona aala e like me na mea mua, hikilele hou mai la
o Laieikawai mai ka hiamoe, a olelo aku la i kahi kahu, “ He wahi
ala okoa wale no hoi keia, aole hoi e like me kela mau mea mua.”

T mai la kahi kahu, “ Kaheaia 0 Waka.”

Larerkawat: “ E Waka, e Waka—e.”

Waka: “ E—o, heaha la kau o ka po e ala nei?”

Larerkawat: “ Ejia la he ala, he ala e wale no keia, he ala anuanu,
he ala huihui, eia la i ka houpo i ka manawa o maua.”

Waxa: “ Aole na he ala e, o Mailelaulii aku la na o na kaikuahine
aala o Aiwohikupua, i kii mai la ia oe i wahine oe i kane ia, o ke
kane ia moeia.”

Laierxawat: “ Ka! aole au e moe ia ia.” ¢

“T hookahi no hoi hoole ana o ka pono,” wahi a Aiwohikupua,
“© ka hele ka ia he kauna wale ae no koe o ka hoole, makena no hoi
ua hilahila ia oe e ke hoa.”

“Kuuia aku paha i ka hilahila,” wahi a kona Kuhina, “a i ole e
loaa i na kaikuahine o kaua, alaila, na’u e kii a loaa iloko o ka hale,
a olelo aku wau e lawe ia oe 1 kane hoao nana e like me kou make-
make.”

A no keia olelo a kona Kuhina, alaila, ua hoopihaia ko ke Alii
naau i ka olioli, no ka mea, ua lohe kela ia Kauakahialii i ka loaa
ana i ua wahi kanaka nei’o Laieikawai, i hiki ai i kai o Keaau,

74936°—19—83 erH 27

b)

418 HAWAIIAN ROMANCE OF LAIBIKAWATI [ETH. ANN. 83

nolaila i hooholo koke ai o Aiwohikupua i olelo ae mamuli o ke koi
a ua wahi kanaka nei.

Then Aiwohikupua quickly ordered Mailepakaha to go and stand
at the door of the chief-house; she gave forth her perfume, and
Laieikawai was startled from sleep, and again smelled the fragrance.
She said to her nurse, “ Here is this fragrance again, sweeter than
before.”

Said the nurse again, “ Call Waka.”

Larerkawatr: “O Waka! O Waka—O!”

Waka: “ Heigh-yo! Why waken in the middle of the night?”

Larerkawat: “ Here is a fragrance, a strange fragrance, not like the
others, a sweet fragrance, a pleasant fragrance; it goes to my heart.”

Waka: “That is no strange fragrance; it is Mailepakaha, the
sweet-smelling sister of Aiwohikupua, who has come to get you for
a wife to marry him.”

Larerxawat: “ Bah! I will not marry him! No matter who comes
I will not sleep with him. Do not force Aiwohikupua on me again.”

When Aiwohikupua heard this fresh refusal from Laieikawai,
his counsellor said, “ My lord, it is useless! There is nothing more to
be done except one thing; better put off trying the youngest sister
and, if she is refused, my going myself, since we have heard her
vehement refusal and the sharp chiding she gave her grandmother.
And now I have only one thing to advise; it is for me to speak and
for you to decide.”

“Advise away,” said Aiwohikupua, “If it seems good, I will con-
sent; but if not, I will refuse.”

“Tet us go to the grandmother,” said his counsellor, “and ask
her; maybe we can get the consent from her.”

Said Aiwohikupua, “ There is nothing left to be done; it is over;
only one word more—our sisters, let them stay here in the jungle, for
they are worthless.”

Then Aiwohikupua said to his sisters, “ You are to stay here; my
cherished hope has failed in bringing you here; the forest 1s your
dwelling hereafter.” It was then pretty near dawn.

At Aiwohikupua’s words all the sisters bowed their heads and
wailed.

When Aiwohikupua and his companion started to go, Kahalao-
mapuana, the youngest sister, called out, “O you two there! Wait!
Had we known in Kauai that you were bringing us to leave us in this
place, we would never have come. It is only fair that I, too, should
have had a chance to win Laieikawai, and had I failed then you
would have a right to leave me; we are all together, the guilty with
the guiltless; you know me well, I have gained all your wishes.”

BECKWITH] TEXT AND TRANSLATION by AG

Ta manawa, kena koke ae la o Aiwohikupua ia Mailepakaha, hele
aku la a ku ma ka puka o ka Halealii; kuu aku la i kona aala, a
hikilele mai la ko Laieikawai hiamoe, honi hou ana no i ke ala. I
hou aku keia i kahi kahu, “ Eia hou no keia ala, he wahi ala nohea
hoi keia.”

Olelo hou aku kahi kahu, “ Kaheaia o Waka.”

Larerxawat: “ E Waka, e Waka—e.”

Waka: “ E—o, heaha kau o ka po e ala nei?”

Larerkawat: “ Eia la he ala, he ala okoa hoi keia, aole hoi i like
me na ala mua iho nei, he ala maikai keia, he ala nohea, ela la i ka
houpo i ka manawa o maua.”

Waka: “Aole na he ala e, o Mailepakaha aku la o ke kaikuahine
aala 9 Aiwohikupua, i kii mai la ia oe i wahine oe i kane ia, o ke
kane ia moeia.”

Larerxawat: “ Ka! aole au e moe ia ia, ina i kii mai kekahi mea
e ia’u, aole no wau e ae ana! Mai hoomoe hou oe ia’u ia Aiwohi-
kupua.”

A lohe o Aiwohikupua, a me kona Kuhina i keia hoole hou ana o
Laieikawai, i aku ua Kuhina nei ona, “ E kuu Haku, pale ka pono!
aohe pono i koe, hookahi no pono o ka hoi wale no koe o kakou:
kaukai aku nei hoi ka pono 1 ko kaikuahine muli la hoi, i ole ae hoi
ia lakou, ia’u aku la hoi, i lohe aku nei ka hana, e hoole loa ae ana
no kela, me ka nuku maoli ae la no i ke kupunawahine; a eia nae
hoi ka’u wahi olelo i koe ia oe, o ka olelo no auanei ka’u, o ka ae no
kau.”

“Oleloia ana,” wahi a Aiwohikupua, “a i ike aku au he kupono
i ka ae, alaila ae aku, i na he kupono ole, aole no au e ae aku.”

“ kii kaua ma o ke kupunawahine la,” wahi a ua Kuhina nei,
“6 noi aku ia ia, malia o ae mai kela.”

Olelo aku o Aiwohikupua, “Aole a kakou hana i koe, ua pau, eia
wale no ka olelo i koe, o na kaikuahine o kaua, e noho lakou i ka
nahelehele nei, no ka mea, aohe a lakou waiwai.”

Alaila, huli aku la o Aiwohikupua a olelo aku Ja i na kaikuahine,
“ E noho oukou, ua nele ae la no ka’u mea 1 makemake ai e lawe mai
ia oukou, o ka nahele no nei noho iho.” Ke hele aku nei e maamaama.

A pau ka Aiwohikupua olelo ana i na kaikuahine; kulou like iho
la ke poo o na kaikuahine i kahi hookahi, e uwe ana.

Kaha aku la o Aiwohikupua ma iho, kahea aku Ja o Kahalao-
mapuana, ke kaikuahine muli loa, 1 aku la, “ E Jaua la! ku iho, e lohe
mua makou 1 Kauai, e lawe ana oe a haalele ia makou i keia wahi,
i na aole makou e hiki mai. Pono no la hoi ia. ina owau kekahi
i kii aku nei ia Laieikawai, a nele ana la hoi, alaila, pono kau haalele
ana ja’u, pau pu no o ka mea 1 hewa, a me ka mea hewa ole. <Aole oe
he malihini ia’u, ia’u wale no e ko ai kau mau mea a pau.”

”

420 HAWAIIAN ROMANCE OF LAIEIKAWAI [ ETH. ANN. 83

When Aiwohikupua heard his youngest sister, he felt himself to
blame.

Aiwohikupua called to his sister, “ You shall come with me; your
older sisters must stay here.”

“T will not go,” answered the youngest sister, “unless we all go
together, only then will I go home.”

BECKWITH] TEXT AND TRANSLATION 421

A lohe o Aiwohikupua i keia olelo a kona kaikuahine opio, hoohewa
iho la oia ia ia iho.

Kahea mai la o Aiwohikupua i ke kaikuahine opiopio, “ Iho mai
kaua, ou mau kaikuaana ke noho aku.”

“ Aole wau e hiki aku,” wahi a kona kaikuahine opiopio, “aia a pau
loa makou i ka hoi pu me 2¢, alaila, hoi aku au.”

CHAPTER X

At these words of his youngest sister *® Aiwohikupua said, “ Stay
here, then, with your sisters and go with them wherever you wish,
but I am going home.”

Aiwohikupua turned to go, and as the two were still on the way,
rang the song of Mailehaiwale. as follows:

My divine brother,

My heart’s highest,

Go and look

Into the eyes of our parents, say
We abide here,

Fed upon the fruit of sin.“

Is constancy perhaps a sin?

Aiwohikupua turned and looked back at his younger sisters and
said, “ Constancy is not a sin; haven’t I told you that I leave you
because you are worthless? If you had gained for me my desire
you would not have to stay here; that was what you were brought
‘here for.” The two turned and went on and did not listen to the
sisters any longer.

When Aiwohikupua and his companion had departed, the sisters
conferred together and agreed to follow him, thinking he could be
pacified.

They descended and came to the coast at Keaau, where the canoe
was making ready for sailing. At the landing the sisters sat waiting
to be called; all had gone aboard the canoe, there was no summons at
all, the party began to move off; then rang out the song of Maile-
kaluhea, as follows:

My divine brother,

My heart’s highest—turn hither,

Look upon your little sisters,

Those who have followed you over the way,
Over the high way, over the low way,
In the rain with a pack on its back,
Like one carrying a child,

In the rain that roars in the hala trees,
That roars in the hala trees of Hanalei.
How is it with us?

Why did you not leave us,

Leave us at home,

When you went on the journey?

You will look,

Look into the eyes,

The eyes of our parents,

Fare you well!

MOKUNA X

A no keia olelo a kona kaikauhine opiopio, alaila i aku o Aiwohi-
kupua, “O noho mamuli ou mau kaikuaana, a nau no e huli ae me ko
mau kaikuaana 1 ka oukou wahi e hele ai, ela wau ke hoi nei.”

Huli aku la o Aiwohikupua ma e hoi, ia laua e hele ana ma ke ala,
kani aku la ke oli a Mailehaiwale, penci:

“TKuu kaikunane kapu,
Laniihikapu o ka manawa—e, e hoi—e;
E hoi oe a ike aku
I ka maka o na makua, hai aku,
Hia makou ianei,
E malu ana i Ka hala nui,
He hooumau hala paha?”

Huli mai la o Aiwohikupua nana hope aku la i na kaikuahine, me
ka i aku, “Aole he hala hoomau, kainoa ua hai mua iho nei no wau
ia oukou, no ka oukou waiwai ole, oia kuu mea i haalele ai ia oukou,
ina i loaa iho nei kuu makemake 1a oukou, alaila, aole oukou e noho
oia iho la no ko oukou mea i laweia mai ai.” t
pau ka ike ana i na kaikuahine.

A hala aku Ja o Aiwohikupua ma, kuka iho la na kaikuahine i ko
lakou manao, a hooholo iho la lakou, e ukali mahope o ke kaikuane,
me ka manao e maliu mai.

Tho aku la lakou a hiki i kai o Keaau, e hoomakaukau ana na waa;
noho iho la na kaikuahine ma ke awa, e kali ana no ke kaheaia mai, a
pau lakou i ke kau maluna o na waa, aole nae kaheaia mai, ia lakou i
hoomaka ai e holo, kani aku la ke oli a Mailekaluhea, penei:

?
Huli aku la no laua hoi,

“uu kaikunane kapu,
Laniihikapu o ka manawa, e huli mai,
E nana mai i ou mau pokii,

I na hoa ukali o ke ala,

O ke ala nui, ala iki,

O ka ua haawe kua,

Me he keiki la;

O ka ua hookamumu hala,
Hookamumu hala o Hanalei—e,
Pehea makou—e,

I hea no la hoi kau haalele,
Haalele oe i ka hale,

Hele oe i kau huakai.

Ike aku—e,

Ike aku i ka maka,

I ka maka o na makua,
Aloha wale—e.”

423

424 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

While Mailekaluhea was singing not once did their brother com-
passionately look toward them, and the canoe having departed, the
sisters sat conferring, then one of them, Kahalaomapuana, the young-
est, began to speak.

These were her words: “It is clear that our brother chief is not
pacified by the entreaties of Mailehaiwale and Mailekaluhea. Let
us, better, go by land to their landing place, then it will be Maile-
lauli’s turn to sing. It may be he will show affection for her.” And
they did as she advised.

They left Keaau, came first to Punahoa, to a place called Kanoa-
kapa, and sat down there until Aiwohikupua’s party arrived.

When Aiwohikupua and his companions had almost come to land
where the sisters were sitting, Aiwohikupua suddenly called out to
the paddlers and the steersmen, “ Let us leave this harbor; those
women have chased us all this way; we had better look for another
landing place.”

As they left the sisters sitting there, Mailelaulii sang a song, as
follows:

My divine brother,

My heart’s highest,

What is our great fault?

The eyes of our chief are turned away in displeasure,
The sound of chanting is forbidden,

The chant of your little ones

Of your little sisters.

Have compassion upon us,

Have compassion upon the comrades who have followed you,
The comrades who climbed the cliffs of Haena,
Crept over the cliff where the way was rugged,
The rugged ladder-way up Nualolo

The rough cliff-way up Makana,

It is there—return hither,

Give a kiss to your sisters,

And go on your way,

On the home journey—heartless.

Farewell to you, you shall look

Look, in our native land,

Into the eyes of our parents.

Fare you well!

As Aiwohikupua heard the sister’s voice, they let the canoe float
gently; then said Kahalaomapuana, “That is good for us; this is the
only time they have let the canoe float; now we shall hear them call-
ing to us, and go on board the canoe, then we shall be safe.”

After letting the canoe float a little while, the whole party turned
and made off, and had not the least compassion.

When they had left, the sisters consulted TEED what they should
do. Fo ahelaoueneenate gave her advice.

BECKWITH] TEXT AND TRANSLATION 425

Iloko o keia oli ana a Mailekaluhea, aole nae i maliu iki mai ko
lakou kaikunane, a hala aku la lakou la ma na waa, noho iho la na
kaikuahine, kuka iho la i manao no lakou, hookahi mea nana i
hoopuka ka lakou olelo, o Kahalaomapuana, ko lakou muli loa.

Eia kana olelo, “He nani ia ua maliu ole mai la ko kakou kai-
kunane alii, i ka Mailehaiwale a me Mailekaluhea, i ka laua uwalo
aku, e aho e hele no kakou mauka a kahi e pae ae ai lakou, alaila, na
Mailelaulii e kaukau aku i ko kakou kaikuahine, malia o aloha mai ia
kakou.” A ua holo like ae Ja ia manao ia lakou.

A haalele lakou ia Keaau, hiki mua na kaikuahine i Punahoa, ma
kahi i kapaia o Kanoakapa, noho iho lakou malaila, hiki hope o
Aiwohikupua ma.

Ja Aiwohikupua ma i aneane ai e pae mai ma kahi a na kaikuahine
e noho aku ana, ike mai la o Aiwohikupua e noho aku ana kona mau
kaikuahine, kahea koke ae la o Aiwohikupua i na hoewaa a me na
hookele, “ E haalele kakou i keia awa; no ka mea, eia no ua poe uhai
loloa nei, e pono kakou ke imi aku i awa e ae e pae aku ai.”

Ja lakou i haalele ai i kahi a na kaikuahine e noho ana, hea aku la
o Mailelaulii mahope, ma ke mele, penei:

“Kuu kaikunane kapu,
Laniihikapu o kuu manawa—e!
Heaha ka hala nui?

I paweo ai na maka o kuu haku,
I kapu ai ka leo i ka uwalo,

Ka uwalo hoi a kou mau pokii,
Kou mau pokii kaikuahine hoi,
E maliu mai.

E maliu mai i na hoa ukali,

Na hoa pii pali o Haena,
Kokolo pali o ke ala haka,
Alahaka ulili o Nualolo,

Pali kui—e! kui o Makana,

E iala—e, hoi mai—e.

Homai ka ihu i ou pokii,

A hele aku i kau huakai,

I ka huakai hoi a ke aloha ole—e.
Aloha oe, ike aku,

Ike aku i ka aina,

I ka maka o na makua—e.”

A lohe o Aiwohikupua ma i ka leo 0 keia kaikuahine, lana malie
iho la na waa, alaila, i aku la o Kahalaomapuana, “ Pono io kakou,
akahi no hea ana i lana malie ai na waa, hoolohe aku kakou o ka leo
o ke Kahea mai, a kau kakou maluna o na waa, alaila, palekana.”

A liuliu ka lakou Ja hoolana ana i na waa, o ka huli aku la no ia o
Aiwohikupua ma e holo, acle wahi mea a maliu iki mai.

A hala aku la lakou la, kuka hou iho la na kaikuahine i olelo hou
na lakou. O Kahalaomapuana no ko lakou mea manao.

426 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 23

She said to her sisters, “There are two of us left, I and Maile-
pakaha.”

Answered Mailepakaha, “ He will have no compassion for me, for
he had none on any of our sisters; it may be worse with me. I think
you had better plead with him as you are the little one, it may be he
will take pity on you.”

But the youngest would not consent; then they drew lots by pull-
ing the flower stems of grass; the one who pulled the longest, she
was the one to plead with the brother; now when they drew, the lot
fell to Kahalaomapuana.

When this was done, they left Punahoa, again followed their
brother and came to Honolii, where Aiwohikupua’s party had already
arrived. Here they camped at some distance from Aiwohikupua’s
party, and Aiwohikupua’s party from them.

At Honolii that night they arranged that the others should sleep
and a single one keep watch, and to this all consented. They kept
watch according to age and gave the morning watch to the youngest.
This was in order to see Aiwohikupua’s start, for on their journey
from Kauai the party had always set out at dawn.

The sisters stood guard that night, until in Mailepakaha’s watch
Aiwohikupua’s party made the canoes ready to start; she awakened
the others, and all awoke together.

As the sisters crouched there Kahalaomapuana’s watch came, and
the party boarded the canoe. The sisters followed down to the land-
ing, and Kahalaomapuana ran and clung to the back of the canoe
and called to them in song, as follows:

Our brother and lord,

Divine brother,

Highest and closest!

Where are you, oh! where?

You and we, here and there,

You, the voyager,

We, the followers.

Along the cliffs, swimming ’round the steeps,
Bathing at Waihalau,

Waihalau at Wailua;

No longer are we beloved.

Do you no longer love us?

The comrades who followed you over the ocean,
Over the great waves, the little waves,

Over the long waves, the short waves,

Over the long-backed waves of the ocean, &
Comrades who followed you inland,

Far through the jungle,

BECKWITH] TEXT AND TRANSLATION 427

IT mai la oia i kona mau kaikuaana, “ Elua maua i koe, owau a
me Mailepakaha.”

Olelo mai hoi o Mailepakaha, “Aole no e maliu mai ia’u; no ka
mea, ke maliu ole ae la ka hoi i ko kaua mau kaikuaana, oki loa aku
paha wau, i ko’u manao, e aho nau e hoalohaloha’ku na kahi mea
unku o kakou, malia 0 maliu mai ia oe.”

Aole nae he ae o kahi muli loa, alaila, hoailona iho la lakou, ma
ka huhuki ana 1 na pua mauu, o ka mea loihi o ka mauu, oia ka mea
nana e hoalohaloha ko lakou kaikunane; aka, i ka hoailona ana,
ku ia Kahalaomapuana ka hoailona.

A pau ka lakou hana ana no keia mau mea, haalele lakou ia
Punahoa, hele ukali hou mai la lakou ma kahi e loaa ai ko lakou
kaikunane, ia hele ana, hiki lakou i Honolii, ua hiki mua o Aiwo-
hikupua ma i Honolii, noho mai la Jakou nei ma kahi kaawale, a
pela no hoi o Aiwohikupua ma ma kahi kaawale.

Ta lakou ma Honolii ia po, kuka iho la lakou e moe kekahi poe,
a e ala hookahi, a holo ia mea ia lakou. Hoomaka ko lakou wati e
like me ko lakou hanau ana, a i ko lakou kaikaina ka wati wanaao
o ke ku ana. O ke kumu o ia hana ana a lakou pela, i ikeia ka
manawa holo o Aiwohikupua ma; no ka mea, ua maa kona mau
kaikuahine i ka holo ana mai, mai Kauai mai, ma ka wanaao e
holo ai. :

Ku aku la na kaikuahine i ka po, a hiki i ko Mailepakaha wati e
ku ana, hoomakaukau o Aiwohikupua ma i na waa no ka holo ana,
hoala aku la ia i kekahi poe o lakou, a ala like mai lakou a pau.

Ja lakou e okuu nui ana, o ka Kahalaomapuana wati ia, a kau
lakou ma na waa, hookokoke aku la kona mau kaikuahine ma ke
awa, a 0 Kahalaomapuana ka mea i hele loa aku a paa mahope o na
waa, a kahea aku ma ke mele, penei:

“Ko makou kaikunane haku,
Kaikunane kapu,
Laniihikapu o kuu piko—e!
Auhea oe, 0 0o—e,
O oe, 0 makou, i o ianei hoi,
Nau ka huakai,
Ukali aku makou,
Ina pali i ka hulaana kakou,
Au aku o ka Waihalau,
Waihalau i Wailua—e;
He aloha ole—e.
He aloha ole paha kou ia makou,
Na hoa ukali o ka moana,
O ka ale nui, ale iki,
O ka ale loa, ale poko,
O ka ale kua loloa 0 ka moana,

Hoa ukali o kela uka,
O kela nahele liuliu,

428 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 33

Through the night, sacred and dreadful,
Oh, turn back! :
Oh, turn back and have pity,

Listen to my pleading,

Me the littlest of your sisters.

Why will you abandon,

Abandon us

In this desolation?

You have opened the highway before us,
After you we followed,

We are known as your little sisters,
Then forsake your anger,

The wrath, the loveless heart,

Give a kiss to your little ones,

Fare you well!

When his youngest sister raised this lamentation to Aiwohikupua,
then the brother’s heart glowed with love and longing for his sister.

And because of his great love for his little sister, he took her in
his arms, set her on his lap, and wept.

When Kahalaomapuana was in her brother’s lap, Aiwohikupua
ordered the canoemen to paddle with all their might; then the other
sisters were left far behind and the canoe went ahead.

As they went, Kahalaomapuana was troubled in mind for her
sisters.

Then Kahalaomapuana wept for her sisters and besought Aiwohi-
kupua to restore her to her sisters; but Aiwohikupua would not take
pity on her.

“Q Aiwohikupua,” said his sister, “I will not let you take me by
myself without taking my sisters with me, for you called me to you
before when we were at Paliuli, but I would not consent to your
taking me alone.”

And because of Aiwohikupua’s stubbornness in refusing to let his
sister go, then Kahalaomapuana jumped from the canoe into the
sea. Then, for the last time she spoke to her brother in a song, as
follows:

You go home and look,

Look into the eyes,

Into the eyes of our parents.

Love to our native land,

My kindred and our friends,

I am going back to your little sisters,
To my older sisters I return.

BECKWITH] TEXT AND TRANSLATION 429

O ka po iu anoano,

E huli mai.

E huli mai, a e maliu mai,

E hoolono mai ka i uwalo a’u,
A’u hoi a kou pokii muli loa.
Thea la hoi kau haalele
Haalele iho ia makou

I kahi haiki,

Nau i waele ke alanui mamua,
Mahope aku makou ou,

Ike’a ai he mau pokii,

Tlaila la haalele aku ka huhu,
Ka inaina, ka opu aloha ole,
Homai ka ihu i ou mau pokii,
Aloha wale—e.”

Ia manawa a kona kaikuahine muli loa e hapai ana i keia leo
kaukau imua o Aiohikupua, alaila, ua hoomaeeleia ka naau o ko lakou
Ixaikunane i ke aloha kaumaha no kona kaikuahine.

A no ka nui loa o ke aloha o Aiwohikupua i ko lakou pokii, lalau
mai la a hoonoho iho la iluna o kona wha, a uwe iho la.

Ta Kahalaomapuana e kau ana i ka uha o kona kaikunane, kena
ae la o Aiwohikupua i na hoewaa, i hoe ikaika; ia manawa, ua hala
hope loa kekahi mau kaikuahine, a hala mua lakou la.

Ta lakou e holo ana, alaila, ua pono ole ka manao o Kahalaomapuana
i kona mau kaikuaana.

Ja Kahalaomapuana e uwe ana no kona mau kaikuaana, ia manawa
kona noi ana’ku ia Aiwohikupua, e hoihoi ia ia me kona mau kai-
kuaana; aka, aole no he maliu mai o Aiwohikupua.

“ Aiwohikupua,” wahi a kona kaikuahine, “aole wau e ae e lawe
oe ia’u owau wale, ke ole oe e lawe pu me ko’u mau kaikuaana; no ka
mea, ua kahea mua ae no oe ia’u 1 ko kakou wai Paliuli; aka, aole
wau 1 ae mai, no kou lawe ia’u owau wale.”

A no ka paakiki loa o Aiwohikupua aole e hookuu i kona kaikua-
hine, ia manawa, lele aku la o Kahalaomapuana mai luna aku o ka
waa a haule iloko o ke kai. Ia manawa, hoopuka aku la kona kai-
kuahine i olelo hope, ma ke mele, penei:

“Ke hoi la o@ a ike aku,
Ike aku i ka maka,
I ka maka o na makua,
Aloha aku i ka aina,
I ka nui a me na makamaka,
Ke hoi nei wau me o’u pokii,
Me o’u kaikuaana hoi—e.”

CHAPTER XI

During this very last song of Kahalaomapuana’s, Aiwohikupua’s
heart filled with love, and he called out for the canoe to back up, but
Kahalaomapuana had been left far behind, so swiftly were the men
paddling, and by the time the canoe had turned about to pick her up
she was not to be found.

Here we must leave Aiwohikupua for a little and tell about his
sisters, then speak again about Aiwohikupua.

When Aiwohikupua’s party forsook his sisters at Honolii and
took Kahalaomapuana with them, the girls mourned for love of their
younger sister, for they loved Kahalaomapuana better than their
parents or their native land.

While they were still mourning Kahalaomapuana appeared by
the cliff; then their sorrow was at an end.

They crowded about their younger sister, and she told them what
had happened to her and why she had returned, as has been told in °
the chapter before.

After talking of all these things, they consulted together where
they might best live, and agreed to go back to Paliuli.

After their council they left Honolii and returned to the uplands
of Paliuli, to a place near Laieikawai’s house, and lived there inside
of hollow trees.

And because they wished so much to see Laieikawai they spied
out for her from day to day, and after many days of spying they
had not had the least sight of her, for every day the door was fast
closed.

So they consulted how to get sight of Laieikawai, and after seek-
ing many days after some way to see the princess of Paliuli they
found none.

During this debate their younger sister did not speak, so one of her
older sisters said, “ Kahalaomapuana, all of us have tried to devise
a way to see Laieikawai, but we have not found one; perhaps you
have something in mind. Speak.”

430

MOKUNA XI

Iloko o keia kaukau hope loa a Kahalaomapuana, ua hoopihaia
ko -Aiwohikupua naau i ke aloha nui; a kahea ae la oia e hooemi
hope na waa, aka, ua hala hope loa o Kahalaomapuana i hope, no
ka ikaika loa o ka holo o na waa; ai ka wai huli hope ai na waa e
kii hou i kona kaikuahine, aole nae i loaa.

(Maanei e waiho iki i ke kamailio ana no Aiwohikupua, e pono ke
kamailio hou no kona mau kaikuahine; alaila, e kamailio hou no
Aiwohikupua. ) ;

Ia manawa a Aiwohikupua ma i haalele aku ai i na kaikuahine
ma Honolii, a lawe pu aku ia Kahalaomapuana; nui loa iho la ke
aloha, a me ka uwe ana no ko lakou kaikaina, ua oi aku ko lakou
aloha ia Kahalaomapuana, mamua o ko lakou aloha i ko lakou mau
makua, a me ka aina.

Ja lakou no e uwe ana, hoea mai ana o Kahalaomapuana ma ka
pali mai, alaila, ua kuuia ka naau kaumaha o kona mau kaikuaana.

A hui ae la lakou me ko Jakou kaikaina, a hai aku la oia i kana
hana, a me ke kumu o kona hoi ana mai e like me ka mea i olelo
muaia ae nel ma keia Mokuna.

A pau ka lakou kamailio ana no keia mau mea, kuka iho ka lakou
i ka pono o ko lakou noho ana, a hooholo ae la lakou e hoi hou
Jakou i Paliuli.

Mahope iho o ko lakou kuka ana no lakou iho, haalele lakou ia
Honolii, hoi aku la a uka o Paliuli, ma kahi e kokoke aku ana i ka
hale o Laieikawai, noho iho la lakou maloko 0 na puha laau.

A no ko lakou makemake nui e ike ia Laieikawai, hoohalua mau
lakou i kela la keia Ja, a nui na la o lakou i hoohalua ai, aole Jakou i
ike iki no ka lakou mea e hoohalua nei, no ka mea, ua paa mau ka
puka o ka hale ina la a pau.

A no ia mea, kukakuka ae la lakou i mea e ike aku ai lakou ia
Laieikawai, a nui na la o ko lakou imi ana i mea e ike aku ai no ke
Alii wahine o Paliuli, aole loaa.

Toko o kela mau la kuka o lakou, aole i pane iki ko lakou kaikaina,
a no ia mea, olelo aku kekahi o kona mau kaikuaana, “ E Kahalaoma-
puana, o makou wale no ia e noonoo nei i mea no kakou e ike aku ai
ia Laieikawai, aole nae he loaa; malia paha, aia ia oe kekahi mea e
hiki ai, e olelo ae oe.”

431

432 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

“ Yes,” said their younger sister, “let us burn a fire every night,
and let the oldest sing, then the next, and so on until the last of us,
only one of us sing each night, then I will come the last night; per-
haps the fire burning every night will annoy the princess so she
will come to find out about us, then perhaps we shall see Laieikawai.”

Kahalaomapuana’s words pleased them.

The next night they lighted the fire and Mailehaiwale sang that
night, as they had agreed, and the next night Mailekaluhea; so
they did every night, and the fourth night passed; but Laieikawai
gave them no concern. The princess had, in fact, heard the sing-
ing and seen the fire burning constantly, but what was that to the
princess !

On the fifth night, Kahalaomapuana’s night, the last night of all,
they lighted the fire, and at midnight Kahalaomapuana made a
trumpet of a ¢ leaf*° and played on it.

Then for the first time Laieikawai felt pleasure in the music, but
the princess paid no attention to it. And just before daylight Kaha-
laomapuana played again on her ¢ leaf trumpet as before, then this
delighted the princess. Only two times Kahalaomapuana blew on it
that night.

The second night Kahalaomapuana did the same thing again;
she began early in the evening to play, but the princess took no
notice.

Just before daylight that night she played a second time. Then
Laieikawai’s sleep was disturbed, and this night she was even more
delighted.

And, her interest aroused, she sent her attendant to see where the
musical instrument was which was played so near her.

Then the princess’s attendant went out of the door of the chief-
house and saw the fire which the girls had lighted, crept along until
she came to the place where the fire was, and stood at a distance
where she was out of sight of those about the fire.

And having seen, she returned to Laieikawai, and the princess
inquired about it.

The attendant told the princess what she had seen. ‘“ When I
went outside the door of the house I saw a fire burning near, and I
went and came and stood at a distance without being myself seen.
There, behold! I saw five girls sitting around the fire, very beautiful
girls; all looked alike, but one of them was very little and she was
the one who played the sweet music that we heard.”

When the princess heard this she said to her attendant, “ Go and get
the smallest of them, tell her to come here and amuse us.”

BECKWITH] TEXT AND TRANSLATION 433

“Ae,” wahi a ko lakou kaikaina, “e ho-a kakou i ahima kela po
keia po, a e oli aku ka hanau mua, alaila, i ka muli iho, pela a pau
kakou, i hookahi no oliolh ana a ka mea hookahi ma ka po, alaila,
ja’u ka po hope loa; malia paha o lilo ka a-a mau ana a ke ahi i na
po a pau i mea no ke Alii e uluhua ai, alaila, hele mai e nana ia
kakou, alaila, pela paha e ike ai kakou ia Laieikawai.”

A ma keia olelo a Kahalaomapuana, ua pono ia imua o lakou.

T ka po mua, ho-a ae la lakou 1 ahi, a ia Mailehaiwale ke oli ana ia.
po, e like me ka lakou hooholo like ana. A 1 kekahi po mai ia
Mailekaluhea, pela mau lakou i hana ai a hala no po eha, aole nae i
loaa ia Laieikawai ka hoouluhuaia, ua loho no nae ke Alii wahine
i ke oli, a ua ike no hoi i ka a-a@ mau ana a ke ahi; a heaha la ia mea
i ke Alii wahine.

I ka lima o ka po, oia ko Kahalaomapuana po, o ka hope loa no
hoi ia; ho-a iho la ke ahi, a ma ka waenakonu o ka po, hana iho la o
Kahalaomapuana he pu la-i, a hookani aku la.

Tloko oia manawa, akahi no a komo iloko o Laieikawai ka lealea
no kela leo e kani nei, aole nae i hoouluhuaia ke Alii wahine. A ma
ka pili o ke ao, hookani hou aku la o Kahalaomapuana i kana pu
la-i e like me ke kani mua ana, alaila, ua lilo iho la no ia i mea
lealea no ke Alii; elua wale no puhi ana a Kahalaomapuana ia po.

I ka lua o ka po, hana hou no o Kahalaomapuana i kana hana; ma
ka pili nae o ke ahiahi kana hoomaka ana e hookani, aole nae i
uluhua ke Alii.

Ma ka pili o ka wanaao oia po no, ka lua ia o ka hookani ana.
Ja manawa, ua hoouluhuaia ko Laieikawai manawa hiamoe; a o ka
oi no hoi keia o ka po lealea loa o ke Alii.

A no ka uluhua o Laieikawai, kena ae la oia i kona wahi kahu e
hele e nana i kahii kani mai ai keia mea kani.

Ia manawa, puka ae la ua wahi kahu nei o ke Alii iwaho o ka

Halealii, a ike aku la i ke ahi a ua poe kaikamahine nei e aa mai
ana, hookolo aku la oia a hiki i kahi o ke ahi e a ana, ma ke kaawale

nae keia kahii ku aku ai me ka ike ole mai a lakou la ia ianei.

A ike keia, hoi aku la a ia Laieikawai, ninau mai la ke Alii.

Hai aku Ja kahi kahu i kana mea i ike ai, mamuli o ka ninau a
ke Alii, “Ta’u i puka aku ai mai ka hale aku nei, ike aku la wau
he ahi e aa mai ana, hele aku nei wau a hiki, a ma ke kaawale ko’u
ku ana aku, me ka ike ole mai o lakou la ia’u. Aia hoi, ike aku la
wau he mau kaikamahine elima, e noho ana a puni ke ahi, he mau
kaikamahine maikai wale no lakou, ua like wale no na ano, hookahi
nae o lakou wahi mea uuku loa, a nana ka mea kani lealea a kaua
e lohe aku nei.” ,

A lohe ke Alii i keia mea, olelo aku la oia i kona kahu, “ E kii oe
a kahi mea uuku o lakou, olelo aku oe e hele mai ianei, i hana mai
ai oia 1 kana mea hoolealea imua o kaua.”

74936°—19—33 ETH 28

434 HAWAIIAN ROMANCE OF LAIEIKAWAI [ ETH. ANN. 83

At these words of the princess, the nurse went and came to the
place where the sisters were and they saw her, and she said, “I am
a messenger sent hither by my chief to fetch whichever one of you I
want to take; so I take the smallest of you to go and visit my princess
as she has commanded.”

When Kahalaomapuana was carried away, the hearts of the sisters
sang for joy, for they thought to win fortune thereafter.

And their sister went into the presence of Laieikawai.

When they had come to the house, the attendant opened the door;
then, Kahalaomapuana was terrified to see Laieikawai resting on the
wings of birds as was her custom; two scarlet ziw?é birds were perched
on the shoulders of the princess and shook the dew from red lehua
blossoms upon her head.

And when Kahalaomapuana saw this, then it seemed marvelous to
the stranger girl, and she fell to the ground with trembling heart.

_The princess’s attendant came and asked, “ What is the matter,
daughter ? ”

And twice she asked, then the girl arose and said to the princess’s
attendant as follows: “ Permit me to return to my sisters, to the place
from which you took me, for I tremble with fear at the marvelous
nature of your princess.”

Said the princess’s attendant, “Do not fear, have no dread, arise
and enter to meet my princess as she has commanded you.”

“Tam afraid,” said the girl.

When the princess heard their low voices, she arose and called to
Kahalaomapuana; then the girl’s distress was at an end, and the
stranger entered to visit the princess.

Said Laieikawai, “Is the merry instrument yours that sounded
here last night and this?”

“ Yes; it is mine,” said Kahalaomapuana.

“Go on,” said Laieikawai, “ play it.”

Kahalaomapuana took her ¢i leaf trumpet from behind her ear,
and played before the princess; then Laieikawai was delighted. This
was the first time the princess had seen this kind of instrument.

BECKWITH] TEXT AND TRANSLATION 435

A no keia olelo a ke Alii, hele aku la kahi kahu a hiki i kahi o na
kaikamahine, a ike mai la lakou i keia mea, hai aku la oia, “ He
alele wau i-hoounaia mai nei e kuu Alii e kii mai i kekahi o oukou e
like me ka’u mea e manao ai e lawe, nolaila, ke lawe nei wau i kahi
mea uuku o oukou e hele e launa pu me kuu Alii e like me kana
kauoha.”

A laweia aku la o Kahalaomapuana, alaila, ua hoohauoliia ka
naau o kona mau kaikuaana, no ka manao no e loaa ana ka pomaikai
mahope.

A hiki aku la ua wahi kaikaina nei o Jakou imua o Laieikawai.

Ta ia nae i hiki aku aia ka hale, wehe ae la ke kahu o ke Alii i ka
puka o ka Halealii, ia manawa, ua hoopuiwa kokeia ko Kahalao-
mapuana lunamanao, no ka ike ana aku ia Laieikawai e kau mai
ana iluna o ka eheu o na manu e like me kona ano mau, elua hoi mau
manu Iiwipoiena e kau ana ma na poohiwi o ke Alii, e lu ana i na
wai ala lehua ma ke poo o ke Alii.

A no ka ike ana aku o Kahalaomapuana i keia mau mea, a he
mea kupanaha ia imua o ke Kaikamahine malihini, haule aku la
oia i ka honua me ka naau eehia.

Hele aku la ke kahu o ke Alii, a ninau aku la, “ Heaha keia e ke
kaikamahine? ”

A palua kana ninau ana, alaila, ala ae Ja ke kaikamahine, a olelo
aku la i ke kahu o ke Alii me ka i aku, “ E ae mai oe ia’u e hoi au
me ou kaikuaana, ma kahi i loaa ai wau ia oe, no ka mea, ua eehia
wau 1 ka maka’u no ke ano e loa o kau Alii.”

Olelo mai la ke kahu o ke Alii, “ Mai maka’u oe, mai hopohopo,
e ku oe a e komo aku e halawai me kuu Alii e like me kana kauoha
la oe.”

“ He maka’u,” wahi a ke kaikamahine.

A lohe mai Ja ke Alii i ka lata haukamumu, ala ae la oia a hea
aku la ia Kahalaomapuana, alaila, ua hoopauia ko ke kaikamahine
naau kaumaha, a komo aku la ka malihini e launa me ke Alii.

I mai la o Laieikawai, “Nau anei ka mea kani lealea i kani mai ai
i kela po, a me keia po?”

“Ae, na’u,” wahi a Kahalaomapuana.

“Oiana,” wahi a Laieikawai, “ hookani ia ana.”

Lalau ae la o Kahalaomapuana i kana pu la-i ma kona pepeiao,
e-hookani aku la imua o ke Alii; alaila, ua hoolealeaia o Laieikawai.
Oia ka makamua o ko ke Alii ike ana i keia mea kani.

CHAPTER XII

Now, Laieikawai became fascinated with the merry instrument
upon which the girl played, so she bade her sound it again.

Said the girl, “I can not sound it again, for it is now daylight,
and this instrument is a kind that sounds only by night; it will never
sound by day.”

Laieikawai was surprised at these words, thinking the girl was
lying. So she snatched the trumpet out of the girl’s hand and
played upon it, and because she was unpracticed in playing the
trumpet the thing made no sound; then the princess believed that
the trumpet would not sound by day.

Said Laieikawai to Kahalaomapuana, “ Let us two be friends, and
you shall live here in my house and become my favorite, and your
work will be to amuse me.”

Said Kahalaomapuana, “O princess, you have spoken well; but
it would grieve me to live with you and perhaps gain happiness for
myself while my sisters might be suffering.”

“How many of you are there?” asked Laieikawai, “and how did
you come here?”

Said Kahalaomapuana, “There are six of us born of the same
parents; one of the six is a boy and five of us are his younger sisters,
and the boy is the oldest, and I am the youngest born. And we
journeyed hither with our brother, and because we failed to gain for
him his wish, therefore he has abandoned us and has gone back
with his favorite companion, and we live here in distress.”

Laieikawai asked, “ Where do you come from? ”

“From Kauai,” answered Kahalaomapuana.

“And what is your brother’s name?”

“Aiwohikupua,” replied the girl.

Again Laieikawai asked, “ What are the names of each of you?”

Then she told them all. .

Then Laieikawai understood that these were the persons who came
that first night.

436

MOKUNA XII

A no ka lilo loa o ko Laieikawai manawa i ka olioli no ka mea
kani lealea a ke kaikamahine; alaila, kena ae la o Laieikawai i ke
kaikamahine e hookani hou.

I aku la ke kaikamahine, “Aole e kani ke hookani hou; no ka mea,
ua malamalama loa, he mea mau ia, ma ka po wale no e kani ai nei
mea kani, aole e pono ma ke ao.”

A no keia olelo a ke kaikamahine, kahaha loa iho la o Laieikawai
me ka manao he wahahee na ke kaikamahine, alaila, lalau aku la o
Laieikawai i ka pu la-i ma ka lima o ke kaikamahine, a hookani iho
la, a no ko Laieikawai maa ole i ka hookani ka pu la-i, nolaila, ua
loaa ole ke kani ma ia hookani ana, alaila, he mea maopopo loa i ke
Alii wahine, he mea kani ole no ka pu la-i ke hookani ma ke ao.

Olelo aku la o Laieikawai ia Kahalaomapuana, “Ke makemake
nei wau e hoaikane kaua, a ma ko’u hale nei oe e noho ai, a e lilo oe i
mea punahele na’u, a o kau hana ka hoolealea mai ia’u.”

Olelo aku Ja o Kahalaomapuana, “ E ke Alii e, ua pono kau olelo;
aka, he mea kaumaha no’u ke noho wau me ce, a e Joaa ana paha ia’u
ka pomaikai, a o ko’u mau kaikuaana, e lilo paha auanei lakou i mea
pilikia.”

“hia oukou ka nui,” wahi a Laieikawai, “a pehea ko oukou hiki
ana maanei? ” D

Olelo aku Ja o Kahalaomapuana, “ Eono makou ko makou nui a
na makua hookahi o ko makou ono, he keiki kane, a-elima makou
na kaikuahine, o ke keiki kane no ko makou mua, a owau ko makou
muli loa. A ma ka huakai a ko makou kaikunane, oia ko makou mea
i hiki ai maanei, a no ka loaa ole ana ia makou o kona makemake,
nolaila, ua haalele kela ia makou, a ua hoi aku la ko makou kaikunane
me kona kekoolua, a ke noho nei makou me ka makamaka ole.”

Ninau mai la o Laieikawai, “ Nohea mai oukou? ”

“No Kauai mai,” wahi a Kahalaomapuana.

“A owai ka inoa o ko oukou kaikunane?”

Hai aku la kela, “ O Aiwohikupua.”

Ninau hou o Laieikawai, “Owai ko oukou mau inoa pakahi?”

Alaila hai aku la kela ia lakou a pau.

Alaila, hoomaopopo iho la o Laieikawai, o lakou no ka poe i hiki i
kela po mua.

437

438 HAWAIIAN ROMANCE OF LAIEIKAWATI [ETH. ANN. 33

Said Laieikawai, “ Your sisters and your brother I know well, if
it was really you who came to me that night; but you I did not hear.

“Yes; we were the ones,” said Kahalaomapuana.

Said Laieikawai, “ If you were the ones who came that night, who
guided you here? For the place is unfrequented, not a single person
comes here.”

The girl said, “ We had a native of the place to guide us, the same
man who spoke to you in behalf of Kauakahialii.” Then it was clear
he was a fellow countryman of theirs.

The end of all this tall was that Laieikawai bade her grandmother
to prepare a house for the sisters of Aiwohikupua.

Then, through the supernatural power of her grandmother, Waka,
the matter was quickly dispatched, the house was made ready.

When the house was prepared Laieikawai gave orders to Kahalao-
mapuana: “ You return, and to-night come here with all your sisters;
when I have seen them then you shall play to us on your merry
instrument.” ,

When Kahalaomapuana rejoined her sisters they asked what she
had done—what kind of interview she had had with the princess.

Answered the girl, “When I reached the door of the palace a
hunchback opened the door to receive me, and when I saw the prin-
cess resting on the wings of birds, at the sight I trembled with fear
and fell down to the earth. For this reason when I was taken in to
talk with the princess I did just what she wished, and she asked
about us and I told her everything. The result is, fortune is ours;
she has commanded us all to go to her to-night.”

When they heard this the sisters were joyful.

At the time the princess had directed they left the hollow tree
where they had lived as fugitives.

They went and stood at the door of the chief-house. Laieikawai’s
attendant opened the door, and they saw just what their sister had
described to them.

But when they actually saw Laieikawai, then they were filled with
dread, and all except Kahalaomapuana ran trembling with fear and
fell to the ground.

And at the princess’s command the strangers were brought into
the presence of the princess, and the princess was pleased with them.

And at this interview with the princess she promised them her
protection, as follows:

BECKWITH] TEXT AND TRANSLATION 439

T aku la o Laieikawai, “O kou mau kaikuaana a me ke kaikunane
o oukou kai maopopo, ina nae o oukou kai hiki mai i kela po aku nei
la; aka, o oe ka’u mea i lohe ole.”

“O makou no,” wahi a Kahalaomapuana.

T aku la o Laieikawai, “ Ina o oukou kai hiki mai i kela po, alaila,
nawai i alakai ia oukou ma keia wahi? No ka mea, he wahi ike oleia
keia, akahi wale no poe i hele mai i keia wahi.”

I aku keia, “ He kamaaina no ko makou mea nana 1 alakai mai, oia
hoi kela wahi kanaka nana i olelo mai 1a oe no Kauakahialii.” Alaila,
ua maopopo he kamaaina ko lakou.

A pau ka laua kamailio ana no keia mau mea, kauoha ae la oia i
kona kupunawahine, e hoomakaukau i hale no na kaikuahine o
Aiwohikupua.

Alaila, ma ka mana o Waka, kona kupunawahine, ua hikiwawe loa,
ua paa ka hale.

A makaukau ka hale, kena aku la 0 Laieikawai ia Kahalaomapuana,
“¥ hoioe, a kela po aku, pii mai oe me ou mau kaikuaana mai,i ike aku
wau ia Jakou, alaila, e lealea mai oe ia kakou, i kau mea kani lealea.”

A hala aku la o Kahalaomapuana, a hui me kona mau kaikuaana,
ninau mai la nae kona mau kaikuaana i kana hana, a me ke ano o ko
Jaua halawai ana me ke Alii.

Hai aku la kela, “ Ia’u i hiki aku ai a ma ka puka o ka hale o ke
Alii, wehbe aku Ja kahi kuapuu nana i kii mai nei ia’u, a i kuu ike ana
aku nei i ke Alii e kau mai ana iluna o ka eheu on na manu, no ia ike ana
o’u, ua eehia wau me ka maka’u a haule aku la wau ilalo ma ka lepo.
A no keia mea, kiitia mai la wau a komo aku la‘e kamailio pu me ke
Alii, a hana aku wau i kona lealea, e like me ko ke Alii makemake,
® ua ninau mai nei kela ia kakou, ua hai pau aku au. Nolaila, e loaa
ana la kakou ka pomaikai, ua kauoha mai nei kela, a i keia po pii
aku kakou.”

A lohe kona mau kaikuaana i keia mau olelo, he mea e ka olioli o
lakou.

A hiki i ka manawa a ke Alii i kauoha mai ai ia lakou, haalele
lakou i na puha Jaau, kahi a lakou i noho pio ai.

Hele aku la lakou a ku ma ka puka o ka Hale Alii, wehe ae la ke
kahu o Laieikawai i ka puka, a ike aku la lakou e like me ka olelo a ko
lakou kaikaina.

Ta lakou nae i ike aku ai ia Laieikawai, alaila, ua puiwa koke
lakou, a holo aku la me ka haalulu eehia, a pau loa lakou i ka haule i
ka honua, koe nae o Kahalaomapuana.

A ma ke kauoha a ke Alii, ua kii ia aku kele poe malihini a laweia
mai la imua o ke Alii, a he mea oluolu ia i ko ke Alii manao.

Ta lakou e halawai ana me ke Alii wahine, hoopuka mai la oia
imua o na malihini he olelo hoopomaikai, a penei no ia:

440 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 88

“T have heard from your younger sister that you are all of the
same parentage and the same blood; therefore I shall treat you all as
one blood with me, and we shall protect each other. Whatever one
says, the others shall do. Whatever trouble comes to one, the others
shall share; and for this reason I have asked our grandmother to
furnish you a home where you may live virgin like myself, no one
taking a husband without the others’ consent. So shall it be well
with us from this time on.” **

To these conditions the stranger girls agreed; the younger sister
answered the princess for them all:

“© princess, we are happy that you receive us; happy, too,
that you take us to be your sisters as you have said; and so we obey.
Only one thing we ask of you: All of us sisters have been set apart
by our parents to take no delight in men; and it is their wish that we
remain virgin until the end of our days; and so we, your servants,
beseech you not to defile us with any man, according to the princess’s
pleasure, but to allow us to live virgin according to our parents’ vow.”

And this request of the strangers seemed good to the princess.

After talking with the princess concerning all these things, they
were dismissed to the house prepared for them.

As soon as the girls went to live in the house they consulted how
they should obey the princess’s commands, and they appointed their
younger sister to speak to the princess about what they had agreed
upon.

One afternoon, just as the princess woke from sleep, came Ka-
halaomapuana to amuse the princess by playing on the trumpet
until the princess wished it no longer.

Then she told Laieikawai what the sisters had agreed upon and
said, “O princess, we have consulted together how to protect you,
and all five of us have agreed to become the bodyguard for your
house; ours shall be the consent, ours the refusal. If anyone wishes
to see you, be he a man, or maybe a woman, or even a chief, he shall
not see you without our approval. Therefore I pray the princess
to consent to what we have agreed.” :

Said Laieikawai, “I consent to your agreement, and yours shall
be the guardianship over all the land of Paliuli.”

BECKWITH] TEXT AND TRANSLATION 441

“Ua lohe wau i ko oukou kaikaina, he poe oukou no ka hanauna
hookahi, a he poe koko like oukou; a nolaila, ke lawe nei au ia oukou
ma ke ano o ke koko hookahi, e kiai kakou ia kakou iho, ma ka olelo
a kekahi, malaila like kakou, iloko o kela pilikia keia pilikia, o kakou
no kekahi ilaila. A no ia mea, ua kauoha wau e hoomakaukau ko
kakou kupunawahine i hale no oukou e noho ai me ka maluhia, e like
me au nei, aole e aeia kekahi e lawe 1 kane nana, me ka ae like ole o
kakou; pela e pono ai kakou ma keia hope aku.”

A no keia olelo, hooholo ae la na kaikamahine malihini, na ko
lakou kaikaina e hoopuka ka lakou olelo pane aku i ke Alii.

“FH ke Alii e! Pomaikai makou no kou hookipa ana ia makou, a
pomaikai hoi makou, no kou lawe ana ae ia makou I mau hoahanau
nou, e like me kau 1 olelo mai nei ia makou, a pela no makou e hoolohe
ai. Hookahi nae mea a makou e hai aku ia oe, he poe kaikamahine
makou i hoolaa ia e ko makou mau makua, aole he oluolu e lawe
makou i kane mare, a o ka makemake o ko makou mau makua, e noho
puupaa na makou a hiki i ko makou mau la hope, a nolaila, ke noi
mua aku nei kau mau kauwa, mai ae oe ia makou e hoohaumia me
kekahi mau kanaka, e like.me ka makemake o ke Alii; nolaila, e
hookuu ia makou e noho puupaa e like me ka olelo paa a ko makou
mau makua.”

He mea maikai nae i ko ke Alii manao ka olelo a na malihini.

A pau ka lakou olelo ana me ke Alii no keia mau mea, hoihoiia
aku la lakou a ma ka hale i hoomakaukauia no lakou.

T ua mau kaikamahine nei e noho ana ma ko lakou hale, he mea mau
ia lakou ke kuka mau ma na mea e pili ana ia lakou, a me ke Alii,
no ko lakou noho ana, a me na hana a ke Alii e olelo mai ai. A hoo-
holo ae la lakou e hoolilo i ko lakou kaikaina i hoa kuka no ke Alii
ma na hana e pili ana i ko lakou noho ana.

I kekahi awakea, i ko ke Alii manawa ala mai ka hiamoe mai, hele
aku la o Kahalaomapuana e hoolealea i ke Alii ma ka hookanikani
ana 1 ka pu la-i, a pau ko ke Alii makemake.

Ia manawa, hai aku la oia i kana olelo imua o Laieikawai, no ka
lakou mea i kuka ai me kona mau kaikuaana; i aku la, “ E ke Alii, ua
kuka makou i mea nou e maluhia ai, nolaila, ua hooholo makou i ko
makou manao, e hoolilo makou ia makou elima i mau koa kiai no
kkou Halealii, a ma o makou la e ae ia ai, a ma o makou la e hooleia
ai. Ina i hele mai kekahi mea makemake e ike ia oe, ina he kane,
a he wahine paha, a ina he alii, aole lakou e ike ia oe ke ole makou
e ae aku; nolaila, ke noi aku nei au e ae mai ke Alii e like me ka
makou hooholo ana.”

I mai la o Laieikawai, “ Ke ae aku nei wau e like me ka oukou mau
olelo hooholo, a o oukou no ka mana ma Paliuli nei a puni.”

4492 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 23

Now the girls’ main purpose in becoming guardians of Paliuli was,
if Aiwohikupua should again enter Paliuli, to have power to bar
their enemy.

Thus they dwelt in Paliuli, and while they dwelt there never did
they weary of life. Never did they even see the person who pre-
pared them food, nor the food itself, save when, at mealtimes, the
birds brought them food and cleared away the remnants when they
had done. So Paliuli became to them a land beloved, and there
they dwelt until the trouble came upon them which was wrought by
Halaaniani.

Here, O reader, we leave speaking of the sisters of Aiwohikupua,
and in Chapter XIII of this tale will speak again of Aiwohikupua
and his coming to Kauai.

LECKWITH] TEXT AND TRANSLATION 443

Eia nae ka manao nui o kela poe kaikamahine e lilo i kiai no ke
Alii, no ko lakou manao e puka hou ana o Aiwohikupua i Paliuli,
alaila, he mana ko lakou e kipaku i ko lakou enemi.

Noho iho la lakou ma Paliuli, iloko nae o ko lakou noho ana, aole
lakou i ike i ko lakou luhi ma ia noho ana; aole hoi lakou i ike iki
i ka mea nana e hana mai ka lakou ai. Eia wale no ko lakou manawa
ike i ka lakou mau mea ai, i ka manawa makaukau o Jakou e paina,
ia manawa e lawe mai ai na Manu 1 na mea ai a lakou, a na na manu
no e hoihoi aku i na ukana ke pau ka lakou paina ana, a no keia mea,
ua lilo o Paliuli i aina aloha loa na lakou, a malaila lakou i noho
al a hikii ka haunaele ana ia Halaaniani.

(Maanei e ka mea heluhelu e waiho i ke kamailio ana no na kai-
kuahine o Aiwohikupua, a ma ka Mokuna XIII o keia Kaao e kama-
ilio hou no Aiwohikupua no kona hoi ana i Kauai.)

CHAPTER XIII

At the time when Kahalaomapuana leaped from the canoe into the
sea it was going very swiftly, so she fell far behind. The canoe
turned back to recover Kahalaomapuana, but the party did not find
her; then Aiwohikupua abandoned his young sister and sailed
straight for Kauai.

As Aiwohikupua sailed away from Hawaii, between Oahu and
Kauai he spoke to his paddlers as follows: “ When we get back to
Kauai let no one tell that we have been to Hawaii after Laieikawai,
lest shame come to me and I be spoken of jeeringly; and therefore I
lay my commands upon you. Whoever speaks of this journey of
ours and IJ hear of it, his penalty is death, his and all his offspring,
as I vowed to those paddlers of mine before.

They returned to Kauai. A few days afterwards Aiwohikupua,
the chief, wished to make a feast for the chiefs and for all his friends
on Kauai.

While the feast was being made ready the chief gave word to fetch
the feasters; with all the male chiefs, only one woman of rank was
allowed to come to the celebration; this was Kailiokalauokekoa.*”

On the day of the feast all the guests assembled, the food was
ready spread, and the drink at the feast was the awa.

Before eating, all the guests together took up their cups of awa
and drank. During the feasting, the awa had not the least effect
upon them.

And because the awa had no effect, the chief hastily urged his awa
chewers to chew the awa a second time. When the chief’s command
was carried out, the guests and the chief himself took up their cups
of awa all together and drank. When this cup of awa was drained
the effect of the awa overcame them. But the one who felt the effects
most was the chief who gave the feast.

Now, while the chief was drunk, the oath which he swore at sea
to the rowers was not forgotten; not from one of his own men was
the forbidden story told, but from the mouth of Aiwohikupua him-
self was the chief’s secret heard.

444

MOKUNA XIII

Mahope iho o ko Kahalaomapuana lele ana iloko o ke kai mai
luna iho o na waa, e holo ikaika loa ana na waa ia manawa;
nolaila, ua hala hope loa o Kahalaomapuana. Hoohuli hou na waa
i hope e imi ia Kahalaomapuana, aole nae i loaa; nolaila, haalele loa
o Aiwohikupua i kona kaikuahine opiopio, a hoi loa aku i Kauai.

Ta Aiwohikupua i hoi ai mai Hawaii mai a hiki mawaena o
Oahu nei a me Kauai, olelo aku la o Aiwohikupua i kona mau
hoewaa penei: “I ko kakou hoi ana anei a hiki i Kauai, mai olelo
oukou, i Hawaii aku nei kakou i o Laieikawai la, o hilahila auanei
au; no ka mea, he kanaka wau ua waia 1 ka olelo ia; a nolaila, ke
hai aku nei au i ka’u olelo paa ia oukou. O ka mea nana e hai i
keia hele ana o kakou, a lohe wau, alaila, o kona uku ka make, a me
kona ohana a pau, pela no au i olelo aii kela poe hoewaa mamua.”

Hoi aku Ja lakou a Kauai. I kekahi mau la, makemake iho la ke
Alii, o Aiwohikupua, e hana i Ahaaina palala me na’lii, a me kona
mau hoa a punio Kauai.

A i ka makaukau ana o ka Ahaaina palala a ke Alii, kauoha ae
la ke Alii i kana olelo e kii aku i na hoa-ai; ma na alii kane wale no,
a hookahi wale no alii wahine i aeia e komo i ka Ahaaina palala,
oia o Kailiokalauokekoa.

I ka Ja i Ahaaina ai, akoakoa mai la na hoa-ai a pau loa, ua
makaukau na mea ai, a o ka awa ko lakou mea inu ma ia Ahaaina
ana.

Mamua o ko lakou paina ana, lalau like na hoa i na apuawa, a
inu iho la. Iloko o ko lakou manawa ai, aole i loaa ia lakou ka
ona ana o ka awa.

A no ka loaa ole o ka.ona o ka awa, hoolale koke ae la ke Alii
i kona mau mama awa e mama hou ka awa. A makaukau ko ke
Alii makemake, lalau like ae la na hoa-ai o ke Alii, a me ke Alii
pu i na apuawa, a inu ae la. Ma keia inu awa hope o lakou, ua
loohia mai maluna o lakou ka ona awa. Aka, hookahi mea oi aku
o ka ona, o ke Alii nana ka papaaina.

Tloko o kela manawa ona o ke Alii, alaila, ua nalo ole ka olelopaa
ana i olelo ai i kona mau hoewaa ma ka moana, aole nae i loheia
ma o kana poe i papa ai; aka, ma ka waha ponoi no o Aiwohikupua
i loheia’i olelo huna a ke Alii.

445

446 HAWAIIAN ROMANCE OF LAIBIKAWAI [ETH. ANN. 33

While under the influence of the awa, Aiwohikupua turned right
around upon Kauakahialii, who was sitting near, and said: “ O Kaua-
kahialii, when you were talking to us about Laieikawai, straightway
there entered into me desire after that woman; then sleepless were
my nights with the wish to see her; so I sailed and came to Hawaii,
two of us went up, until at daylight we reached the uplands of
Paliuli; when I went to see the chief’s house, it was very beautiful,
I was ashamed; therefore I returned here. I returned, in fact, think-
ing that the little sisters were the ones to get my wish; I fetched
them, made the journey with the girls to the house of the princess,
let them do their best; when, as it happened, they were all refused,
all four sisters except the youngest; for shame I returned. Surely
that woman is the most stubborn of all, she has no equal.”

While Aiwohikupua talked of Laieikawai’s stubbornness, Hauailiki
was sitting at the feast, the young singer of Mana, a chief of high
rank on the father’s side and of unrivaled beauty. ‘

He arose and said to Aiwohikupua, “ You managed the affair
awkwardly. I do not believe her to be a stubborn woman; give me
a chance to stand before her eyes; I should not have to speak, she
would come of her own free will to meet me, then you would see
us together.

Said Aiwohikupua, “ Hauailiki, I wish you would go to Hawaii;
if you get Laieikawai, you are a lucky fellow, and I will send men
with you and a double canoe; and should you lose in this journey
then your lands become mine, and if you return with Laieikawai then
all my lands are yours.”

After Aiwohikupua had finished speaking, that very night, Hauai-
liki boarded the double canoe and set sail, but many days passed on
the journey.

As they sailed they stood off Makahanaloa, and, looking out, saw
the rainbow arching above the beach of Keaau. Said Aiwohikupua’s
chief counsellor to Hauailiki, “ Look well at that rainbow arching
the beach there at Keaau. There is Laieikawai watching the surf
riding.”

Said Hauailiki, “ I thought Paliuli was where she lived.”

And on the next day, in the afternoon, when they reached Keaau,
Laieikawai had just returned with Aiwohikupua’s sisters to Paliuli.

When Hauailiki’s party arrived, behold many persons came to see
this youth who rivaled Kauakahialii and Aiwohikupua in beauty,
and all the people of Keaau praised him exceedingly,

BECKWITH] ' TEXT AND TRANSLATION 447

A ona iho la o Aiwohikupua, alaila, haliu pono aku la oia ma
kahi a Kauakahialii e noho mai ana, olelo aku la, “ E Kauakahialii
e, 1a oe no e kamailio ana ia makou no Laieikawai, komo koke iho la
iloko o’u ka makemake no kela wahine; nolaila, moe ino ko’u mau
po e ake e ike; nolaila, holo aku nei wau a hiki i Hawaii, pii aku nei
maua a malamalama, puka i uka o Paliuli, i nana aku ka hana i ka
hale o ke Alii, aole i kana mai, o ko’u hilahila; no ia mea, hoi mai nei.
Hoi mai nei hoi wau, a manao mai o na kaikuahine hoi ka mea e
loaa’i, kii mai nei, 1 hele aku nei ka hana me na kaikuahine a hiki i
ka hale o ke Alii, kuu aku hoii ka na kaikuahine loaa; i hana aku ka
hana, i ka hoole waleia no a pau na kaikuahine eha, koe o kahi muli
loa o’u, o ko’u hhilahila no ia hoi mai nei, he oi no hoi kela o ka
wahine kupaa nui wale, aole i ka Iua.”

Tloko o kela manawa a Aiwohikupua e kama ilio ana no ka paakiki
o Laieikawai. Ia manawa e noho ana o Hauailiki, ke keiki puukani
o Mana iloko o ka Ahaaina, he keiki kaukaualii no hoi, oia ka oi 0
ka maikai.

Ku ae Ja oia iluna, a olelo aku la ia Aiwohikupua “ He hawawa
aku la no kau hele ana, aole wau i manao he wahine paakiki ia, ina
e ku au imua o kona mau maka, aole au e olelo aku, nana no e hele
wale mai a hui maua; alaila, e ike oukou e noho aku ana maua.”

I aku la o Aiwohikupua, “FE Hauailiki e, ke makemake nei au e
hele oe i Hawaii, ina e lilo mai o Laieikawai, he oi oe, a na’u no e
hoouna me oe i mau kanaka, a ia’u na waa, a i nele oe ma keia hele
ana au, alaila, lilo kou mau aina ia’u; a ina i hoi mai oe me
Laieikawai, alaila, nou ko’u mau aina.”

A pau ka Aiwohikupua ma olelo ana no keia mau mea, ia po iho,
kau o Hauailiki ma maluna o na waa a holo aku la; aka, ua nui no
na lai hala ma ia holo ana.

Ta holo ana, hiki aku lakou iwaho 0 Makahanaloa, i nana aku ka
hana o lakou nei, e pio ana ke anuenue i kai o Keaau. Olelo aku la
ke Kuhina o Aiwohikupua ia Hauailiki, “ E nana oe i kela anuenue
e pio mai la i kai, o Keaau no ia; a aia ilaila o Laieikawai, ua iho ae
la i ka nana heenalu.”

I mai la o Hauailiki, “ Kainoa aia o Paliuli kona wahi noho mau.”

A i kekahi la ae, ma ka auina la, hiki aku la lakou i Keaau, ua
hoi aku nae o Laieikawai me na kaikuahine o Aiwohikupua i uka o
Paliuli.

Ta Hauailiki ma i hiki aku ai, aia hoi ua nui na mea i hele mai e
nana no keia keiki oi kelakela o ka maikai mamua o Kauakahialii a
me Aiwohikupua, a he mea mahalo nui loa ia na na kamaaina o
Keaau.

448 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 88

Next day at sunrise the mist and fog covered all Keaau, and when
it cleared, behold! seven girls were sitting at the landing place of
Keaau, one of whom was more beautiful than the rest. This was the
very first time that the sisters of Aiwohikupua had come down with
Laieikawai, according to their compact.

As Laieikawai and her companions were sitting there that morn-
ing, Hauailiki stood up and walked about before them, showing off
his good looks to gain the notice of the princess of Paliuli. But
what was Hauailiki to Laieikawai? Mere chaff!

Four days Laieikawai came to Keaau after Hauailiki’s entering
the harbor; and four days Hauailiki showed himself off before
Laieikawai, and she took no notice at all of him.

On the fifth day of her coming, Hauailiki thought to display
before the beloved one his skill with the surf board; ** the truth is
Hauailiki surpassed any one else on Kauai as an expert in surf
riding, he surpassed all others in his day, and he was famous for
this skill as well as for his good looks.

That day, at daybreak, the natives of the place, men and women,
were out in the breakers.

While the people were gathering for surfing, Hauailiki undid his
garment, got his surf board, of the kind made out of a thick piece
of wiliwili wood, went directly to the place where Laieikawai’s party
sat, and stood there for some minutes; then it was that the sisters of
Aiwohikupua took a liking to Hauailiki.

Said Mailehaiwale to Laieikawai, “If we had not been set apart by
our parents, I would take Hauailiki for my husband.”

Said Laieikawai, “TI like him, too; but I, too, have been set apart
by my grandmother, so that my liking is useless.”

“We are all alike,” said Mailehaiwale.

When Hauailiki had showed himself off for some minutes, Hauai-
liki leaped with his surf board into the sea and swam out into the
breakers.

When Hauailiki was out in the surf, one of the girls called out,
Land now!”

“Tand away!” answered Hauailiki, for he did not. wish to ride
in on the same breaker with the crowd. He wished to make himself
conspicuous on a separate breaker, in order that Laieikawai should
see his skill in surf riding and maybe take a liking to him. Not so!

BECKWITH] TEXT AND TRANSLATION 449

I kekahi la ae ma ka puka ana a ka la, uhi ana ke awa a me ka
noe ma Keaau a puni, a i ka mao ana’e, aia hoi ehiku mau wahine
e noho ana ma ke awa pae o Keaau, a hookahi 01 oia poe. Akahi
wale no a iho na kaikuahine o Aiwohikupua ma keia hele ana o
Laieikawai, e like me kana olelo hoopomaikai.

Ta Laieikawai ma enoho ana ma kela kakahiaka, ku ae la o Hauai-
liki a holoholo ae Ja imua o lakou la, e hoika ana ia ia iho ma kona
ano kanaka ui, me ka manao e maliuia mai e ke Alii wahine o
Paliuli. A heaha la o Hauailiki ia Laieikawai? “he opala paha.”

Eha na la o Laieikawai o ka hiki ana ma Keaau, mahope iho o ko
Hauailiki puka ana aku; a eha no hoi la o ko Hauailiki hoike ana ia
ja imua o Laieikawai, a aole nae he maliu iki ia mai.

I ka lima o ka la o ko Laieikawai hiki ana ma Keaau, manao iho
la o Hauailiki e hoike ia ia iho imua o kana mea e lini nui nei no
kona akamai ma ka heenalu; he oiaio, o Hauailiki no ka oi ma Kauai
no ke akamai i ka heenalu a oia no ka oi iloko o kona mau la, a he
keiki kaulana hoi oia ma ke akamai i ka heenalu, a kaulana no hoi no
kona ui.

I ua la Ja, i ka puka ana a ka la, aia na kamaaina ma kulana
nalu, na kane, a me na wahine.

I na kamaaina e akoakoa ana ma kulana heenalu, wehe ae la o
Hauailki i kona aahu kapa, hopu iho la i kona papa heenalu (he olo),
a hele aku la a ma kahi e kupono ana ia Laieikawai ma, ku iho la
oia no kekahi mau minute, ia manawa nae, komo mai la iloko o na
kaikuahine o Aiwohikupua ka makemake no Hauailiki.

I aku la o Mailehaiwale ia Laieikawai, “Ina paha aole makou i
hoolaaia e ko kakou mau makua, ina ua lawe wau ia Hauailiki i
kane na’u.”

I aku o Laieikawai, “ Ua makemake no hoi wau, ina hoi acle wau i
hoolaaia e ko’u kupunawahine, nolaila, he mea ole ko’u make-make.”

“©O kaua pu,” wahia Mailehaiwale.

A pau ko Hauailiki mau minute hookahakaha, lele aku la ua o
Hauailiki me kona papa heenalu i ke kai, a au aku la a kulana nalu.

Ta Hauailiki ma kulana nalu, kahea mai la kekahi kaikamahine
kamaaina, “ Pae hoi kakou.”

“ Hee aku paha,” wahi a Hauailiki, no ka mea, aole ona makemake,
e hee pu oia me ka lehulehu ma ka nalu hookahi, makemake no oia e
hookaokoa ia ia oia wale no ma ka nulu okoa, i kumu e ike mai ai o
Laieikawai no kona akamai i ka heenalu, malia 0 makemake ia mai
oia; aole ka!

74936°—19—33 rra——29

450 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

When the others had gone in, a little wave budded and swelled,
then Hauailiki rode the wave. As he rode, the natives cheered and
the sisters of Aiwohikupua also. What was that to Laieikawai?

When Hauailiki heard the cheering, then he thought surely Laiei-
kawai’s voice would join the shouting. Not so! He kept on surfing
until the fifth wave had passed, it was the same; he got no call what-
ever; then Hauailiki first felt discouragement, with the proof of
Aiwohikupua’s saying about the “stubbornness of Laieikawai.”

BECKWITH] TEXT AND TRANSLATION 451

A hala aku la na kamaaina, ohu mai la he wahi nalu opuu, ia ma-
nawa ka Hauailiki hee ana i kona nalu. Ta Hauailiki e hee la i ka
nalu, uwa ka pihe a na kamaaina, a me na kaikuahine o Aiwohikupua:
Heaha la ia ia Laieikawai?

A no ka lohe ana aku o Hauailiki i keia pihe uwa, alaila, manao
iho ia ua huipu me Laieikawai i keia leo uwa, aole ka! hoomau aku
la oia i ka heenalu a hala elima nalu, oia mau no. Aole nae i loaa ka
heahea ia mai, nolaila, hoomaka mai la ia Hauailiki ke kaumaha, me
ka hooiaio iki i kela olele a Aiwohikupua no ka “paakiki o
Laieikawai.”

CHAPTER XIV

When Hauailiki saw that Laieikawai still paid no attention to
him he made up his mind to come in on the surf without the board.

He left it and swam out to the breakers. As he was swimming
Laieikawai said, “ Hauailiki must be crazy.”

Her companions said, “ Perhaps he will ride in on the surf without
a board.”

When Hauailiki got to the breakers, just as the crest rose and
broke at his back, he stood on its edge, the foam rose on each side
of his neck like boars’ tusks. Then all on shore shouted and for
the first time Laieikawai smiled; the feat was new to her eyes and
to her guardians also.

When Hauailiki saw Laieikawai smiling to herself he thought she
had taken a lking to him because of this feat, so he kept on re-
peating it until five breakers had come in; no summons came to him
from Laieikawai.

Then Hauailiki was heavy-hearted because Laieikawai took no
notice of him, and he felt ashamed because of his boast to Aiwohi-
kupua, as we have seen in the last chapter.

So he floated gently on the waves, and as he floated the time drew
near for Laieikawai’s party to return to Paliuli. Then Laieikawai
beckoned to Hauailiki.

When Hauailiki saw the signal the burden was lifted from his
mind; Hauailiki boasted to himself, “ You wanted me all the time;
you just delayed.”

And at the signal of the princess of Paliuli he lay upon the
breaker and landed right where Laieikawai and her companions
were sitting; then Laieikawai threw a /ehua wreath around Haua-
iliki’s neck, as she always did for those who showed skill in surf
riding. And soon after the mist and fog covered the land, and when
it passed away nothing was to be seen of Laieikawai and her party;
they were at Paliuli.

This was the last time that Laieikawai’s party came to Keaau while
Hauailiki was there; after Hauailiki’s return to Kauai, then Laiei-
kawai came again to Keaau,

452

MOKUNA XIV

A ike maopopo ae la o Hauailiki, aole i komo iloko o Laieikawai
*ka makemake ia Hauailiki ma ia mea, hoopau ae la oia i ka heenalu
ma ka papa; manao ae la oia e kaha.

Haalele iho la oia i kona papa, a au aku lai kulana heenalu. Ta ia
e au ana, olelo ae la o Laieikawai i kona mau hoa, “ E! pupule o
Hauailiki.”

T aku la kona mau hoa, “ Malia paha e kaha nalu ana.”

Ta Hauailiki ma kulana nalu, i ka nalu i ea mai ai a kakala ma
kona kua, ia manawa kaha mai la oia i ka nalu, pii ke kai me he niho
puaa la ma o a mao o kona ai. Ja manawa, uwa ka pihe o uka,
akahi no a loaa mai ia Laieikawai ka akaaka, a he mea malihini no
hoi ia i kona maka a me kona mea e ae.”

A ike aku la o Hauailiki i ko Laieikawai akaaka ana iho, manao
iho la oia, ua komo ka makemake i Laieikawai ma keia hana a Hauai-
liki, alaila, hoomau aku la oia ma ke kaha nalu, a hala elima nalu,
aole i loaa ka hea mai a Laieikawai ia ia nei.

Nolaila, he mea kaumaha loa ia ia Hauailiki, ka maliu ole mai o
Laieikawai ia ia nei, a he mea hilahila nui loa hoi nona, no ka mea,
ua olelo kaena mua kela ia Aiwohikupua, e like me ka kakou ike ana
ma na Mokuna mamua ae.

A no keia mea, lana malie iho la oia ma kulana nalu, ia ia e lana
malie ana, ua kokoke mai ko Laieikawai ma manawa hoi i Paliuli.
Ja manawa, peahi mai la o Laieikawai ia Hauailiki.

A ike aku la o Hauailiki i ka peahi ana mai, alaila, ua hoomohalaia
kona naau kanalua. I iho la o Hauailiki oia wale no, “Aole no ka
hoi oe e kala i makemake ai, hoolohi wale iho no.”

A no ka peahi a ke Alii wahine o Paliuli, hoomoe’iho la keia i ka
nalu, a pae pono aku Ja ma kahi a Laieikawai ma e noho mai ana.
Ta manawa, haawi mai la o Laieikawai i ka lei lehua, hoolei iho la ma
ka a-1 o Hauailiki, e like me kana hana mau i ka poe akamai i ka
heenalu. A mahope iho oia manawa, he uhi ana na ka noe a me ka
ohu, a i ka mao ana ae, aole o Laieikawai ma, aia aku la lakou la i
Paliuli.

O ka iho hope ana keia a Laieikawai ma i Keaau, iloko 0 ko
Hauailiki mau la, aia hala aku o Hauailiki ma i Kauai, alaila, hiki
hou o Laieikawai i Keaau.

453

454 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

After Laieikawai’s party were gone to the uplands of Paliuli,
Hauailiki left off surf riding and joined his guide, the chief coun-
sellor of Aiwohikupua. Said he, “I think she is the only one who
is impregnable; what. Aiwohikupua said is true. There is no luck
in my beauty or my skill in surf riding; only one way is left, for
us to foot it to Paliuli to-night.” To this proposal of Hauailiki his
comrade assented.

In the afternoon, after dinner, the two went up inland and entered
the forest where it was densely overgrown with underbrush. As they
went on, they met Mailehaiwale, the princess’s first guardian. When °
she saw them approaching from a distance, she cried, “ O Hauailiki,
you two go back from there, you two have no business to come up
here, for I am the outpost of the princess’s guards and it is my busi-
ness to drive back all who come here; so turn back, you two, without
delay.”

Said Hauailiki, “ Just let us go take a look at the princess’s house.”

Said Mailehaiwale, “I will not let you; for I am put here to drive
off everybody who comes up here like you two.”

But because they urged her with such persuasive words, she did
consent. :;

As they went on, after Mailehaiwale let them pass, they soon en-
countered Mailekaluhea, the second of the princess’s guardians.

Said Mailekaluhea, “ Here! you two go back, you two have no right
to come up here. How did you get permission to pass here?”

Said they, “ We came to see the princess.”

“ You two have no such right,” said Mailekaluhea, “ for we guards
are stationed here to drive off everybody who comes to this place;
so, you two go back.”

But to Mailekaluhea’s command they answered so craftily with
flattering words that they were allowed to pass.

As the two went on they met Mailelaulii and with the same words
they had used to the first, so they addressed Mailelaulii.

And because of their great craft in persuasion, the two were
allowed to pass Mailelaulii’s front. And they went on, and met
Mailepakaha, the fourth guardian.

When they came before Mailepakaha this guardian was not at all
pleased at their having been let slip by the first guards, but so crafty
was their speech that they were allowed to pass.

BECKWITH] TEXT AND TRANSLATION 455

Ta Laieikawai ma i hala ai i uka o Paliuli, hoi aku la o Hauailiki
mai ka heenalu aku, a halawai me ke Kuhina o Aiwohikupua, o
kona alakai hoi. I aku la, “ Kainoa o kahi paa ae nei a paa, he
oiaio no ka ka Aiwohikupua e olelo nei. Nolaila, ua pau ka loaa a
kuu kanaka maikai, a me kuu akamai i ka heenalu, hookahi wale ne
mea i koe ia kaua, o ke koele wawae no i Paliuli i neia po.” A no
keia olelo a Hauailiki, hooholo ae la kona hoa i ka ae.

Ma ka auina la mahope o ka aina awakea, pii aku la laua iuka,
komo aku la iloko o na ululaau, i ka hihia paa o ka nahele. Ia laua
i pii ai, halawai mua laua me Mailehaiwale, oia ke kiai makamua
o ke Alii wahine. Ike mai la oia iz Jaua nei e kokoke aku ana io ia
nei la, i mai la, “E Hauailiki, malaila olua hoi aku, aole o olua
kuleana e pii mai ai ianei; no ka mea, ua hoonohoia mai wau maanei,
he kiai makamua no ke Alii, a na’u no e hookuke aku i na mea a
pau i hiki mai maanei, me ke kuleana ole; nolaila, e hoi olua me ke
kali ole.”

I aku la o Hauailiki, “ E ae mai oe ia maua, e pii aku e ike i ka
hale o ke Alii.”

I mai la o Mailehaiwale, “Aole wau e ae aku i ko olua manao;
no ka mea, o ko’u kuleana no ia i hoonohoia ai ma keia wahi, e kipaku
aku i ka poe hele mai iuka nei e like me olua.”

Aka, no ka oi aku o ko laua nei koi ana me ka olelo ikaika imua
ojala, nolaila, ua ae aku la keia.

Ta Hauailiki ma i hala aku ai mahope iho o ko Mailehaiwale
hookuu ana aku ia laua, halawai koke aku la laua me Mailekaluhea,
ka lua o ko ke Alii wahine kiai.

I mai la o Mailekaluhea, “ EK! e hoi olua ano, aole he pono no olua
e pii mai ianei, pehea Ja i aeia mai ai e hookuu mai ia olua? ”

T aku la laua, “ I hele mai nei maua e ike i ke Alii wahine.”

“Aole olua e pono pela,” wahi a Mailekaluhea, “no ka mea, ua
hoonohoia mai makou he mau kiai e kipaku aku i na mea a pau i
hele mai i keia wahi, nolaila, e hoi olua.”

Aka, ma kela olelo a Mailekaluhea, ua oi aku ka maalea o ka
laua nei olelo malimali imua oiala, nolaila, ua hookuuia’ku laua.

Ta laua i hala aku ai, halawai aku la laua me Mailelaulii, a e like
no me ka olele a laua nei imua 0 na mea mua, pela no laua i hana ai
imua 0 Mailelaulii.

A no ka maalea loa o Jaua i na olelo malimali, nolaila, ua bookuuia
laua mai ko Mailelaulii alo aku. A hala aku la laua, halawai aku
la me Mailepakaha, ka ha o na kiai.

Ta Jaua i hiki aku ai imua o Mailepakaha, aole he oluolu iki o
keia kiai i ko laua hookuuia ana mai e na kiai mua; aka, no ka pakela
o ka maalea ma ke kamailio ana, ua hookuuia aku la laua.

456 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

And they went on, and behold! they came upon Kahalaomapuana,
the guardian at the door of the chief-house, who was resting on the
wings of birds, and when they saw how strange was the workman-
ship of the chief-house, then Hauailiki fell to the earth with trem-
bling heart.

When Kahalaomapuana saw them she was angry, and she called
out to them authoritatively, as the princess’s war chief, “O Haua-
iliki! haste and go back, for you two have no business here; if you
persist, then I will call hither the birds of Paliuli to eat your flesh;
only your spirits will return to Kauai.”

At these terrible words of Kahalaomapuana, Hauailiki’s courage
entirely left him; he arose and ran swiftly until he reached Keaau in
the early morning.

For weariness of the journey up to Paliuly, they fell down and
slept.

While Hauailiki slept, Laieikawai came to him in a dream, and
they met together; and on Hauailiki’s starting from sleep, behold!
it was a dream.

Hauailiki slept again; again he had the dream as at first; four
nights and four days the dream was repeated to Hauailiki, and his
mind was troubled.

On the fifth night after the dream had come to Hauailiki so
repeatedly, after dark, he arose and ascended to the uplands of
Paliuli without his comrade’s knowledge.

In going up, he did not follow the road the two had taken before,
but close to Mailehaiwale he took a new path and escaped the eyes
of the princess’s guardians.

When he got outside the chief-house Kahalaomapuana was fast
asleep, so he tiptoed up secretly, unfastened the covering at the
entrance to the house, which was wrought with feather work, and
behold! he saw Laieikawai resting on the wings of birds, fast asleep
also.

When he had entered and stood where the princess was sleeping,
he caught hold of the princess’s head and shook her. Then Laieika-
wai started up from sleep, and behold! Hauailiki standing at her
head, and her mind was troubled.

Then Laieikawai spoke softly to Hauailiki, “Go away now, for
death and life have been left with my guardians, and therefore I
pity you; arise and go; do not wait.”

BECKWITH] TEXT AND TRANSLATION 457

A hala aku laua, aia hoi, ike aku la laua ia Kahalaomapuana, ke
kiai ma ka puka o ka Halealii, e kau mai ana iluna o ka eheu o na
manu, a ike aku la no hoi i ke ano e o ka Halealii, ia manawa haule
aku la o Hauailiki i ka honua, me ka naau eehia.

Ja Kahalaomapuana i ike mai ai ia laua nei, he mea e kona huhu,
alaila, kahea mai la oia me kona mana, ma ke ano Alihikaua no ke
Alii, “KE Hauailiki e! e ku oe a hele aku; no ka mea, aole o olua
kuleana o keia wahi, ina e hoopaakiki mai oe, alaila, e kauoha no
wau 1 na manu o Paliuli nei, e ai aku i ko olua mau io, me ka hoi
uhane aku hoi i Kauai.” ;

A no keia olelo weliweli a Kahalaomapuana, alaila, ua hoopauia
ko Hauailiki naau eehia, ala ae la ia a holo wikiwiki aku la a hiki
ma Keaau, ma ke kahahiaka nui.

Ma keia hele ana a laua iuka o Paliali, ua nui ka luhi, a no ia
luhi, haule aku Ja Jaua a hiamoe.

Iloko nae o ko Hauailiki manawa hiamoe, halawai mai la o Laiei-
kawai me ka moeuhane, a halawai pu iho la laua, a i ko Hauailiki
puoho ana ae mai ka hiamoe, aia hoi, he moeuhane kana.

Moe hou iho Ja no:o Hauailiki, loaa hou no ia ia ka moeuhane, e
like me mamua. Eha po, eha ao, o ka hoomau ana o keia mea ia
Hauailiki, nolaila, ua pono ole ko Hauailiki manao.

I ka lima o ka po o ka hoomau ana o keia moeuhane ia Hauailiki,
ma ka pili o ke ahiahi, ala ae la ola a pii aku la iuka o Paliuli, me
ka ike ole nae o kona hoa. 5

Ta ia i pil aku ai, aole oia i hele aku ma ke alanui mua a laua i
pii mua ai, a ma kahi e kokoke aku ana ia Mailehaiwale, hele ae la
keia ma kahi kaawale, a pakele aku la i na maka o na kiai o ke Alii.

Ta ia i hiki ai mawaho o ka Hale Alii, ua hiamoe loa o Kahalao-
mapuana, alaila, nihi, malu aku la ko Hauailiki hele ana, a wehe ae
la i ke pani o ka puka o ka Hale Alii, ua uhiia mai i ka Ahuula,
aiahoi, ike aku la ia ia Laieikawai e kau mai ana iluna o ke eheu o
na manu, ua hiamoe loa no hoi. ;

Ta ia i komo aku ai a ku ma kahi a ke Alii e moe ana, lalau aku
la oia i ke poo o ke Alii, a hooluilui ae la. Ia manawa, puoho mai
la o Laieikawai mai ka hiamoe ana, aia hoi e ku ana o Hauailiki ma
kona poo, a he mea pono ole ia i ko ke Alii wahine manao.

Alaila, olelo malu mai la o Laieikawai, ia Hauailiki, “FE hoi oe
ano i keia manawa, no ka mea, ua waihoia ka make a me ke ola i ko’u
mau kiai; a nolaila, ke minamina nei wau ia oe; e ku oe a hele, mai
kali.”

458 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

Hauailili said, “ O Princess, let us kiss *® one another, for a few
nights ago I came up and got here without seeing you; we were
driven away by the power of your guards, and on our reaching the
coast, exhausted, I fell asleep; while I slept we two met together in
a dream and we were united, and many days and nights the same
dream came; therefore I have come up here again to fulfill what was
done in the dream.”

Laieikawai said, “ Return; what you say is no concern of mine;
for the same thing has come to me in a dream and it happened to me
as it happened to you, and what is that to me? Go! return!”

As Kahalaomapuana slept, she heard low talking in the house,
and she started up from sleep and called out, “ O Laieikawai, who is
the confidant who is whispering to you?”

When she heard the questioner, Laieikawai ceased speaking.

Soon Kahalaomapuana arose and entered the house, and behold!
Hauailiki was in the house with Laieikawai.

Kahalaomapuana said, “O Hauailiki, arise and go; you have no
right to enter here; I told you before that you had no business in
this place, and I say the same thing to-night as on that first night,
so arise and return to the coast.”

And at these words of Kahalaomapuana Hauailiki arose with
shame in his heart, and returned to the beach at Keaau and told his
comrades about his journey to Paliuli.

When Hauailiki saw that he had no further chance to win Laieika-
wai, then he made the canoe ready to go back to Kauai, and with the
dawn left Keaau and sailed thither.

When Hauailiki’s party returned to Kauai and came to Wailua,
he saw a great company of the high chiefs and low chiefs of the
court, and Kauakahialii and Kailiokalauokekoa with them.

As Hauailiki and his party were nearing the mouth of the river
at Wailua, he saw Aiwohikupua and called out, “ I have lost.”

When Hauailiki landed and told Aiwohikupua the story of his
journey and how his sisters had become the princess’s guardians, then
Aiwohikupua rejoiced.

He declared to Hauaililki, “'There’s an end to our bet, for it was
made while we were drunk with awa.”

While Hauailiki was telling how Aiwohikupua’s sisters had become
guardians to Laieikawai, then Aiwohikupua conceived afresh the
hope of sailing to Hawaii to get Laieikawai, as he had before desired.

BECKWITH] TEXT AND TRANSLATION 459

I aku la o Hauailiki, “E ke Alii, e honi kaua, no ke mea, ia’u i
pli mai ai iuka nei i keia mau po aku nei la, ua hiki mai wau iuk:
nei me ko ike ole; aka, ma ka mana o kou mau kiai, ua kipakuia
wau, a ia maua i hiki aii kai, a no ka maluhiluhi, haule aku la wau
hiamoe. Ia’u e hiamoe ana, halawai pu iho la kaua ma ka moeuhane,
a kahaule iho la kaua, a ua mui na la a me na po o ka hoomau ana
ia’u o keia mea; nolaila wau i pii mai nei e hooko i ka hana i k:
moeuhane.”

I aku la o Laieikawai, “FE hoe oe, aole o’u manao i kau mea e
olelo mai nei; no ka mea, ua loaa no ia mea ia’u ma ka moeuhane,
ua hana no e like me ka hana ia oe, a heaha la ia mea ia’u; nolaila,
e hoi oe.”

Iloko o ko Kahalaomapuana manawa hiamoe, lohe aku la oia
i ka haukamumu o ka Halealii, a puoho ae la oia mai ka hiamoe ae,
kahea aku la me ka ninau aku, “EE Laieikawai! Owai kou hoa
kamailio e haukamumu mai nei? ”

A lohe laua i keia leo ninau,:-hoomaha iho la ke Alii aole i pane aku.

A mahope, ala ae la o Kahalaomapuana, a komo aku la ji ka
Halealii, aia hoi e noho mai ana o Hauailiki me Laieikawai iloko o
ka Haleali.

I aku la o Kahalaomapuana, “EE! e Hauailiki, e ku oe a e hele,
aole i kupono kou komo ana mai nei, ua olelo aku wau ia oe i kela
po mamua, aole ou kuleana ma keia wahi, ua like no ka’u olelo i
keia po me ka po mua, nolaila, e ku oe a hoi aku.”

A no keia olelo a Kahalaomapuana, ku ae la o Hauailiki me ka
naau hilahila, a hoi aku Ja i kai o Keaau, a hai aku la i kona hoa
no keia pili ana i Paliuli.

A ike iho la o Hauailiki, aole he kuleana hou e loaa ai o Laieika-
wal, alaila, hoomakaukau ae la na waa no ka hoi i Kauai, a ma ka
wanaao, haalele lakou ia Keaau, a hoi aku la.

Ta Hauailiki ma i hoi aku aii Kauai, a hiki lakou ma Wailua, ike
aku la oia e akoakoa mai ana na’lii, a me na kaukaualii, a Kauaka-
hialii, a me Kailiokalauokekoa kekahi i kela manawa.

Ja Hauailiki ma e hookokoke aku ana ma ka nuku o ka muliwai
o Wailua, ike aku la oia ia Aiwohikupua, kahea aku la, “Ua eo
wau la oe.”

A hiki aku la o Hauailiki, a hai aku Ja i ke ano o kana hele ana
ia Aiwohikupua, me ka hai aku nae i ka lilo ana o kona mau kai-
kuahine i mau kiai no ke Alii, alaila, he mea olioli ia ia Aiwohikupua.

I aku nae oia ia Hauailiki, “ Ua pau ka pili a kaua, no ka manawa
ona awa aku la no ia.”

I loko nae o ko Hauailiki manawa e kamailio ana no ka lilo ana o
na kaikuahine o Aiwohikupua i mau koa kiai no Laieikawai, alaila,
ua manaolana hou ae la o Aiwohikupua e holo i Hawaii, no ke kii
no ia Laieikawai e like no me kona manao mua.

CHAPTER XV

Said Aiwohikupua, “ How fortunate I am to have left my sisters
on Hawaii, and so I shall attain my desire, for I have heard that
my sisters are guardians to the one on whom I have set my heart.”

Now, while all the chiefs were gathered at Wailua, then Aiwohi-
kupua stood up and declared his intention in presence of the chiefs:
“Where are you! I shall go again to Hawaii, I shall not fail of my
desire; for my sisters are new guardians of her on whom I have
set my heart.”

At these words of Aiwohikupua, Hauailiki said, “ You will not
succeed, for I saw that the princess was taboo, and your sisters also
put on reserved airs; one of them, indeed, was furious, the smallest
of them; so my belief is you will not succeed, and if you go near
you will get paid for it.”

To Hauailiki’s words Aiwohikupua paid no attention, for he was
hopeful because of. what he had heard of his sisters’ guarding the
princess.

After this he summoned tbe bravest of his fighting men, his body-
guard, all his chiefly array, and the chief arranged for paddlers;
then he commanded the counsellor to make the canoes ready.

The counsellor chose the proper canoes for the trip, twenty double
canoes, and twice forty single canoes, these for the chiefs and the
bodyguard, and forty provision canoes for the chief’s supplies; and
as for the chief himself and his counsellor, they were on board of a
triple canoe.

When everything was ready for such a journey they set out.

Many days they sailed. When they came to Kohala, for the first
time the Kohala people recognized Aiwohikupua, a magician re-
nowned all over the islands. And because the chief came in disguise
to Kohala when he fought with Cold-nose, this was why they had
not recognized him.

They left Kohala and went to Keaau. Just as they reached there,
Laiecikawai and the sisters of Aiwohikupua returned to Paliuli.

When Laieikawai and her companions returned, on the day when
Aiwohikupua’s party arrived, their grandmother had already fore-
seen Aiwohikupua’s arrival at Keaau.

460

MOKUNA XV

I iho Ja o Aiwohikupua, “ Pomaikar wau no kuu haalele ana i
na kaikuahine o’u i Hawaii, a e ko auanei ko’u makemake; no ka
mea, ua lohe ae nei wau, ua lilo ko’u mau kaikuahine i mau koa kiai
no ka’u mea e manao nei.”

I kela manawa a na’lii a pau e akoakoa nei ma Wailua, alaila,
ku mai la o Aiwohikupua a hai mai la i kona manao imua o na
Ali. “Auhea oukou, e holo hou ana wau i Hawaii, aole au e nele
ana i ko’u makemake, no ka mea, aia’ku la i o’'u mau kaikuahine ke
kiai o ka’u mea e manao nei.”

A no kela olelo a Aiwohikupua, pane mai la o Hauailiki, “Aole
e loaa ia oe, no ka mea, ua ike aku la wau i ke kapu o ke Alii wahine,
a kapukapu no hoi me ou mau kaikuahine, hookahi nae kaikuahine
huhu loa, o kahi mea uuku, nolaila ko’u manao paa aole e loaa ia oe,
a he uku no kou kokoke aku.”

A no keia olelo a Hauailiki, aole he manao io o Aiwohikupua,
no ka mea, ua manaolana loa kela no ka lohe ana o kona mau
kaikuahine na kiai o ke Alii.

Mahope iho oia mau la, hoolale ae la oia i kona mau puali koa
kiai, a me kona hanohano Alii a pau. A makaukau ke Alii no na
kanaka, alaila, kauoha ae la oia i kona Kuhina e hoomakaukau na
waa.

Wae ae la ke Kuhina i na waa kupono ke holo, he iwakalua kaulua,
elua kanaha kaukahi, no na kaukaualii, a me na puali o ke Alii keia
mau waa, a he kanaha peleleu, he mau waa a-ipuupuu no ke Alii ia.
A o ke Alii hoi a me kona Kuhina, maluna laua o na pukolu.

A makaukau keia mau mea a pau, e like me ka wa holo mau o ke
Alii, pela lakou i holo ai.

He nui na la i hala ma ia holo ana. A hiki lakou ma Kohala, ia
manawa, akahi no a maopopo i ko Kohala poe o Aiwohikupua keia,
ke kupua kaulana a puni na moku. A no ko ke Alii huna ana ia
ia ma kela hiki ana ma Kohala, i hakaka’i me Ihuanu, oia ka mea
i ike oleia ai.

Haalele Jakou ia Kohala, hiki aku la lakou i Keaau. I kela
manawa a lakou i hiki aku ai, ua hoi aku o Laieikawai, a me na
kaikuahine pu o Aiwohikupua i Paliuli.

Ta Laieikawai ma i hoi aku ai ma kela la a Aiwohikupua ma i hiki
aku ai, ua ike mua mai ko lakou kupunawahine i ko Aiwohikupua
hiki ana ma Keaau.

461

462 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Said Waka, “Aiwohikupua has come again to Keaau, so let the
guard be watchful, look out for yourselves, do not go down to the sea,
stay here on the mountain until Aiwohikupua returns to Kauai.”

When the princess’s head guard heard the grandmother’s words,
then Kahalaomapuana immediately ordered Kihanuilulumoku,” their
god, to come near the home of the chief and prepare for battle.

As the princess’s chief guard, she ordered her sisters to consult
what would be the best way to act in behalf of the princess.

When they met and consulted what was best to be done, all agreed
to what Kahalaomapuana, the princess’s chief guard, proposed, as
follows: “ You, Mailehaiwale, if Aiwohikupua should come hither,
and you two meet, drive him away, for you are the first guard; and
if he should plead his cause force him away: and if he is very per-
sistent, because he is a brother, resist him still more forcibly; and if
he still insists then despatch one of the guardian birds to me, then
we will all meet at the same place, and I myself will drive him away.
If he threatens to harm us, then I will command our god, Kihanui-
lulumoku, who will destroy him.”

After all the council had assented they stationed themselves at a
distance from each other to guard the princess as before.

At dawn that night arrived Aiwohikupua with his counsellor.
When they saw the taboo sign—the hollow post covered with white
tapa—then they knew that the road to the princess’s dwelling was
taboo. But Aiwohikupua would not believe it taboo because of hav-
ing heard that his sisters had the guardian power.

So they went right on and found another taboo sign like the first
which they had found, for one sign was set up for each of the sisters.

After passing the fourth taboo sign, they approached at a distance
the fifth sign; this was Kahalaomapuana’s. This was the most ter-
rible of all, and then it began to be light; but they could not see in
the dark how terrible it was.

They left the sign, went a little way and met Mailehaiwale; over-
joyed was Aiwohikupua to see his sister. At that instant Maile-
haiwale cried, “ Back, you two, this place is taboo,”

BECKWITH] TEXT AND TRANSLATION 463

I mai la o Waka, “ Ua hiki hou mai la o Aiwohikupua ma Keaau
i keia la; nolaila, e kiai oukou me ka makaukau, e makaala ia oukou
iho, mai iho oukou maikai, e noho oukou mauka nei a hiki i ka hoi
ana o Aiwohikupua i Kauai.”

A lohe ke koa kiai Nui o ke Alii wahine i keia olelo a ko lakou
kupunawahine, ia’ manawa, kauoha koke ae la o Kahalaomapuana
ia Kihanuilulumoku ko lakou Akua, e hookokoke mai ma ka Halealii,
e hoomakaukau no ka hoouka kaua.

Ma ko Kahalaomapuana ano kiai nui no ke Alii, kauoha ae la oia
i kona mau kaikuaana, e kukakuka lakou ma na mea e pono ai ke
Alii.

Ja lakou i akoakoa ai, kukakuka iho la lakou ma na mea kupono
ja lakou. <A eia ka lakou mau olelo hooholo, ma o ka noonoo la o
Kahalaomapuana, ke koa kiai nui o ke Alii, “O oe e Mailehaiwale,
ina e hiki mai o Aiwohikupua a halawai olua, e kipakuaku oe ia ia;
no ka mea, o oe no ke kiai mua loa, a ina e hai mai i kona makemake,
e hookuke aku no, a ina i paakiki loa mai ma kona ano keikikane |
ana, e hookuke ikaika aku ja ia, a ina i nui mai ka paakiki, alaila, e
hoouna ae oe i kekahi manu kiai ou i o’u la, alaila, e hele mai au
e hoohui ia kakou ma kahi hookahi, a na’u ponoi e kipaku aku ia ia.
Ina he hele mai kana me ka inoino, alaila, e kauoha no wau i ko
kakou Akua ia KGhanuilulumoku, nana no e luku aku ia ia.”

A pau aela ka lakou kuka ana no keia mau mea, hookaawale lakou
ia lakou iho e like me mamua, oiai e kiai ana lakou i ke Alii.

Ma ka wanaao oia po iho, hiki ana o Aiwohikupua me kona
Kuhina. Ia laua i ike mai ai e ku ana ka pahu kapu, ua uhiia i ka
oloa, alaila, manaoae la laua ua kapu ke alanuie hiki aku aii kahi o ke
Alii. Aka, aole nae o Aiwohikupua manao ia kapu; no ka mea, ua
lohe mua no ia, o kona mau kaikuahine ka mana kiai; nolaila, hoomau
aku la laua i ka hele ana, a loaa hou he pahu kapu e like no me ka
mea mua i loaa’i ia laua. Ua like no ko Aiwohikupua manao ma
keia pahu kapu me kona manao mua.

Hoomau aku la no laua i ka hele ana a loaa hou ke kolu o ka pahu
kapu e like me na mea mua; no ka mea, ua kukuluia no na pahu kapu
e like me ka nui o kona mau kaikuahine.

A loaa ia laua ka ha o na pahu kapu, alaila, kokoke laua e hiki i
ka lima o ka pahu kapu, oia no hoi ko Kahalaomapuana pahu kapu.
Oia no hoi ka pahu kapu weliweli loa, ke hoomaka aela e malamalama
joa. Aka, aole nae laua i ike i ka weliweli oia pahu kapu, no ka mea,
e molehulehu ana no.

Haalele laua i kela pahu, aole i liuliu ko laua hele ana aku,
halawai mua no Jaua me ke kiai mua me Mailehaiwale, mahamaha
aku la o Aiwohikupua, no ka ike ana aku i ke kaikuahine; ia wa koke
no, pane aku la o Mailehaiwale. “E hoi olua ano, he kapu keia
wahi.”

464 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 33

Aiwohikupua supposed this was in sport; both again began to
approach Mailehaiwale; again the guardian told them to go. “ Back
at once, you two! What business have you up here and who will
befriend you?”

“ What is this, my sister?” asked Aiwohikupua. “ Are you not my
friends here, and through you shall I not get my desire?”

Then Mailehaiwale sent one of her guardian birds to Kahalao-
mapuana; in less than no time the four met at the place guarded by
Mailekaluhea, where they expected to meet Aiwohikupua.

BECKWITH] TEXT AND TRANSLATION 465

Kuhi iho la o Aiwohikupua hoomaakaaka hoomaauea, hoomaka hou
aku la laua e hookokoke aku i o Mailehaiwale, kipaku hou mai la no ke
kiai. “E hoi koke olua, owai ko olua kuleana o uka nei, a o wai
ko olua makamaka ? ”

“ Heaha keia, e kuu kaikuahine?” wahi a Aiwohikupua, “ Kainoa
o oukou no ko’u makamaka, a ma o oukou la e loaa’i ko’u makemake.”

Ta manawa, hoouna aku la o Mailehaiwale i kekahi manu kiai
ona, a hiki i o Kahalaomapuana la; he manawa ole, hoohui ae la
keia ia lakou a eha ma ko Mailekaluhea wahi kiai, a malaila i manao
ai lakou e halawai me Aiwohikupua.

74936°—19—33 ErH——30

CHAPTER XVI

And they were ready and were sent for and came. When Aiwohi-
kupua saw Kahalaomapuana resting on the wings of birds, as com-
mander in chief, this was a great surprise to Aiwohikupua and his
companion. Said the head guard, “ Return at once, linger not, delay
not your going, for the princess is taboo, you have not the least busi-
ness in this place; and never let the idea come to you that we are
your sisters; that time has passed.” Kahalaomapuana arose and dis-
appeared.

Then the hot wrath of Aiwohikupua was kindled and his anger
grew. He decided at that time to go back to the sea to Keaau, then
send his warriors to destroy the younger sisters.

When they turned back and came to Kahalaomapuana’s taboo sign,
behold! the tail of the great lizard protruded above the taboo sign,
which was covered with white tapa wound with the zeze vine and the
sweet-scented fern,™ and it was a terrible thing to see.

As soon as Aiwohikupua and his companion reached the sea at
Keaau, Aiwohikupua’s counsellor dispatched the chief’s picked fight-
ing men to go up and destroy the sisters, according to the chief’s
command.

That very day Waka foresaw what Aiwohikupua’s intention was.
So Waka went and met Kahalaomapuana, the princess’s commander
in chief, and said: “ Kahalaomapuana, I have seen what your brother
intends to do. He is preparing ten strong men to come up here and
destroy you, for your brother is wrathful because you drove him
away this morning; so let us be ready in the name of our god.”

Then she sent for Kihanuilulumoku, the great lizard of Paliuli,
their god. And the lizard came and she commanded him: “O our
god, Kihanuilulumoku, see to this lawless one, this mischief-maker,
this rogue of the sea; if they send a force here, slaughter them all,
let no messenger escape, keep on until the last one is taken, and be-
ware of Kalahumoku, Aiwohikupua’s great strong dog;*? if you
blunder, there is an end of us, we shall not escape; exert your
strength, all your godlike might over Aiwohikupua. Amen, it is
finished, flown away.” This was Kahalaomapuana’s charge to
their god.

That night the ten men chosen by the chief went up to destroy the
sisters of Aiwohikupua, and the assistant counsellor made the eley-
enth in place of the chief counsellor.

466

MOKUNA XVI

A makaukau lakou, kii ia’ku la lakou a hiki mai la. Ia Aiwohi-
kupua 1 ike aku ai ia Kahalaomapuana e kau mai ana kela iluna o
ke eheu o na manu, me he Alihikaua Nui la, a he mea hou loa ia ia
Aiwohikupua ma. Pane mai la ka kiai Nui, “FE hoi olua ano, mai
lohi, a aole hoi e kali, no ka mea, ua kapu ke Alii, aole no ou
kuleana ma keia wahi, a aole no hoi e hiki ia oe ke manao mai he
mau kaikuahine makou nou, ua hala ia manawa.” O ke ku aku la
no ia o Kahalaomapuana hoi, pau ka ike ana.

I kela manawa, ua ho-aia ka inaina wela o Aiwohikupua a ma-
huahua. Ma ia manawa, manao iho la oia e hoi a kai o Keaau,
alaila, hoouna mai i kona mau puali koa e luku i na kaikuahine.

Ta laua i kaha aku e hoi a hikii ka pahu kapu o Kahalaomapuana,
aia hoi ilaila, ua hoopiiia ka huelo o ua moo nui nei iluna o ka pahu
kapu, ua uhiia i ka oloa, ka ieie, a me ka palai, a he mea weliweli
loa ia laua ka nana ana aku.

A hiki o Aiwohikupua ma i kai o Keaau, ia manawa, hoolale ae la
ke Kuhina o Aiwohikupua i na puali koa o ke Alii e pii e lukwi na
kaikuahine, ma ke kauoha a ke Alii. ,

Ta la no, ike mua mai la no o Waka i ko Aiwohikupua manao,
ame kana mau hana. A no ia mea, hele mai la o Waka a halawai me
Kahalaomapuana, ko ke Alii wahine Alihikaua, olelo mai la, “E
Kahalaomapuana, ua ike wau i ka manao o ko oukou kaikunane, a me
kana mau hana, ke hoomakaukau Ja oia i umi mau kanaka ikaika,
nana e kii mai e luku ia oukou, no ka mea, ua inaina ko oukou
kaikunane, no ko oukou kipaku ana j kakahiaka nei; nolaila, e noho
makaukau oukou ma ka inoa o ko kakou Akua.”

Ta manawa, kauoha ae la oia ia Kihanuilulumoku, ka moo nui o
Paliuli, ke akua o lakou nei. A hiki mai la ua moo nei, kauoha
aku la oia, “E ko makou Akua, e Kihanuilulumoku, nanaia ke
kupu, ka eu, ke kalohe o kai, ina e hele mai me ko lakou ikaika, pe-
pehiia a pau, aohe ahailono, e noke oe a holo ke i olohelohe, e ao nae
oe ia Kalahumoku, i ka ilio nui ikaika a Aiwohikupua, hemahema
no oe, pau loa kakou, aole e pakele, kulia ko ikaika, ko mana a pau
iluna o Aiwohikupua, Amama, ua noa, lele wale la.” Oia ka pule
kauoha a Kahalaomapuana i ko lakou Akua.

Ma ka po ana iho, pii aku la na kanaka he umi a ke Alii i wae ae e
luku i na kaikuahine o Aiwohikupua, a o ka hope Kuhina ka umi-
kumamakahi, mamuli o ka hookohu a ke Kuhina Nui i hope nona.

467

468 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 33

At the first-dawn they approached Paliuli. Then they heard the
humming of the wind in the thicket from the tongue of that great
lizard, Kihanuilulumoku, coming for them, but they did not see the
creature, so they went on; soon they saw the upper jaw of the lizard
hanging right over them; they were just between the lizard’s jaws;
then the assistant counsellor leaped quickly back, could not make the
distance; it snapped them up; not a messenger was left.

-Two days passed; there was no one to tell of the disaster to
Aiwohikupua’s party, and because he wondered why they did not
return the chief was angry.

So the chief again chose a party of warriors, twenty of them, from
the strongest of his men, to go up and destroy the sisters; and the
counsellor appointed an assistant counsellor to go for him with
the men.

Again they went up until they came clear to the place where the
first band had disappeared; these also disappeared in the lizard;
not a messenger was left.

Again the chief waited; they came not back. The chief again
sent a band of forty; all were killed. So it went on until eight times
forty warriors had disappeared.

Then Aiwohikupua consulted with his counsellor as to the reason
for none of the men who had been sent returning.

Said Aiwohikupua to his counsellor, “ How is it that these war-
riors who are sent do not return?”

Said his counsellor, “It may be when they get to the uplands and
see the beauty of the place they remain, and if not, they have all
been killed by your sisters.”

“ How can they be killed by those helpless girls, whom I intended
to kill?” So said Aiwohikupua.

And because of the chief’s anxiety to know why his warriors did
not come back he agreed with his counsellor to send messengers to
see what the men were doing.

At the chief’s command the counsellor sent the Snipe and the
Turnstone, Aiwohikupua’s swiftest messengers, to go up and find
out the truth about his men.

Not long after they had left they met another man, a bird catcher
from the uplands of Olaa;°* he asked, ‘“‘ Where are you two going?”

The runners said, “ We are going up to find out the truth about
our people who are living at Paliuli; eight times forty men have been
sent—not one returned.”

“They are done for,” said the bird catcher, “in the great lizard,
Kihanuilulumoku; they have not been spared.”

BECKWITH] TEXT AND TRANSLATION 469

Ma ka pili o ka wanaao, hiki lakou 1 kahi e kokoke iki aku ana
i Paliuli. Ia manawa, lohe aku la Jakou i ka hu o ka nahele i ka
makani o ke alelo o ua moo nui nei o Kihanuilulumoku, e hanu mai
ana ia lakou nei, aole nae lakou i ike i keia mea, nolaila, hoomau
aku la lakou i ka hele ana aole nae lakou i liuliu aku, he ike ana ka
lakou i ka upoi ana iho a kea luna 0 ua moo nei maluna pono iho o
lakou nei, aia nae lakou nei iwaenakonu o ka waha o ka moo, ia
manawa, e lele koke aku ana ka Hope Kuhina, aole 1 kaawale aku, o
ka muka koke ia aku Ja no ia pau loa, aohe ahailono.

Elua la, aohe mea nana i hai aku keia pilikia ia Aiwohikupua ma.
A no ka haohao o ke Alii i ka hoi ole aku o kona mau koa. alaila- he
mea e ka huhu o ke Alii.

A no keia mea, wae hou ae la ke Alii he mau kanaka he iwakalua
e pil e luku i na kaikuahine, ma ka poe ikaika wale no; a hookohu
aku la ke Kuhina i Hope Kuhina nona e hele pu me na koa.

Pii hou aku la no Jakou a hiki no i kahi i pau ai kela poe mua i ka
make, pau hou no 1 ua moo nei, aohe ahailono.

Kali hou no ke Alii aole i hoi aku. Hoouna hou aku no ke Alii
hookahi kanaha koa, pau no i ka make; pela mau aku no ka make
ana a hikii ka ewalu kanaha o na kanaka i pau i ka make.

Ta manawa, kukakuka ae la o Aiwohikupua me kona Kuhina i ke
kumu o keia hoi ole mai o na kanaka e hoouna mauia nei.

I aku o Aiwohikupua i kona Kuhina, “ Heaha keia e hoi ole mai
nel na-kanaka a kaua e hoouna aku nei?”

T aku la kona Kuhina, “ Malia paha, ua pii no lakou a hiki iuka, a
no ka ike i ka maikai o kela wahi, noho aku la no, a i ole, ua make
mai la no i ou mau kaikuahine.”

“Pehea auanei e make ai ia lakou, o na kaikamahine palupalu
iho la ka mea e make ai o kau manao ana e make ia lakou?” pela
aku o Aiwohikupua.

A no ka makemake o ke Alii e ike i ke kumu e hoi ole nei o kona
mau kanaka, hooholo ae la laua me kona Kuhina e hoouna i mau
elele e ike i ke kumu o keia hana a na kanaka o Jaua.

Ma ke kauoha a ke Alii, lawe ae la ke Kuhina ia Ulili, a me
Akikeehiale, ko Aiwohikupua mau alele mama. a pii aku la e ike
i ka pono o kona mau kanaka.

T ua mau elele la i hala aku ai, aole i liuliu halawai mai la me
Jaua kekahi kanaka kia manu mai uka mai o Olaa; ninau mai la,
“Mahea ka olua hele.”

Olelo aku na elele, “E pii aku ana maua e ike i ka pono o ko
makou poe, e noho la i Paliuli, awalu kanaha kanaka i hoounaia,
2ole hookahi o lakou i hoi ae.”

“Pau aku la,” wahi a ke kia manu, “i ka moo nui ia Kihanuilu-
lumoku, aole e pakele mai.”

470 HAWAIIAN ROMANCE OF LATEIKAWAI (ETH. ANN. 83

When they heard this they kept on going up; not long after they
heard the sighing of the wind and the humming of the trees bending
back and forth; then they remembered the bird catcher’s words, “ If
the wind hums; that is from the lizard.”

They knew then this must be the lizard; they flew in their bird
bodies. They flew high and looked about. There right above them
was the upper jaw shutting down upon them, and only by quickness
of flight in their bird bodies did they escape.

BECKWITH] TEXT AND TRANSLATION 471

A lohe laua i keia mea, hoomau aku la laua i ka pii ana, aole i
upuupu, lohe aku la laua i ka hu a ka makani, a me ke kamumu o
na laau e hina ana ma-o a ma-o, alaila hoomanao laua i ka olelo a ke
kia manu, “ina e hu ana ka makani, o ua moo la ia.”

Maopopo iho la ia laua o ua moo nei keia, e lele ae ana laua ma ko
laua kino manu. Ta lele ana a kielkie laua nei, i alawa ae ka hana
‘aia maluna pono o laua ea luna e poi iho ana ia laua nei, a no ko
laua nei mama loa o ka lele ana ma ko laua ano kino manu, ua
pakele laua.

CHAPTER XVII

As they flew far upward and were lost to sight on high, Snipe and
his companion looked down at the lower jaw of the lizard plowing
the earth like a shovel, and it was a fearful thing to see. It was plain
their fellows must all be dead, and they returned and told Aiwohi-
kupua what they had seen.

Then Kalahumoku, Aiwohikupua’s great man-eating dog, was
fetched to go and kill the lizard, then to destroy the sisters of
Aiwohikupua.

When Kalahumoku, the man-eating dog from Tahiti, came into the
presence of his grandchild (Aiwohikupua), “Go up this very day
and destroy my sisters,” said Aiwohikupua, “and bring Laieikawai.”

Before the dog went up to destroy Aiwohikupua’s sisters the dog
first instructed the chief, and the chiefs under him, and all the men,
as follows: “ Where are you? While I am away, you watch the up-
lands. When the clouds rise straight up, if they turn leeward then I
have met Kihanuilulumoku and you will know that we have made
friends. But if the clouds turn to the windward, there is trouble;
T have fought with that lizard. Then pray to your god, to Lanipipili;
if you see the clouds turn seaward, the lizard is the victor; but when
the clouds ascend and turn toward the mountain top, then the lizard
has melted away; we have prevailed.** Then keep on praying until
TI return.” ©

After giving his instructions, the dog set out up the mountain, and
Aiwohikupua sent with him Snipe and Turnstone as messengers to
report the deeds of the dog and the lizard.

When the dog had come close to Paliuli, Kihanuilulumoku was
asleep at the time; he was suddenly startled from sleep; he was
awakened by the scent of a dog. By that time the lizard was too
late for the dog, who went on until he reached the princess’s first
guardian.

Then the lizard took a sniff, the guardian god of Paliuli, and
recognized Kalahumoku, the marvel of Tahiti; then the lizard lifted
his upper jaw to begin the fight with Kealnieanokn

Instantly the dog showed his teeth at the lzard, and the fight
began; then the lizard was victor over Kalahumoku and the dog just
escaped without ears or tail.

472

MOKUNA XVII

I kela wa, lele Kaawale loa aku la laua a hala loa i luna lilo, i nana
iho ka hana o ua o Ulili ma i hea lalo o ua moo nei, e eku ana i ka
honua me he Oopalau la, alaila, he mea weliweli ia laua i ka nana
aku, maopopo iho la ia laua, ua pau ko lakou poe kanaka i ka make,
hoi aku Ja Jaua a olelo aku la ia Aiwohikupua i ka laua mea i ike ai.

Ia manawa, kiiia aku la o Kalahumoku, ka ilio nui ai kanaka a
Aiwohikupua e hele e pepehi i ka moo a make, alaila, luku aku i na
kaikuahine o Aiwohikupua.

I ka hiki ana o Kalahumoku ua ilio ai kanaka o Tahiti imua o
kana moopuna (Aiwohikupua), “FE pii oe i keia la e Juku aku i o’u
mau kaikuahine,” wahi a Aiwohikupua, “a e lawe pu mai ia Lai-
eikawai.”

Mamua o ko ka ilio pii ana e Juku i na kaikuahine o Aiwohikupua,
kauoha mua ua Ilio nei i ke Alii, a me na kaukaualii, a me na kanaka
a pau, a penei kana olelo kauoha: “Auhea oukou, ma keia pii ana
au, e nana oukou i keia la iuka, ina e pii ka ohu a kupololei i luna
a kiekie loa, ina e hina ka ohu ma ka lulu, alaila, ua halawai wau me
Kihanuilulumoku, manao ae oukou ua hoaikane maua. Ina hoi e
hina ana ka ohu i ka makani, alaila, ua hewa o uka, ua hakaka maua
me ua moo nei. Alaila, o ka pule ka oukou i ke Akua ia Lanipipili,
nana ae oukou i ka ohu a i hina i kai nei, ua lanakila ka moo; aka
hoi, i pii ka ohu i Juna a hina i Juna o ke kuahiwi, alaila, ua hee ka
moo; 0 ko kakou lanakila no hoi ia. Nolaila, e hoomau oukou i ka
pule a hoi wale mai au.”

I ka pau ana o keia mau kauoha, pii aku la ka ilio, hoouna pu aku
la o Aiwohikupua ia Ulili laua me Akikeehiale, i mau elele na laua
e hai mai ka hana a ka moo me ka Tlio.

I ka ilio i hiki aku ai iuka ma kahi kokoke i Paliuli, ua hiamoe nae
o Kihanuilulumoku ia manawa. I ua moo nei e moe ana, hikilele ae
la oia mai ka hiamoe ana, no ka mea, ua hoopuiwaia e ka hohono ilio,
ia manawa nae, ua hala hope ka moo i ka ilio, e hele aku ana e loaa
ke kiai mua o ke Alii Wahine.

Ta manawa, hanu ae la ka moo ka hookalakupua hoi o Paliuli, a
ike aku Ja ia Kalahumoku i ke aiwaiwa o Tahiti, ia manawa, wehe ae
Ja ua moo nei 1 kona @ luna e hoouka no ke kaua me Kalahumoku.

I kela manawa koke no, hoike aku ana ka ilio i kona mau niho
imua o ka moo. O ka hoomaka koke no ia o ke kaua, ia manawa, ua
Janakila ka moo maluna o Kalahumoku, a hoi aku la ka ilio me ke
ola mahunehune, ua pau na pepeiao a me ka huelo.

473

474 HAWAIIAN ROMANCE OF LAIEIKAWATI [ETH. ANN. 33

At the beginning of the fight the messengers returned to tell
Aiwohikupua of this terrible battle.

When they heard from Snipe and his companion of this battle
between the lizard and the dog, Aiwohikupua looked toward the
mountain.

As they looked the clouds rose straight up, and no short time after
turned seaward, then Aiwohikupua knew that the lizard had pre-
vailed and Aiwohikupua regretted the defeat of their side.

In the evening of the day of the fight between the two marvelous
creatures Kalahumoku came limping back exhausted; when the chief
looked him over, gone were the ears and tail inside the lizard.

So Aiwohikupua resolved to depart, since they were vanquished.
They departed and came to Kauai and told the story of the journey
and of the victory of the lizard over them. (This was the third time
that Aiwohikupua had been to Paliuli after Laieikawai without ful-
filling his mission.) -

Having returned to Kauai without Laieikawai, Aiwohikupua
gave up thinking about Laieikawai and resolved to carry out the
commands of Poliahu.

At this time Aiwohikupua, with his underchiefs and the women
of his household, clapped hands in prayer before Lanipipili, his god,
to annul his vow.

And he obtained favor in the presence of his god, and was released
from his sinful vow “ not to take any woman of these islands to wife,”
as has been shown in the former chapters of this story.

After the ceremonies at Kauai, he sent his messengers, the Snipe
and the Turnstone, to go and announce before Poliahu the demands
of the chief.

In their bird bodies they flew swiftly to Hinaikamalama’s home at
Hana and came and asked the people of the place, “ Where is the
woman who is betrothed to the chief of Kauai?”

“ She is here,” answered the natives of the place.

They went to meet the princess of Hana.

The messengers said to the princess, “ We have been sent hither
to tell you the command of your betrothed husband. You have three
months to prepare for the marriage, and in February, on the night
of the seventeenth, the night of Kulu, he will come to meet you,
according to the oath between you.”

When the princess had heard these words the messengers returned
and came to Aiwohikupua.

Asked the chief, “ Did you two meet Polahu?”

“ Yes,” said the messengers, “we told her, as you commanded, to
prepare herself; Poliahu inquired, ‘ Does he still remember the game
of konane between us?”

BECKWITH] TEXT AND TRANSLATION 475

I ka hoomaka ana nae o ko laua hakaka, hoi aku la na elele a hai aku
Ja ia Aiwohikupua ma i keia kaua weliweli.

A lohe aku la Jakou ia Ulili ma i keia kaua a ka moo me ka ilio,
a he mea mau nae ia Aiwohikupua ma ka nana ia uka.

Ja lakou no enana ana, pii ae la ka ohu a kupololei i luna aole i
upuupu, hina ana ka ohu i kai, alaila, manao ae la o Aiwohikupua
va lanakila ka moo, alaila, he mea kaumaha ia Aiwohikupua no ke
pio ana o ko lakou aoao. '

Ma ke ahiahi o ua la hoouka kaua nei o na kupueu, hoi mai ana o
Kalahumoku me ka nawaliwali, ua pau ke aho, i nana aku ka hana o
ke Aliii kana ilio, ua pau na pepeiao, a me ka huelo i ka moo.

A no keia mea, manao ae la o Aiwohikupua e hoi, no ka mea, ua
pio lakou. Hoi aku Ja lakou a hiki i Kauai, a hai aku la i ke ano o
kana hele ana, a me ka Janakila o ka moo maluna o Jakou. (O ke
kolu keia o ko Aiwohikupua hiki ana i Paliuli no Laieikawai, aole
he ko iki o kona makemake.)

Ma keia hoi ana o Aiwohikupua i Kauai, mai ke kii hope ana ia
Laieikawaii, alaila, hoopau loa o Aiwohikupua i kona manao ana no
Laieikawai. Ja manawa ka hooko ana a Aiwohikupua e hoo ko i ka
olelo Kauohu a Poliahu.

I kela wa, papaiawa ae la o Aiwohikupua me kona mau kau-
kaualii, a me na hatawahine ona e hoopau i kana olelo hoohiki imua
© Lanipipili kona Akua.

A loaa kona hoomaikaiia imua o kona Akua, me ke kalaia o kona
hala hoohiki, “Aole e lawe i kekahi o na wahine o keia mau mokupuni
i wahine hoao,” e like me na mea i hoikeia ma kekahi o na Mokuna
mua o keia Kaao.

A pau na la o ka papaiawa ma Kauai, hoouna aku la ia i kona mau
elele ia Ulili laua me Akikeehiale, e holo aku e hai i ka olelo kauoha
a ke Alii imua o Poliahu.

Ma ko Jaua ano kino manu, ua lele koke laua a hiki Hinaikamalama
Ja ma Hana, a hiki Jaua, ninau aku i na ka maaina, “Auhea la ka
wahine hoopalau a ke Alii 0 Kauai.”

“FE i ae no,” wahi a ma kamaaina. -

Hele aku la laua a halawai me ke Alii wahine o Hana.

Olelo aku la na elele i ke Alii wahine, “I hoounaia mai nei maua
e hai aku ia oe, ma ke kauoha a ko kane hoopalau. Ekolu malama
ou e hoomakaukau ai no ka hoao o olua, a ma ka ha o ka malama
ika po i o Kulu e hiki mai ai oia a halawai olua e like me ka olua
hoohiki ana.”

A lohe ke Alii wahine i keia mau olelo, hoi aku la na elele a hiki
i o Aiwohikupua.

Ninau mai la ke Alii, “ Ua halawai olua me Poliahu?”

“Ae,” wahi a na elele, “hai aku nei maua e like me ke kauoha,
ke hoomakaukau Ja paha kela, i mai nei nae o ua Poliahu ia maua,
ke hoomanao la no nae paha ia i ke konane ana a maua ?”

476 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 88

“Perhaps so,” answered the messengers.

When Aiwohikupua heard the messengers’ words he suspected that
they had not gone to Poliahu; then Aiwohikupua asked to make sure,
“How did you two fly?”

Said they, “ We flew past an island, flew on to some long islands—
a large island like the one we first passed, two little islands like one
long island, and a very little island; we flew along the east coast of
that island and came to a house below the hills covered with shade;
there we found Poliahu; that was how it was.”

Said Aiwohikupua, “ You did not find Polahu; this was Hinaika-
malama.” .

Now for this mistake of the messengers the rage of Aiwohikupua
was stirred against his messengers, and they ceased to be among his
favorites.

At this, Snipe and his companion decided to tell the secrets pro-
hibited to the two by their master. Now how they carried out their
intrigue, you will see in Chapter XVIII.

BECKWITH] TEXT AND TRANSLATION 477

“Ae paha,” wahi a na elele.

A lohe ke Alii i keia olelo hope a na elele, manao ae la o Aiwohi-
kupua i keia mau olelo, aole ia i hiki i o Poliahu la, alaila, hooma-
opopo aku Ja o Aiwohikupua, “ Pehea ka olua lele ana aku nei?”

Hai aku laua, “ Lele aku nei maua a loaa he mokuaina lele hou aku
no a he wahi mokuaina loihi, mailaila aku maua a he mokuaina
nui e like me ka moku i loaa mua ia maua, elua nae mau moku
liilii iho e like me kahi moku Joihi, a he wahi mokuaina uuku loa
iho, lele aku la maua ma ka aoao hikina o ua moku Ja a hiki maua
he hele malalo o na puu, a he malu e uhi ana, ilaila o Poliahu i
loaa’i ia maua, ola la.”

I mai Ja o Aiwohikupua, “Aole i loaa ia olua o Poliahu, o Hinai-
kamalama aku la ia.”

Aka, ma keia hana a na elele lalau, ua ho-aia ka inaina o ke Alii
no kana mau elele, nolaila, ua hoopauia ko laua punahele.

Ma keia hoopauia ana o ua o Ulili ma, manao iho la laua, e hai
1 na mea huna 1 papaia ia laua e ko laua haku, nolaila, ua hooko laua
i ka laua mea i ohumu ai, aia ma ka Mokuna XVIIL, kakou e ike ai.

CHAPTER XVIII.

After the dismissal of Snipe and his fellow, the chief dispatched
Frigate-bird, one of his nimble messengers, with the same errand as
before.

Frigate-bird went to Poliahu; when they met, Frigate-bird gave
the chief’s command, according to the words spoken in Chapter
XVII of this story. Having given his message, the messenger re-
turned and reported aright; then his lord was pleased.

Aiwohikupua waited until the end of the third month; the chief
took his underchiefs and his favorites and the women of his house-
hold and other companions suitable to go with their renowned lord
in all his royal splendor on an expedition for the marriage of chiefs.

On the twenty-fourth day of the month Aiwohikupua left Kauai,
sailed with 40 double canoes, twice 40 single canoes, and 20 provision
boats.

Some nights before that set for the marriage, the eleventh night
of the month, the night of Huna, they came to Kawaihae; then he
sent his messenger, Frigate-bird, to get Poliahu to come thither to
meet Aiwohikupua on the day set for the marriage.

When the messenger returned from Poliahu, he told Poliahu’s
reply: “Your wife commands that the marriage take place at
Waiulaula. When you look out early in the morning of the seven-
teenth, the day of Kulu, and the snow clothes the summit of Mauna-
kea, Maunaloa, and Hualalai,®® clear to Waiulaula, then they have
reached the place where you are to wed; then set out, so she says.”

Then Aiwohikupua got ready to present himself with the splendor
of a chief.

Aiwohikupua clothed the chiefs and chiefesses and his two favor-
ites in feather capes and the women of his household in braided mats
of Kauai. Aiwohikupua clothed himself in his snow mantle that
Poliahu had given him, put on the helmet of ze vine wrought with
feathers of the red ziwe bird. He clothed his oarsmen and steersmen
in red and white ¢apa as attendants of a chief; so were all his body-
guard arrayed.

On the high seat of the double canoe in which the chief sailed was
set up a canopied couch covered with feather capes, and right above
the couch the taboo signs of a chief, and below the sacred symbols sat
Aiwohikupua.

478

MOKUNA XVIII

Mahope iho o ka hoopauia ana o Ulili ma; hoouna hou aku la oia
ia Koae, kekahi o kana mau elele mama e like me ka olelo kauoha
i na elele mua.

A hiki o Koae i o Poliahu Ja, halawai aku la laua, hai aku la o
Koae i ke kauoha a ke Alii e like me ka mea i haiia ma na pauku
hope o ka Mokuna XVII 0 keia Kaao; a pau na olelo a ke Alii i ka
haiia, hoi aku la ko ke Alii elele, a hai aku la ma ka pololei, alaila, he
mea maikai ia i kona Haku.

Noho iho la o Aiwohikupua, a i na la hope o ke kolu o ka malama;
lawe ae la ke Alii i kona mau kaukaualii, a me na punahele, i na
haiawahine hoi, na hoa kupono ke hele pu ma ke kahiko ana i ka
hanohano Alii ke hele ma kana huakai no ka hoao o na Ali.

I na la io Kaloa kukahi, haalele 0 Aiwohikupua ia Kauai, holo
aku oia he kanaha kaulua, elua kanaha kaukahi, he iwahalua peleleu.

Mamua o ka po hoao o na Alii, i ka po 1 o Huna, hiki lakou i
Kawaihae, ia manawa, hoouna aku la oia ia koae, kona elele e kii ia
Poliahu e iho mai e halawai me Aiwohikupua, i ka la i kauohaia’i
e hoao.

A hiki ka elele imua o Aiwohikupua mai ke kii ana ia Poliahu, a
hai mai Ja i kana olelo mai a Poliahu mai, “ Eia ke kauoha a ko
wahine, ma Waiulaula olua e hoao ai, ina e ike aku kakou ma ke
kakahiaka nui o ka la o Kulu, e halii ana ka hau mai ka piko o
Maunakea, Maunaloa, a me Hualalai, a hiki i Waiulaula, alaila, ua
hiki lakou 1 kahi o olua e hoao ai, alaila, hele aku kakou, pela mai
nel.”

Alaila, hoomakaukau ae la o Aiwohikupua i kona hanohano Alii.

Kahiko aku la o Aiwohikupua i kona mau kaukaualii kane, a me
na kaukaualii wahine, a me na punahele, i ka Ahuula, a o na haia-
wahine kekahi i kahikoia i ka Ahuoeno. A kahiko iho la o Aiwohi-
kupua i kona kapa hau a Poliahu i haawi aku ai, kau iho la i ka
mahiole ie i. hakuia i ka hulu o na Tiwi. Kahiko aku la oia i kana
mau hoewaa, a me na hookele i na kihei paiula, e like me ke kahiko
ana ina hoewaa o ke Alii, pela no na hoewaa o kona puali alii a pau.

Ma na waa o ke Alii i kau ai a holo aku, ua kukuluia maluna o na
pola o na waa he anuu, he wahi e noho ai ke Alii; ua hakuia ka anuu
o ke Alii i na Ahuula, a maluna pono o ka anuu, he mau puloulou
kapu Alii, a maloko o ka puloulou, noho iho la o Aiwohikupua.

479

480 HAWAIIAN ROMANCE OF LAIEIKAWAI [BTH. ANN. 33

Following the chief and surrounding his canoe came ten double
canoes filled with expert dancers. So was Aiwohikupua arrayed to
meet Poliahu.

On the seventeenth day, the day of Kulu, in the early morning, a
little later than sunrise, Aiwohikupua and his party saw the snow
begin to hide the summits of the mountain clear to the place of
meeting.

Already had Poliahu, Lilinoe, Waiaie, and Kahoupokane arrived
for the chief’s marriage.

Then Aiwohikupua set out to join the woman of the mountain.
He went in the state described above.

As Aiwohikupua was sailing from Kawaihae, Lilinoe rejoiced to
see the unrivaled splendor of the chief.

When they came to Waiulaula they were shivering with cold, so
Aiwohikupua sent his messenger to tell Poliahu, “ They can not come
for the cold.”

Then Poliahu laid off her mantle of snow and the mountain
dwellers put on their sun mantles, and the snow retreated to its usual
place.

When Aiwohikupua and his party reached Poliahu’s party the
princess was more than delighted with the music from the dancers
accompanying the chief’s canoe and she praised his splendid appear-
ance; it was beautiful.

When they met both showed the robes given them before in token
of their vow.

Then the chiefs were united and became one flesh, and they re-
turned and lived in Kauai, in the uplands of Honopuwai.

Now Aiwohikupua’s messengers, Snipe and Turnstone, went to
tell Hinaikamalama of the union of Aiwohikupua with Poliahu.

When Hinaikamalama heard about it, then she asked her parents
to let her go on a visit to Kauai, and the request pleased her parents.

The parents hastened the preparation of canoes for Hinaikama-
lama’s voyage to Kauai, and selected a suitable cortege for the
princess’s journey, as is customary on the journey of a chief.

When all was ready Hinaikamalama went on board the double
canoe and sailed and came to Kauai.

When she arrived Aiwohikupua was with Poliahu and others at
Mana, where all the chiefs were gathered for the sport between
Hauailiki and Makaweli.

That night was a festival night, the game of /z/u and the dance
kaeke being the sports of the night.*?

During the rejoicings in the Sldlle of the night came jearnerinee
malama and sat in the midst of the festive gathering, and all mar-
veled at this strange girl.

BECKWITH] TEXT AND TRANSLATION 481

Ma na waa ukali o ke Alii, he umi kaulua e hoopuni ana i ko ke
Alii waa, a maluna o na waa ukalio ke Alii, he poe akamaii ke kaeke.
Pela i kahikoia ai o Aiwohikupua i ko laua la i hoao ai me Poliahu.

Ma ka la o Kulu, ma ke kakahiaka, i ka puka ana ae o ka la a
kiekie iki ae, ike aku la o Aiwohikupua ma i ka hoomaka ana o ka
hau e uhi maluna o ka piko o na mauna, a hikii kahi o laua e hoao ai.

I kela manawa, ua hiki o Poliahu, Lilinoe, Waiaie, a me Kahoupo-
kane, 1 kahi e hoao ai na Alii.

Ta manawa, hoomaka o Aiwohikupua e hele e hui me ka wahine
noho mauna o Maunakea. E like me ka mea i oleloia maluna, pela
ko ke Alii hele ana.

Ta Aiwohikupua ma e holo aku ana i ka moana mai Kawaihae aku,
he mea e ka olioli o Lilinoe i ka hanohano launa ole o ke Alii kane.

A hiki lakou i Waiulaula, ua pauhia lakou e ke anu, a nolaila,
hoouna aku la o Aiwohikupua i kona elele e hai aku ia Poliahu,
“Aole e hiki aku Jakou no ke anu.”

Ia manawa, haalele e Poliahu i kona kapa hau, lalau like ae la ka poe
noho mauna i ko lakua kapa Ja, hoi aku la ka hau a kona wahi mau.

Ja Aiwohikupua ma i hiki aku ai ma ko Poliahu ma wahi e noho
ana, he mea lealea loa i ke Alii wahine na mea kani o na waa o ke
Alii kane, a he mea mahalo loa no hoi ia lakou ka ike ana i ko ke
Alii kane hanohano, a maikai hoi.

Ia laua i hui ai, hoike ae la o Aiwohikupua, a me Poliahu, i na
aahu o laua i haawi muaia i mau hoike no ka laua olelo ae like.

Ia manawa, hoa ae la na Alii, a lilo ae la laua i hookahi io, hoi
ae la lakou a noho ma Kauai iuka o Honopuwai.

O na elele mua a Aiwohikupua, o Ulili laua me Akikeehiale, na
laua i hele aku e hai ia Hinaikamalama i ka hoao ana o Aiwohikupua
me Poliahu.

Ja Hinaikamalama i lohe ai i keia mau olelo no ka hoao 0 Aiwo-
hikupua ma, ia manawa, noi aku la oia i kona mau makua e holo
e makaikai ia Kauai, a ua pono kana noi imua o kona mau makua.

Hloolale ae la kona mau makua i na kanaka e hoomakaukau i na
waa no Hinaikamalama e holo ai i Kauai, a wae ae la i mau hoa-
hele kupono no ke Alii e like me ke ano mua o ka huakai Alii.

A makaukau ko ke Alii mau pono no ka hele ana, kau aku la o
finaikamalama ma na waa, a holo aku la a hiki i Kauai.

Ta ianei 1 hiki aku ai, aia o Aiwohikupua me Poliahu ma Mana,
e akoakoa ana na Alii malaila no ka la hookahakaha o Hauailiki
me Makaweli.

Ia po iho, he po lealea ia no na Alii, he kilu, a he kaeke, na lealea
la po.

Ia Aiwohikupua ma e lealea ana ia manawa, ma ka waena konu
o ka po, hiki aku la o Hinaikamalama a noho iloko o ka aha lealea;
a he mea malihini nae i ka aha keia kaikamahine malihini.

74936°—19—33 ETH 31

482 HAWAIIAN ROMANCE OF LATEIKAWAI [ETH. ANN. 33

When she came into their midst Aiwohikupua did not see her, for
his attention was taken by the dance.

As Hinaikamalama sat there, behold! Hauailiki conceived a pas-
sion for her.

Then Hauailiki went and said to the master of ceremonies, “Go
and tell Aiwohikupua to stop the dance and play at spin-the-gourd;
when the game begins, then you go up and draw the stranger for my
partner to-night.”

At the request of the one for whom the sports were given the dance
was ended.

Then Hauailiki played at spin-the-gourd with Poliahu until the
gourd had been spun ten times. Then the master of ceremonies arose
and made the cireuit of the assembly, returned and touched Hauai-
liki with his madle wand and sang a song, and Hauailiki arose.

Then the master of ceremonies took the wand back and touched
Hinaikamalama’s head and she arose.

As she stood there she requested the master of the sports to let her
speak, and he nodded.

Hinaikamalama asked for whom the sports were given, and they
told her for Hauailiki and Makaweli.

And Hinaikamalama turned right around and said to Hauailiki,
“© chief of this festal gathering (since I have heard this is all in
your honor), your sport master has matched us two, O chief, to
bring us together for a little; now I put off the match which
the master of ceremonies has chosen. But let me explain my object
in coming so far as Kauai. That fellow there, Aiwohikupua, is my
reason for coming to this land, because I heard that he was married
to Poliahu; therefore I came here to see how he had lied to me. For
that man there came to Hana on Maui while we were surf riding. The
two of them were the last to surf, and when they were through, they
came home to play konane with me. He wanted to play onane.
We set up the board again; I asked what he would bet; he pointed to
his double canoe. I said I did not like his bet; then I told the bet I
liked, our persons; if he beat me at konane, then I would become his
and do everything that he told me to do, and the same if he lost to me,
then he was to do for me as I to him; and we madethisbargain. And
in the game in a little while my piece blocked the game, and he was
beaten. I said to him, ‘ You have lost; you ought to stay with me
as we have wagered.’ Said that fellow, ‘I will wait to carry out the

BECKWITH] TEXT AND TRANSLATION 483

Ta manawa aianei i komo aku ai iloko o ka aha lealea, aole nae o
Aiwohikupua i ike maopopo mai ia manawa, no ka mea, ua lilo i ka
hula kaeke.

Ta Hinaikamalama e noho ana iloko o ka aha lealea, aia hoi, ua
komo iloko o Hauailiki ka imi nui.

Ta manawa, hele aku la o Hauailiki a i ka mea ume i aku Ja, “ E
hele oe a olelo aku ia Aiwohikupua e hoopau ka hula kaeke, i kalu
ka lealea i koe, aia a kilu, alaila, kii aku oe a ume mai i ka wahine
malihini, o ko’u pili ia o keia po.”

Ma ke kauoha a ka mea nona ka po lealea e kilu, ua hoopauia ke
kaeke.

Ta Hauailiki e kilu ana me Poliahu, a i ka umi o na hauna kilu
a laua. Ta manawa, ku mai la ka mea ume a kaapuni ae la a puni
ka aha, hoi mai la a kau aku la i ka maile ia Hauailiki me ke oli ana,
a ku mai la o Hauailiki.

Ta manawa, kaili mai Ja ka mea ume i ka maile a kau aku la maluna
o Hinaikamalama, a ku mai la.

Ja manawa, a Hinaikamalama i ku mai ai, nonoi aku la oia 1 ka
mea ume e olelo ae, a kunou mai la ka mea ume.

Ninau aku la o Hinaikamalama i ka mea nona ka aha lealea, haiia
mai la no Hauailiki me Makewelli.

Iloko o kela manawa, huli pono aku la o Hinaikamalama a olelo
aku ia Hauailiki, “ E ke Alii nona keia aha lealea, ua lohe ae la wau
keia aha, ua umeia ae nei kaua e ka mea ume o ka aha lealea au, e
ke Alii, no ka hoohui ana ia kaua no ka manawa pokole, alia nae
wau e hooko i ka ume a ka mea nana i ume ia kaua e like me kona
makemake. Aka, a hoakaka ae wau 1 ko’u kuleana i hiki mai ai ia
Kauai nei, mai kahi loihi mai. Oiala, o Aiwohikupua ko’u kuleana
i hiki aii keia aina, no kuu lohe ana ae nei ua hoao oiala me Poliahu,
nolaila i hele mai nei wau e ike 1 koiala hoopunipuni nui ia’u. No
ka mea, hiki ae kela i Hana ma Maui, e heenalu ana makou, na laua
ia nae ka“heenalu hope loa, a pau ka laua la heenalu ana, hoi laua
la e konane ana makou, makemake no oiala i ke konane, kau hou ka
papa konane a paa, ninau aku wau i kona kumu pili, kuhikuhi kela
ina kaulua. Olelo aku wau, aole o’u makemake i kona kumu pili,
alaila, hai aku waui ka’u kumu pili makemake, o na kino no 0 maua,
ina e make wau ia iala ma ke konane ana, alaila, lilo wau na iala,
ma kana mau hana a pau e olelo ai ia’u, malaila wau, ma na mea
kupono nae, a pela no hoi wau ina e make kela ia’u, alaila, e like me
kana hana ia’u, pela no ka’u ia ia; a holo like ia maua keia olelo
paa. I ke konane ana nae, aole i liuliu, paa mua ia’u na luna o ka
papa konane a maua, o koiala make iho la no ia. I aku wau ia iala,
ua eo oe, pono oe ke noho me a’u e like me ka kaua pili ana. I mai
kela, ‘Alia wau e hooko i kau kumu pili a hoi mai wau mai kuu

484 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

bet until I return from a touring trip. Then I will fulfill the bet, O
princess.’ And because of his fine speeches we agreed upon this, and
for this reason, I have lived apart under a taboo until now. And
swhen I heard that he had a wife, I came to Kauai and entered the
festal gathering. O chief, that is how it was.”

Then the men at the gathering all around the ilu shelter were
roused and blamed Aiwohikupua. Then at Hinaikamalama’s story,
Poliahu was filled with hot anger; and she went back to White Moun-
tain and is there to this day. ;

Soon after Hinaikamalama’s speech the games began again; the
game was between Aiwohikupua and Makaweli.

Then the master of ceremonies stood up and touched Hauailiki
and Hinaikamalama with the wand, and Hauailiki arose and Hinai-
kamalama also. This time Hinaikamalama said to Hauailiki, “O
chief, we have been matched by the sport master as is usual in this
game. But I must delay my consent; when Aiwohikupua has con-
sented to carry out our vow, after that, at the chief’s next festival
night, this night’s match shall be fulfilled.”. Then Hauailiki was very
well pleased. 5

And because of Hinaikamalama’s words, Aiwohikupua took Hinai-
kamalama to carry out their vow.

That very night as they rested comfortably in the fulfillment of
their bargain, Hinaikamalama grew numb with cold, for Poliahu
had spread her cold snow mantle over her enemy.

Then Hinaikamalama raised a short chant—

Cold, ah! cold,

A very strange cold,

My heart is afraid.

Perhaps sin dwells within the house,
My heart begins to fear,

Perhaps the house dweller has sinned.
O my comrade, it is cold.

BECKWITH] TEXT AND TRANSLATION 485

huakai kaapuni mai, alaila, hookoia ke kumu pili au e ke Alii
wahine.’ A no keia olelo maikai aianei, ua holo like ia ia maua, a
no keia mea, noho .puupaa wau me ka maluhia a hiki mai i keia
manawa. A no kuu lohe ana ae nei he wahine ka iala, oia ko’u hiki
mai nei ia Kauai nei, a komo mai la i ko aha lealea e ke Alii, oia la.”

Ia manawa, nene aku la ka aha kanaka a puni ka papai kilu, me
ka hoohewa loa ia Aiwohikupua. Ja manawa no a Hinaikamalama
a haiolelo la, alaila ua hoopihaia o Poliahu i ka huhu wela, o kona
hoi no ia i Maunakea a hiki i keia la.

Mahope iho nae o ka haiolelo ana a Hinaikamalama, hoomaka hou
ke kilu, ia Aiwohikupua laua me Makaweli ke kilu ia manawa.

Ia manawa, ku hou mai la ka mea ume a hooili hou i ka maile
maluna o Hauailiki me Hinaikamalama, a ku ae la o Hauailiki, a
ku mai la no hoi o Hinaikamalama. Ma keia ume hope, hai mai la
o Hinaikamalama i kana olelo imua o Hauailiki, “E ke Alii e, ua
hoohuiia kaua e ka mea ume ma ka mea mau o na aha lealea. Aka,
alia wau e ae aku, ala ae mai o Aiwohikupua e hooko maua i na hoo-
hiki a maua, a pau ko maua manawa, alaila, ma ka po lealea hou a
ke Alu, e hookoia ai ka ume o keia po no kaua.” Alaila, he mea
maikai loa ia 1 ko Hauailiki manao.

A no keia olelo a Hinaikamalama, lawe ae la o Aiwohikupua ia
Hinaikamalama no ka hooko i ka laua hoohiki.

Ia po no, iloko o ko laua manawa hoomaha no ka hooluolu i ka
hoohiki ana, hike mai la ma o Hinaikamalama ke anu maeele loa,
no ka mea, ua kuu mai Ja o Poliahu i ke anu o kona kapahau maluna
o kona enemi.

Ta manawa, hapai ae la o Hinaikamalama he wahi mele:

“He anu e he a—nu
He anu e wale no hoi keia,
Ke ko nei i ke ano o kuu manawa,
Ua hewa ka paha loko o ka noho hale,
Ke kau mai nei ka halia i kuu manawa,
No ka noho hale paha ka hewa—e.
E kuu hoa—e, he anu—e.

CHAPTER XIX

When Hinaikamalama ceased chanting, she said to Aiwohikupua,
“Where are you?) Embrace me close to make me warm; I am cold
all over; no warmth at all.”

Then Aiwohikupua obeyed her, and she grew as warm as before.

As they began to take their ease in fulfillment of their vow at the
betrothal, then the cold came a second time upon Hinaikamalama.

Then she raised a chant, as follows:

O my comrade, it is cold,

Cold as the snow on the mountain top,
The cold lies at the soles of my feet,

It presses upon my heart,

The cold wakens me

In my night of sleep.

This time Hinaikamalama said to Aiwohikupua, “ Do you not know
any reason for our being cold? If you know the reason, then tell
me; do not hide it.”

Said Aiwohikupua, “ This.cold comes from your rival; she is per-
haps angry with us, so she wears her snow mantle; therefore we are
cold.”

Hinaikamalama answered, “ We must part, for we have met and
our vow is fulfilled.”

Said Aiwohikupua, “ We will break off this time; let us separate;
to-morrow at noon, then we will carry out the vow.”

“ Yes,” said Hinaikamalama.

After they had parted then Hinaikamalama slept pleasantly the
rest of the night until morning.

At noon Aiwohikupua again took her in fulfillment of the agree-
ment of the night before.

As those two reposed accordingly, Poliahu was displeased.

Then Poliahu took her sun mantle and covered herself; this time
it was the heat Poliahu sent to Hinaikamalama. Then she raised a
short song, as follows:

The heat, ah! the heat,

The heat of my love stifles me,

It burns my body,

It draws sweat from my heart,

Perhaps this heat is my lover’s—ah!
486

MOKUNA XIX

A pau ke oli ana i Hinaikamalama, olelo aku la oia ia Aiwohikupua,
“Auhea oe, € apo mai oe ia’u a paa i mehana iho wau, hele mai nei
kuu anu a anu, aohe wahi anu ole.”

Alaila, hooko mai la o Aiwohikupua 1 ka ka wahine olelo, alaila,
loaa mai la ka mahana e like me mamua.

A hoomakaukau iho la laua e hooluolu no ka hooko i ka laua
hoohiki ma ka hoopalau ana, alaila, hiki hou mai Ja ke anu ia
Hinaikamalama, o ka lua ia o kona loaa ana i ke anu.

Ia manawa, hapai hou ae la oia he wahi mele, penei:

“HE ke hoa e, he a—nu,
Me he anu hau kuahiwi la keia,
Ke anu mai nei ma na kapuai,
Ke komi nei i kuu manawa,
Kuu manawa hiamoe—hoi,
Ke hoala mai nei ke anu ia’u,
I kuu po hiamoe—hoi.”

I keia manawa, olelo aku la o Hinaikamalama ia Aiwohikupua,
“Aole anei oe 1 ike i ke kumu o keia anu 0 kaua? Ina ua ike oe 1 ke
kumu o keia anu, alaila e hai mai; mai huna oe.”

I aku o Aiwohikupua, “No ko punalua keia anu, ua huhu paha ia
kaua, nolaila, aahu ae la ia i ke kapa hau ona, nolaila na anu.”

Pane aku la o Hinaikamalama, “Ua pau kaua, no ka mea, ua pili
ae la no na kino o kaua, a ua ko ae la no ka hoohiki a kaua no ka
hoopalau ana.”

I mai o Aiwohikupua, “ Ua oki kaua i keia manawa, e hookaawale
kaua, apopo ma ke awakea, alaila, oia ka hooko ana o ka hoohiki a
kaua.”

“Ae.” wahi a Hinaikamalama.

A kaawale aku la laua, alaila, loaa iho la ia Hinaikamalama ka
moe oluolu ana ia koena po a hikii ke ao ana.

Ma ke awakea, lawe hou ae la o Aiwohikupua e hooko i ka laua
mea i olelo ai ia po iho mamua.

Tloko o ko laua manawa i hoomaka ai no ka hooko ana i ka hoohiki,
alaila, ua pono ole ia mea i ko Poliahu manao.

Ia manawa, lawe ae la o Poliahu i kona kapa la, a aahu iho la, ia
manawa ka hookuu ana’ku o Poliahu i ka wela maluna o Hinaikama-
lama. Ia manawa, hapai ae la oia he wahi mele, penei:

“ He wela—e, he wela,
Ke poi mai nei ka wela a kuu ipo ia’u,
Ke hoohahana nei i kuu kino,

Ke hoonakulu nei hoi i kuu manawa,
No kuu ipo paha keia wela—e.”

487

488 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Said Aiwohikupua, “It is not my doing; perhaps Poliahu causes
this heat; perhaps she is angry with us.”
Said Hinaikamalama, “Let us still have patience and if the heat
comes over us again, then leave me.”
After this, they again met in fulfillment of their vow.
Then again the heat settled over them, then she raised again the
chant:
The heat, ah! the heat,
The heat of my love stifles me.
Its quivering touch scorches my heart,
The sick old heat of the winter,
The fiery heat of summer,
The dripping heat of the summer season,
The heat compels me to go,
I must go.
Then Hinaikamalama arose to go.
Said Aiwohikupua, “ You might give me a kiss before you go.”
Said Hinaikamalama, “TI will not give you a kiss; the heat from
that wife of yours will come again, it will never do. Fare you well!”

Let us leave off here telling about Aiwohikupua. It is well to
speak briefly of Hinaikamalama.

After leaving Aiwohikupua, she came and stayed at the house of
a native of the place.

This very night there was again a festivity for Hauailiki and the
chiefs at Puuopapai.

This night Hinaikamalama remembered her promise to Hauailiki
after the game of spin-the-gourd, before she met Aiwohikupua.

This was the second night of the festival; then Hinaikamalama
went and sat outside the group.

Now, the first game of spin-the-gourd was between Kauakahialii
and Kailiokalauokekoa. Afterward Kailiokalauokekoa and Maka-
weli had the second game.

During the game Poliahu entered the assembly. To Hauailiki and
Poliahu went the last game of the night.

And as the master of ceremonies had not seen Hinaikamalama
early that night, he had not done his duty. For on the former night
the first game this night had been promised to Hauailiki and Hinai-
kamalama, but not seeing her he gave the first game to others.

Close on morning the sport master searched the gathering for
Hinaikamalama and found her,

BECKWITH] TEXT AND TRANSLATION 489

I aku o Aiwohikupua, “Aole no’u na wela, malia paha no Poliahu
no na Wela, ua huhu paha ia kaua.”

I aku la o Hinaikamalama, “E hoomanawanui hou kaua, a ina
i hiki hou mai ka wela maluna o kaua, alaila, haalele mai oe ia’u.”

Mahope iho o keia mau mea, hoao hou ae la Jaua i ka laua hana no
ka hooko i ka laua hoohiki.

Ta manawa, kau hou mai la no ka wela maluna o laua, alaila, hapai
hou ae la oia ma ke mele:

“He wela—e he we—Ia,
Ke apu mai nei ka wela a ka po ia’u,
Ke ulili anapu nei i kuu manawa,
Ka wela kukapu 0 ka hooilo,
I haoa enaena i ke kau,
Ka la wela kulu kahi 0 ka Makalii,
Ke hoeu mai nei ka wela ia’u e hele,
E hele no—e.”

Ta manawa, ke ku ae la no ia o Hinaikamalama hele.

I mai o Aiwohikupua, “ Kainoa o ka haawi mai i ka ihu, alaila hele
aku.”

I mai Ja o Hinaikamalama, “Aole e haawiia ka ihu ia oe, o ka hao
ana mai ia o ka wela o ua wahine au, pono ole. Aloha oe.”

(E waiho kakou i ke kamailio ana no Aiwohikupua maanei. E
pono e kamailio pokole no Hinaikamalama. )

Mahope iho o kona hookaawale ana ia Aiwohikupua, hele aku oia
a noho ma ka hale kamaaina.

Ia po iho, he po lealea hou ia no Hauailiki me na’lii ma Puuopapai.

Ta po, hoomanao ae la o Hinaikamalama no kana kauoha ia Hauai-
liki, mahope iho o ko Jaua umeia ana, a mamua hoi o kona hoohui
ana me Aiwohikupua.

I kela po, oia ka lua o ka po lealea, alaila, hele aku la o Hinai-
kamalama a noho pu aku la mawaho o ka aha.

Ta manawa, na Kauakahialii laua me Kailiokalauokekoa ke kilu
mua. Mahope iho, na Kailiokalauokekoa me Makaweli, ka lua o ka
lealea.

Ta laua e kilu’ana, komo mai la o Poliahu iloko o ka aha lealea.
Ja Hauailiki me Poliahu ke kilu hope oia po.

A no ka ike ole o ka mea ume ia Hinaikamalama i kela po, nolaila,
aole e hiki i ka mea ume ke hoomaka i kana hana. No ka mea, ua
oleloia i ka po mua, no Hauailiki a me Hinaikamalama ka lealea
mua ola po, a no ka loaa ole i ka maka o ka mea ume, ua lilo ka
lealea 1 na mea e ae.

I ke kokoke ana e ao ua po nei, huli ae la ka mea ume iloko o ka
aha ia Hinaikamalama,.a loaa iho la.

490 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Then the sport master stood up in the midst of the assembly, while
Hauailiki and Poliahu were playing, then he sang a song while flut-
tering the end of the wand over Hauailiki and took away the wand
and Hauailiki stood up. The sport master went over to Hinaika-
malama, touched her with the wand and withdrew it. Then Hinai-
kamalama stood in the midst of the circle of players.

When Poliahu saw Hinaikamalama, she frowned at sight of her
rival.

And Hauailiki and Hinaikamalama withdrew where they could
take their pleasure.

When they met, said Hinaikamalama to Hauailiki, “If you take
me only for a little while, then there is an end of it, for my parents
do not wish me to give up my virginity thus. But if you intend to
take me as your wife, then I will give myself altogether to you as
my parents desire.”

To the woman’s words Hauailiki answered, “ Your idea is a good
one; you think as I do; but let us first meet according to the choice
of the sport master, then afterwards we will marry.”

“Not so,” said Hinaikamalama,” let me be virgin until you are
ready to come and get me at Hana.”

On the third night of Hauailiki’s festivities, when the chiefs and
others were assembled, that night Lilinoe and Poliahu, Waiaie and
Kahoupokane met, for the three had come to find Poliahu, thinking
that Aiwohikupua was living with her.

This night, while Aiwohikupua and Makaweli were playing spin-
the-gourd, in the midst of the sport, the women of the mountain
entered the place of assembly.

As Poliahu and the others stood in their mantles of snow, spark-
ling in the light, the group of players were in an uproar because
of these women, because of the strange garments they wore; at the
same time cold penetrated the whole #i/w shelter and lasted until
morning, when Poliahu and her companions left Kauai. At the same
time Hinaikamalama left Kauai.

When we get to Laieikawai’s coming to Kauai after Kekalukaluo-
kewa’s marriage with Laieikawai, then we will begin again the
story of Hinaikamalama; at this place let us tell of Kauakahialii’s
command to his friend, and so on until he meets Laieikawai.

After their return from Hawaii, Kauakahialii lived with Kailio-
kalauokekoa at Pihanakalani.®* Now the end of their days was near.

BECKWITH] TEXT AND TRANSLATION 491

Ta manawa, ku mai la ka mea ume a waenakonu o ka aha, ia
Hauailiki me Poliahu e kilu ana, ia manawa, kani aku la ke oli a
ka mea ume, e hookolili ana i ka welau o ka maile i luna o Hauailika,
a kaili mai la ka mea ume i ka maile, alaila, ku mai la o- Hauailiki.
Hele aku la ua mea ume nei a loaa o Hinaikamalama, kau aku la i
ka maile a kaili mai la. Ia manawa, ku mai la o Hinaikamalama
mawaho o ka aha imua o ke anaina.

A ike mai la o Poliahu ia Hinaikamalama, kokoe aku la na makaj
i ka ike i kona enemi.

A hala aku la o Hauailiki me Hinaikamalama ma kahi kupono ia
laua e hooluolu ai.

Ja laua e hui ana, i aku la o Hinaikamalama ia Hauailiki. “Ina
he lawe kou ia’u no ka manawa pokole a pau ae, alaila, ua pau kaua,
no ka mea, aole pela ka makemake o ko’u mau makua, alaila, e waiho
puupaa ia’u pela. Aka, ina i manao oe e lawe ia’u i wahine hoao
nau, alaila, e haawi wau ia’u nau mau loa, e like me ka makemake o
ko’u mau makua.”

A no kela olelo a ka wahine, hai aku o Hauailiki i kona manao,
“Ua pono kou manao, ua like no kou manao me ko’u; aka, e hoohui
mua kaua ia kaua iho e like me ka makemake o ka mea ume, a mahope
loa aku, alaila hoao loa kaua.”

“Aole pela,” wahi a Hinaikamalama, “e waiho puupaa ia’u pela,
a hiki i kou manawa e kii ae ai ia’u, a loaa wau i Hana.”

I ke kolu o ka po lealea o Hauailiki, i na’lii e akoakoa ana, a me
na mea e ae, oia ka po i hui ai o Lilinoe, me Poliahu, o Waiau, a me
Kahoupokane, no ka mea, ua imi mai Jakou ia Poliahu, me ka manao
ke pono nei ko Aiwohikupua ma noho ana me Poliahu.

Ta po, ia Aiwohikupua me Makaweli e kilu ana, ai ka waenakonu
o ko laua manawa lealea, komo ana na wahine noho mauna iloko o
ka aha lealea.

Ja Poliahu ma eha e ku ana me na kapa hau o lakou, he mea e ka
hulali, ia manawa, nei aku la ka aha lealea no keia poe wahine,
no ke ano e o ko lakou kapa. Ta manawa, popoi mai la ke anu i ka
aha lealea a puni ka papai kilu, a kau mai la maluna o ka aha ka
pilikia a hiki i ka wanaao, haalele o Poliahu ma ia Kauai. O keia
manawa pu no hoi ka haalele ana o Hinaikamalama ia Kauai.

(Aia a hiki aku i ka hiki ana aku o Laieikawai i Kauai, mahope
iho o ko Kekalukaluokewa hoao ana me Laieikawai, alaila, e hoomaka
hou ke kamailio no Hinaikamalama. Ma keia wahi e kamailio no
ke kauoha a Kauakahialii i kana aikane, pela aku a hiki i ka hui ana
me Laieikawai.)

Ta Kauakahialii me Kailiokalauokekoa ma Pihanakalani, mahope
iho o ko Jaua hoi ana mai Haawii mai. Oiai ua kokoke mai ko laua
mau la hope.

492 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 23

Then Kauakahialii laid a blessing upon his friend, Kekalukaluo-
kewa, and this it was:

“Ah! my friend, greatly beloved, I give you my blessing, for the
end of my-days is near, and I am going back to the other side of
the earth.

“ Only one thing for you to guard, our wife.°? When I fall dead,
there where sight of you and our wife comes not back, then do you
rule over the island, you above, and our wife below; as we two ruled
over the island, so will you and our wife do.

“Tt may be when I am dead you will think of taking a wife; do
not take our wife; by no means think of her as your wife, for she
belongs to us two.

“The woman for you to take is the wife left on Hawaii, Laieika-
wai. If you take her for your wife it will be well with you, you
will be renowned. Would you get her, guard one thing, our flute,
guard well the flute,®° then the woman is yours, this is my charge to
you.”

Kauakahialii’s charge pleased his friend.

In the end Kauakahialii died; the chief, his friend, took the rule,
and their wife was the counsellor.

Afterwards, when Kailiokalauokekoa’s last days drew near, she
prayed her husband to guard Kanikawi, their sacred flute, accord-
ing to Kauakahialii’s command :

“ My husband, here is the flute; guard it; it is a wonderful flute;
whatever things you desire it can do; if you go to get the wife your .
friend charged you to, this will be the means of your meeting. You
must guard it forever; wherever you go to dwell, never leave the
flute at all, for you well know what your friend did when you two
came to get me when I was almost dead for love of your friend. It
was this flute that saved me from the other side of the grave; there-
fore, listen and guard well my sayings.”

BECKWITH] TEXT AND TRANSLATION 493

Ta manawa, kauoha ae la o Kauakahialii i kana aikane ia Keka-
iukaluokewa, i kana olelo hoopomaikai maluna ona, a eia no ia:

“ kuu aikane aloha nui, ke waiho aku nei wau i olelo hoopomaikai
maluna ou, no ka mea, ke kokoke mai nei ko’u mau la hope a hoi
aku 1 ka aoao mau o ka honua.

“Hookahi no au mea malama o ka wahine a kaua, aia a haule
aku wau 1 kahi hiki ole ia’u ke ike mai ia olua me ka wahine a
kaua, alaila, ku oe i ka moku, o oe no maluna, o ka wahine a kaua
malalo, e like no me ka kaua nei ana i ka moku i puni ai, pela no oe
e noho aku ai me ka wahine a kaua.

“A make wau, a manao ae paha oe 1 wahine nau, mai lawe oe i
ka kaua wahine, aole no hoi e manao oe ia ia o kau wahine ia, no ka
mea, ua lilo no ja 1a kaua.

“Aja kau wahine e kii o kuu wahine i haalele aku nei i Hawaii, 0
Laieikawai, 1 na o kau wahine, ia ola ke kino, a kaulana no hoi. A
manao oe e kii, hookahi au mea malama o ka ohe a kaua, aia malama
pono oe i ka ohe, alaila wahine oe, oia ke kauoha ia oe.”

Ma keia kauoha a Kauakahialii, ua pono ia i ko ke aikane manao.

Ma ia hope mai, make aku la o Kauakahialii, lilo ka noho alii i
kana aikane, a o ka Jaua wahine no ke Kuhina.

A ma ia hope mai, i ke kokoke ana i ko Kailiokalauokekoa mau
la hope, waiho aku la oia 1 olelo kuoha no ka malama ana ia Kanikawi
ka laua ohe kapu me kana kane, e like me ke kauoha a Kauakahialii:

“HK kuu kane, eia ka ohe, malamaia, he ohe mana, o na mea a
pau au e makemake ai, ina e kil oe i ka wahine a ko aikane i kauoha ai
ia oe, o ka mea no keia nana e hoohui ia olua. Eia nae e malama mau
loa oe, ma kau wahi e hele’ai, a e noho ai, mai haalele iki i ka ohe,
no ka mea, ua ike no oe i ka hana a kau aikane i ko olua manawa i
kii ae ai ia’u i kuu wa e aneane aku ana i ka make, mamuli o kuu
aloha i ko aikane. Na ua ohe la keia ola ana e ola aku nei mai ka:
luakupapau mai, nolaila, e hoolohe oe me ka malama loa e like
me ka’u e olelo aku nei ia oe.”

CHAPTER XX

After Kailiokalauokekoa’s death, the chief’s house and all things
else became Kekalukaluokewa’s, and he portioned out the land® and
set up his court.

After apportioning the land and setting up his court, Kekalukaluo-
kewa bethought him of his friend’s charge concerning Laieikawai.

Then he commanded his counsellor to make ready 4,000 canoes for
the journey to Hawaii after a wife, according to the custom of a
chief.

When the chief’s command was carried out, the chief took two
favorites, a suitable retinue of chiefs, and all the embalmed bodies of
his ancestors.

In the month called “the first twin,” when the sea was calm, they
left Kauai and came to Hawaii. Many days passed on the voyage.

As they sailed, they arrived in the early morning at Makahanaloa
in Hilo. Then said the man who had seen Laieikawai before to the
chief, “See that rainbow arching over the uplands; that is Paliuli,
where I found her.” Now the rain was sweeping Hilo at the time
when they came to Makahanaloa.

At the man’s words, the chief answered, “I will wait before be-
lieving that a sign for Laieikawai; for the rainbow is common in
rainy weather; so, my proposal is, let us anchor the canoes and wait
until the rain has cleared, then if the rainbow remains when there is
no rain, it must be a sign for Laieikawai.” ‘The chief’s proposal was
the same as Aiwohikupua’s.

So they remained there as the chief desired. In ten days and two
it cleared over Hilo, and the country was plainly visible.

In the early morning of the twelfth day the chief went out of the
house, and lo! the rainbow persisted as before; a little later in the
day the rainbow was at the seacoast of Keaau; Laieikawai had gone
to the coast (as in the narrative before of Aiwohikupua’s story).

That day there was no longer any doubt of the sign, and they
sailed and came to Keaau. When they arrived, Laieikawai had gone
up to Paliul.

494

MOKUNA XX

A make aku la o Kailiokalauokekoa, lilo ae la ka noho Alii a pau
loa ia Kekalukaluokewa, a hooponopono aku la oia i ka aina, a me na
kanaka a pau malalo o kona noho Alii.

Mahope iho o ka pau ana o kana hooponopono ana i ka aina, a me
kona noho Alii ana. Ia manawa, hoomanao ae la o Kekalukaluokewa
i ke kauoha a kana aikane no Laieikawai.

Ta Kekalukaluokewa i manao aie hooko i ke kauoha a kana aikane,
kauoha ae la oia 1 kona Kuhina, e hoomakaukau i na waa hookahi
mano, no ka huakai kii wahine a ke Alii 1 Hawaii, e like me ke aoao
mau o ke Alii.

A makaukau ka ke Alii kauoha, lawe ae la ke Alii elua mau puna-
hele, a lawe ae la i na kaukaualii ka poe kupono ke hele pu me ke
Alii, a lawe ae la ola i kona mau ialoa a pau.

I ka malama i oleloia o ka Mahoe mua, 1 na malama maikai o ka
moana, haalele lakou ia Kauai, a holo aku i Hawaii. Ua nui na lai
hala ia lakou ma ia hele ana.

Ma keia holo ana a lakou, hiki aku la ma Makahanaloa i Hilo, ma
ke kakahiaka nui. Ja manawa, olelo aku kahi kanaka nana i ike
mua ia Laieikawai i ke Alu, “ E nana oe i kela anuenue e pio la iuka,
o Paliuli no ia, ola no ua wahi Ja, malaila no kahi i loaa’i ia’u.” HE
nee ana nae ka ua o Hilo ia mau la a lakou i hiki aku ai ma Maka-
hanaloa.

A no keia olelo a kahi kanaka, i aku ke Alii, “Alia wau e manaoio
i kau no Laieikawai kela hoailona, no ka mea, he mea mau iloko o
ka wa ua ka pio o ke anuenue, nolaila, i kuu manao, e hekau na waa,
ae kali kakou a male ka ua, alaila, i pio mai ke anuenue iloko o ka
wa ua ole, alaila maopopo no Laieikawai ka hoailona.” Ua like ko ke
Alii manao ana ma keia mea me ko Aiwohikupua.

A no keia mea, noho iho la lakou malaila e like me ko ke Alii
makemake. Hookahi anahulu me elua la keu, haalele ka malie o
Hilo, ike maikaiia aku Ja ka aina.

I ke kakahiaka nui o ka la umikumamalua, puka aku la ke Alii
iwaho mai ka hale ae. Aia hoi e hoomau ana ke anuenue e like me
mamua, ma ke kiekie iki ana’e o ka la, aia e pio ana ke anuenue i kai
o Keaau, ua hala ae la o Laieikawai i kai. (E like me ka kakou
kamailio ana mamua ma ko Aiwohikupua moolelo.)

Ma kela la, pau ko ke Alii kanalua ana no kela hoailona, a holo
aku la a hiki i Keaau. Ja lakou i hiki aku ai ma Keaau, ua hoi
aku o Laieikawai iuka o Paliuli.

495

496 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 33

When they arrived the people crowded to see Kekalukaluokewa
and exclaimed, “ Kauai for handsome men! ”

On the day when Kekalukaluokewa sailed and came to Keaau,
Waka foresaw this Kekalukaluokewa.

Said Waka to her grandchild, “ Do not go again to the coast, for
Kekalukaluokewa has come to Keaau to get you for his wife.
Kauakahialii is dead, and has charged his favorite to take you to
wife; therefore this is your husband. If you accept this man you
will rule the island, surely preserve these bones. Therefore wait
up here four days, then go down, and if you like him, then return
and tell me your pleasure.”

So Laieikawai waited four days as her grandmother commanded.

In the early morning of the fourth day of retirement, she arose
and went down with her hunchbacked attendant to Keaau.

When she arrived close to the village, lo! Kekalukaluokewa was
already out surf riding; three youths rose in the surf, the chief and
his favorites.

As Laieikawai and her companion spied out for Kekalukaluokewa,
they did not know which man the grandmother wanted.

Said Laieikawai tosher nurse, “ How are we to know the man whom
my grandmother said was here?”

Her nurse said, “ Better wait until they are through surfing, and
the one who comes back without a board, he is the chief.”

So they sat and waited.

Then, the surf riding ended and the surfers came back to shore.

Then they saw some men carrying the boards of the favorites,
but the chief’s board the favorites bore on their shoulders, and
Kekalukaluokewa came without anything. So Laieikawai looked
upon her husband.

When they had seen what they had come for, they returned to
Paliuli and told their grandmother what they had seen.

Asked the grandmother, “ Were you pleased with the man?”

“Yes,” answered Laieikawai.

BECKWITH] TEXT AND TRANSLATION 497

Ta Jakou i hiki aku ai, ua nui na kamaaina i lulumi mai e makaikai
ia Kekalukaluokewa; me ka olelo mai o na kamaaina, “Akahi no ka
aina kanaka maikai o Kauai.”

I kela la a Kekalukaluokewa ma i holo aku ai a hiki i Keaau. Ua
ike mua mai o Waka o Kekalukaluokewa keia.

Olelo mai o Waka i kana moopuna, “Mai iho hou oe i kai, no
ka mea, ua hiki mai la o Kekalukaluokewa i Keaau, i kii mai la ia
oe i wahine oe. Make aku la o Kauakahialii, kauoha ae la i ke
alkane e kii mai ia oe i wahine, nolaila o kau kane ia. A ae oe o
kau .kane ia, ku oe i ka moku, ola no hoi na iwi. Nolaila, e noho
oe iuka nei, a hala na la eha, alaila iho aku oe, a ina ua makemake
oe, alaila, hoi mai oe a hai mai i kou makemake ia’u.”

Noho iho la o Laieikawai a hala na la eha e like me ke kauoha a
kona kupunawahine.

Ma ke kakahiaka nui o ka ha o ko Laieikawai mau la pool,
ala ae la oia, a me kona kahu kuapuu, a iho aku la i Keaau.

La laua i thiki aku ai, ma kahi kokoke iki e nana aku aii kauhale;
aia hoi, ua hiki mua aku o Kekalukaluokewa ma kulana heenalu
mamua o ko laua hiki ana aku, ekolu nae mau keiki e ku ana ma
kulana heenalu o ke Alii a me na punahele elua.

Ia Laieikawai ma e noho ana ma kahi a laua e hoohalua ana no
Kekalukaluokewa, aole nae laua i like i ke kane a ke kupunawahine
i makemake ai.

IT aku o Laieikawai i kona wahi kahu, “ Pehea la kaua e ike ai i
ke kane a’u a kuu kupunawahine i olelo mai nei?”

Olelo aku kona kahu, “ Pono kaua ke kali a pau ka lakou heenalu
ana, a o ka mea e hele wale mai ana, aole he paa i ka papa heenalu,
alaila, o ke Alii no ia, o ko kane no ka hoi ia.”

Ma ka olelo a ko Laieikawai kahu, noho iho la laua malaila, e
kali ana.

Ta manawa, hoopau ae la na heenalu i ko Jakou manawa heenalu,
a hoi mai la a pae iuka.

Ta wa, ike aku la laua i ke kiiia ana mai o na papa o na punahele e
na kanaka, a laweia aku la. O ka papa heenalu hoi o ke Alii, na na
punahele i auamo aku, a hele wale mai la o Kekalukaluokewa, pela
i ike ai o Laieikawai i kana kane.

A maopopo iho la ia laua ka laua mea i iho mai ai, alaila, hoi aku
la laua a hikii Paliuli, a hai aku Ja i ke kupunawahine i ka laua mea
i ike ai.

Ninau mai la ke kupunawahine, “ Ua makemake oe i ko kane? ”

“Ae,” wahi a Laieikawai.

498 HAWAIIAN ROMANCE OF LAIEIKAWATI [ETH. ANN. 33

Said Waka, “To-morrow at daybreak Kekalukaluokewa goes surf-
ing alone; at that time I will cover all the land of Puna with a mist,
and in this mist I will send you on the wings of birds to meet
Kekalukaluokewa without your being seen. When the mist clears,
then all shall see you riding on the wave with Kekalukaluokewa ; that
is the time to give a kiss to the Kauai youth. So when you go out of
the house, speak no word to anyone, man or woman, until you have
given a kiss to Kekalukaluokewa, then you may speak to the others.
After the surf riding, then I will send the birds and a mist over the
land; that is the time for you to return with your husband to your
house, become one flesh according to your wish.”

When all this had been told Laieikawai, she returned to the chief-
house with her nurse. ‘

Afterward, when they were in the house, she sent her nurse to
bring Mailehaiwale, Mailekaluhea, -Mailelaulii, Mailepakaha, and
Kahalaomapuana, her counsellors, as they had agreed.

When the counsellors came, her body guard, Laieikawai said,
“Where are you, my comrades? I have taken counsel with our
grandmother about my marriage, so I sent my nurse to bring you, as
we agreed when we met here.. My grandmother wishes Kekalukaluo-
kewa to be my husband. What do you say? What-you all agree, I
will do. If you consent, well; if not, it shall be just as you think.”

Kahalaomapuana said, “It is well; marry him as your grand-
mother wishes; not a word from us. Only when you marry a hus-
band do not forsake us, as we have agreed; where you go, let us go
with you; if you are in trouble, we will share it.”

“TJ will not forsake you,” said Laieikawai.

Now we have seen in former chapters, in the story of Hauailiki
and the story of Aiwohikupua’s second trip to Hawaii, that it was
customary for Laieikawai to go down to Keaau, and it was the same
when Kekalukaluokewa came to Hawaii.

Every time Laieikawai came to Keaau the youth Halaaniani saw
her without knowing where she came from; from that time the
wicked purpose never left his mind to win Laieikawai, but he was
ashamed to approach her and never spoke to her.

BECKWITH] TEXT AND TRANSLATION 499

I mai o Waka, “Apopo, ma ka puka ana o ka la, oia ka wa e a-u
ai o Kekalukaluokewa i ka heenalu oia wale, ia manawa, e hoouhi
aku ai wau i ka noe maluna o ka aina a puni o Puna nei, a maloko
ola noe, e hoouna aku no wau ia oe maluna o na manu a hui olua me
Kekalukaluokewa me ka ike oleia, aia a pau ka uhi ana o ka noe
maluna o ka aina, ia manawa e ike aku ai na mea a pau, o oe kekahi
me Kekalukaluokewa e hee mai ana i ka nalu hookahi, oia ka manawa
e loaa’i ko ihu i ke keiki Kauai. Nolaila, i kou puka ana mailoko
aku nei o kou hale, aole oe e kamailio iki aku i kekahi mea e ae,
aole i kekahi kane, aole hoi i kekahi wahine, aia a laa ko ihu ia
Kekalukaluokewa, oia kou manawa e kamailio ai me na mea e ae.
Aia a pau ka olua heenalu ana, alaila, e hoouna aku wau i na manu,
a me ka noe maluna o ka aina, o kou manawa ia e hoi mai ai me ko:
kane a loko o ko olua hale, alaila, e hoolaaia ko kino e like me ko’u
makemake.”

A pau keia mau mea i ka haiia ia Laieikawai, hoi aku la oia ma.
kona Halealii, oia a me kona kahu.

Ia Laieikawai me kona kahu ma ka hale, mahope iho o ke kauoha
ana a kona kupunawahine. Hoouna ae la oia i kona kahu e kii aku
ia Mailehaiwale, Mailekaluhea, Mailelaulii, Mailepakaha, a me Kaha-
Jaomapuana, kona mau hoa kuka e like me ka lakou hoohiki ana.

A hiki mai la kona mau hoa kuka, kona mau kiai kino hoi, olelo
aku la o Laieikawai, “Auhea oukou e o’u mau hoa, ua kuka ae nei
au me ke kupunawahine o kakou, e hoao wau i kane na’u, nolaila wau
i houna aku nei i ko kakou kahu e kii aku ia oukou e like me ka
kakou hoohiki ana, mahope iho o ko kakou hui ana maanei. O ka
makemake o ko kakou kupunawahine, o Kekalukaluokewa kuu kane,
a pehea? Aia i ka kakou hooholo like ana, ina i ae mai oukou, ua
pono no, ina e hoole mai, aia no ia i ko kakou manao.”

Olelo aku o Kahalaomapuana, “ Ua pono, ua hoomoe ae la no ko
kakou kupunawahine e like me kona makemake, aohe a makou olelo.
Eia nae, a i hoao oe i ke kane, mai haalele oe ia makou e like me ka
kakou hoohiki ana; ma kau wahie hele ai, malaila pu kakou, 0 oe i
ka pilikia, o kakou pu ilaila.”

“A ole wau e haalele ia oukou,” wahi a Laieikawai.

Eia hoi, ua ike mua ae nei kakou ma na Mokuna mua, he mea
mau no ia Laieikawai ka iho i kai o Keaau, ma ka moolelo
Hauailiki, a me ka moolelo o ka hele alua ana o Aiwohikupua
Hawaii, a ola mau no a hiki i ko Kekalukaluokewa hiki ana
Hawaii.

I na manawa a pau o ko Laieikawai hele ana ma Keaau, he mea
mau i keia keiki ia Halaaniani ka ike ia Laieikawai ma Keaau, me
ka ike ole nae o Halaaniani i kahi e hele mai ai o Laiekawai; mai
ja manawa mai ka hoomaka ana o ka manao ino e ake e Joaa o
Laieikawai, aole nae e hiki, no ka mea, ua alaiia mai e ka hildhila, a
hiki ole ke pane aku.

ee ete ©

500 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

As to this Halaaniani, he was Malio’s brother, a youth famous
throughout Puna for his good looks, but a profligate fellow.

During the four days of Laieikawai’s retirement Halaaniani
brooded jealously over her absence. She came no more to Keaau.

In the village he heard that Laieikawai was to be Kekalukaluo-
kewa’s.

Then quickly he went to consult his sister, to Malio.

Said her brother, “ Malio, I have come to you to gain my desire.
All those days I was absent I was at Keaau to behold a certain beauti-
ful woman, for my passion forced me to go again and again to see
this woman. To-day I heard that to-morrow she is to be the chief’s
of Kauai; therefore let us exert all our arts over her to win her
to me.”

Said his sister, “ She is no other than Waka’s grandchild, Laieika-
wai, whom the grandmother has given to the great chief of Kauai;
to-morrow is the marriage. Therefore, as you desire, go home, and
in the dark of evening return, and we will sleep here on the moun-
tain; that is the time for us to determine whether you lose or win.”

According to Malio’s directions to her brother, Halaaniani re-
turned to his house at Kula. -

He came at the time his sister had commanded.

Before they slept, Malio said to Halaaniani, “If you get a dream
when you sleep, tell it to me, and I will do the same.”

They slept until toward morning. Halaaniani awoke, he could
not sleep, and Malio awoke at the same time.

BECKWITH] TEXT AND TRANSLATION 501

A o ua Halaaniani nei, ke kaikunane o Malio, he keiki kaulang ia
ma Puna no ke kanaka ui, he keiki hoaka nae.

JT ka eha o na la hoomalu o Laieikawai, he mea hoohuoi ia
Halaaniani ka nalo ana o Laieikawai, aole i hiki hou ma Keaau.

Ta Halaaniani i hookokoke mai ai ma kahi o na kamaaina o
Keaau, lohe iho la oia, e lilo ana ua Laieikawai nei ia Kekaluka-
Juokewa.

Ta manawa, hoi wikiwiki aku la oia e halawai me kona kaikuahine
ine Malio.

Olelo aku la kona kaikunane, “ E Malio, 1 pii mai nei wau ia oe
e kii oe i ko’u makemake. No ka mea,i na la a pau a’u e nalo nei,
ma Keaau no wau, no ko’u ike mau i keia wahine maikai, nolaila,
ua hookonokonoia mai wau e ke kuko e hele pinepine e ike i ua
wahine nei. A ma keia la, ua lohe aku nei wau e lilo ana i ke Alii o
Kauai i ka la apopo; nolaila, o ko mana a pau maluna iho ia o
kaua like e lilo ia’u kela kaikamahine.”

I mai la kona kaikuahine, “Aole na he wahine e, o ka moopuna na
a Waka, o Laieikawai, ua haawi ae la ke kupunawahine i ke Alii
nui o Kauai, popo hoao. Nolaila, a e like me kou makemake, e hoi
nae oe a kou wahi, a ma ke ahiahi poeleele pii hou mai, a mauka nei
kaua e moe ai, ola ka manawa o kaua e ike aii ko nele a me ka loaa.”

Mamuli o ke kauoha o Malio 1 kona kaikunane, hoi mai la o
Halaaniani a ma kona hale noho ma Kula.

A hiki i ka manawa i kauohaia nona e hele aku i kahi o kona
kaikuahine.

Mamua o ko laua manawa hiamoe, olelo aku la o Malio ia
Halaaniani, “Ina e moe kaua i keia po, a i loaa ia oe ka moeuhane,
alaila, hai mai oe ia’u, a pela no hoi wau.”

Ta laua e moe ana, a hiki paha i ka pili o ke ao, ala ae la o
Halaaniani, aole i loaa he moe ia ia, a ala mai la no hoi o Malio ia
manawa no.

CHAPTER XXI

Malio asked Halaaniani, “ What did you dream 2”

Said Halaaniani, “I dreamed nothing, as I slept I knew nothing,
had not the least dream until I awoke just now.”

Halaaniani asked his sister, “ How was it with you?”

Said his sister, “I had a dream; as we slept we went into the
thicket; you slept in your hollow tree and I in mine; my spirit saw a
little bird building its nest; when it was completed the bird whose
the nest was flew away out of sight. And by-and-by another bird
flew hither and sat upon the nest, but I saw not that bird come again
whose the nest was.”

Asked Halaaniani of the dream, “ What is the meaning of this
dream ?” :

His sister told him the true meaning of the dream. “ You will
prosper; for the first bird whose the nest was, that is Kekalukaluo-
kewa, and the nest, that is Laieikawai, and the last bird who sat in
the nest, that is you. Therefore this very morning the woman shall
be yours. When Waka. sends Laieikawai on the wings of the birds
for the marriage with Kekalukaluokewa, mist and fog will cover the
land; when it clears, then you three will appear riding on the crest
of the wave, then you shall see that I have power to veil Waka’s face
from seeing what I am doing for you; so let us arise and get near to
the place where Laieikawai weds.”

After Malio’s explanation of the dream was ended they went right
to the place where the others were.
~ Now Malio had power to do supernatural deeds; 1t was to secure
this power that she lived apart.

When they came to Keaau they saw Kekalukaluokewa swimming
out for surf riding.

502

MOKUNA XXI

Ninau aku 0 Malio ia Halaaniani, “ Heaha kau moe?”

T aku Ja o Halaaniani, “Aole a’u wahi moe, i ka hiamoe ana no, 0
ke oki no ia, aole wau i loaa wahi moe iki a puoho wale ae la.”

Ninau aku la hoi o Halaaniani i kona kai kuahine, “ Pehea hoi
oe?”

Hai mai la kona kaikuahine, “Owau ka mea moe; ia kaua no i
moe iho nei, hele aku nei no kaua a ma nahelehele, moe oe i kou
puhalaau, a owau no hoi ma ko’u puhalaau; nana aku nei ko’u uhane
i kekahi wahi manu e hana ana i kona punana, a pau, lele aku nei
no ua manu nei ana i kona punana a pau, lele aku nei no ua manu
nei nana ka punana a nalowale. A mahope, he manu okoa ka manu
nana i lele mai a hoomoe i ua punana nei, aole nae wau i ike i ka
lele ana’ku o ka manu hope nana i hoomoe ua punana nei, a puoho
wale ae la wau, aole no hoi i ikeia ka hoi hou ana mai o ka manu
nana ka punana.”

A no keia moe, ninau aku la o Halaaniani, “A heaha iho la ke
ano o ia moe?”

Hai aku la kona kaikuahine i ke ano oiaio o ua moe la, “ E pomai-
kai io ana no oe, no ka mea, o ka manu mua nona ka punana, o
Kekalukaluokewa no ia, a o ka punana, o Laieikawai no ia, a o
ka manu hope nana i hoomoe ka punana, 0 oe no ia. Nolaila, ma
keia kakahiaka, e lilo ana ka wahine a olua ia oe. Ia Waka e
hoouna ae ai ia Laieikawai maluna o ka eheu o na manu, no ka
hoao me Kekalukaluokewa; uhi mai auanei ka noe a me ke awa, a
mao ae, alaila, ikeia’ku ekolu oukou e ku mai ana ma kuanalu, alaila,
e ike auanei oe he mana ko’u e uhi aku maluna o Waka, a ike
ole oia i ka’u mea e hana aku ai nou; nolaila, e ku kaua a hele aku
ma kahi e kokoke aku ana i kahi e hoao ai o Laieikawai.”

A pau ka hoike ana a Malio i ke ano o ke ia mau mea, iho aku la
laua a ma kahi kupono ia laua e noho ai.

O malio nae, he hiki ia ia ke hana i na hana mana; a ola wale no
kona kumu i hoano ai. S

Ta laua i hiki aku ai ma Keaau, ike aku la laua ia Kekaluka-
luokewa e au ae ana i ka heenalu.

503

504 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Malio said to Halaaniani, “ You listen to me! When you get on
the back of the wave and glide along with the breaker, do not ride—
lose the wave; this for four waves; and the fifth wave, this is their
last. Maybe they will wonder at your not riding ashore and ask
the reason, then you answer you are not accustomed to surfing on
the short waves, and when they ask you what long waves you surf on
say on the Huia. If they pay no attention to you, and prepare to
ride in on their last wave, as they ride you must seize hold of Laiei-
kawai’s feet while Kekalukaluokewa rides in alone. When you have
the woman, carry her far out to sea; look over to the coast where
Kumukahi “ swims in the billows, then this is the place for surfing ;
then pray in my name and I will send a wave over you; this is the
wave you want; it is yours.”

While they were talking Waka covered the land with a mist. Then
the thunder pealed and there was Laieikawai on the crest of the
wave. This was Waka’s work. Again the thunder pealed a second
peal. This was Malio’s work. When the mist cleared three per-
sons floated on the crest of the wave, and this was a surprise to the
onlookers.

As Waka had commanded her grandchild, “speak to no one until
you have kissed Kekalukaluokewa, then speak to others,” the grand-
child obeyed her command.

While they rode the surf not one word was heard between them.

As they stood on the first wave Kekalukaluokewa said, “ Let us
ride.” Then they lay resting upon their boards; Halaaniani let his
drop back, the other two rode in; then it was that Laieikawai and
Kekalukaluokewa kissed as the grandmother had directed.

Three waves they rode, three times they went ashore, and three
times Halaaniani dropped back.

At the fourth wave, for the first time Laieikawai questioned Hala-
aniani: “ Why do you not ride? This is the fourth wave you have
not ridden; what is your reason for not riding? ”

“ Because I am not used to the short waves,” said Halaaniani, “ the
long wave is mine.”

He spoke as his sister had directed.

The fifth wave, this was the last for Laieikawai and Kekalukalu-
okewa.

As Kekalukaluokewa and Laieikawai lay resting on the wave, Hala-
aniani caught Laieikawai by the soles of her feet and got his arm
around her, and Laieikawai’s surf board was lost. Kekalukaluokewa
rode in alone and landed on the dry beach.

BECKWITH] TEXT AND TRANSLATION 505

Olelo aku la o Malio ia Halaaniani, “EF hoolohe oe i ka’u, ina i
hiki oukou ma kulana heenalu, a hee oukou i ka nalu, mai hoopae oe,
e hoomake oe i kou nalu, pela no oe e hoomake ai a hala na nalu eha
o ko laua hee ana, ai ka lima o ka nalu, oia ko laua nalu pau. Malie
o hoohuoi Jaua i kou pae ole, ninau iho i ke kumu o kou pae ole ana,
alaila nai aku oe, no ka maa ole 1 ka hee ana o ka nalu po kopoko,
ai ninau mai i kau nalu loihi e hee ai, alaila hai aku oe o Huia.
Ina i maliu ole mai kela i kau olelo, a hoomakaukau laua e hee 1 ko
laua nalu pau, ia laua e hee ai, alaila hopu aku oe 1 na wawae o Laiei-
kawai, i hee aku o Kekalukaluokewa oia wale. <A lilo ia oe kela
wahine, alaila ahai oe i ka moana loa, nana mai oe ia uka nei, e au
aku ana o Kumukahi iloko o ka ale, alaila o ke kulana nalu ia, alaila
pule aeoe ma kuu inoa, a na’u no e hoouna aku i nalu maluna o olua,
o kou nalu no ia ko kou makemake, lilo loa ia oe.”

Ta laua no e kamailio ana i keia mau mea, uhi ana ka noe a Waka
maluna o ka aina. Ja manawa, kui ka hekili, aia o Laieikawai ma
kaluna nalu, na Waka ia. Kui hou ka hekili, o ka lua ia, na Malio
ia. I ka mao ane ae o ka noe, aia ekolu poe e lana ana ma kulana nalu
e ku ana, a he mea haohao ia ia uka i ka nana aku.

E like me ke kauoha a Waka i kana moopuna, “Aole e olelo i na
mea e ae, a laa ka ihu ia Kekalukaluokewa, alaila olelo i na mea e
ae.” Ua hoolohe no kana moopuna i ke kauoha a ke kupunawahine.

A ia lakou ekolu ma kulana heenalu, aole kekahi leo i loheia iwaena
o lakou. :

I ke ku ana o ka nalu mua, olelo mai o Kekalukaluokewa, “ Pae
kakou.” Ia manawa, hoomoe like lakou i na papa o lakou, make iho
la o Halaaniani, pae aku laua la, oia ka manawa i laa ai ka ihu o
Laieikawai ia Kekalukaluokewa, e like me ke kauoha a ke kupu-
nawahine.

Ekolu nalu o ka-hee ana o lakou, a ekolu no hoi ka pae ana o Laiei-
kawai ma, ae kolu no hoi ka make ana o Halaaniani.

I ka ha o ko laua nalu pae, akahi no a loaa ka ninau a Laieikawai
ia Halaaniani, me ka i aku, “ Heaha kou mea e pae ole nei? Aha
nalu, aole ou pae iki, heaha la ke kumu o kou pae ole ana?”

“No ka maa ole i ka nalu pokopoko,” wahi a Halaaniani, no ka
mea, he nalu loloa ko’u e hee ai.”

Hai aku la keia e like me ke kauoha a kona kaikuahine.

I ka lima o ka nalu, oia ka nalu pau loa o Laieikawai me Keka-
lukaluokewa.

Ta Kekalukaluokewa me Laieikawai i hoomaka ai e hoomoe aku i
ka nalu, e hopu aku ana o Halaaniani ma na kapuai o Laieikawai, a
lilo mai la ma kona lima, lilo aku la ka papa heenalu o Laieikawai,
pae aku la nae o Kekalukaluokewa a kau a kahi maloo.

506 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

When Laieikawai was in Halaaniani’s arms she said, “This is
strange! my board is gone.”

Said Halaaniani, “ Your board is all right, woman; a man will
bring it back.”

While they were speaking Laieikawai’s surf board floated to where
they were.

Said Laieikawai to Halaaniani, “ Where is your wave that you
have kept me back here for?”

At this question of the princess they swam, and while they swam
Halaaniani bade the princess, “ As we swim do not look back, face
ahead; when my crest is here, then I will tell you.”

They swam, and after a long time Laieikawai began to wonder;
then she said, “ This is a strange wave, man! We are swimming out
where there are no waves at all; we are in the deep ocean; a wave
here would be strange; there are only swells out here.”

Said Halaaniani, “ You listen well; at my first word to you there
will be something for us.”

Laieikawai listened for the word of her surfing comrade.

They swam until Halaaniani thought they could get the crest, then
Halaaniani said to his surfing comrade, “ Look toward the coast.”

Laieikawai replied, “ The land has vanished, Kumukahi comes bob-
bing on the wave.”

“This is our crest,” said Halaaniani. “I warn you when the first
wave breaks, do not ride that wave, or the second; the third wave is
ours. When the wave breaks and scatters, keep on, do not leave the
board which keeps you floating; if you leave the board, then you will
not see me again.”

At the close of this speech Halaaniani prayed to their god in the
name of his sister, as Malio had directed.

Halaaniani was half through his prayer; a crest arose; he finished
the prayer to the amen; again a crest arose, the second this; not long
after another wave swelled.

This time Halaaniani called out, “ Let us ride.”

Then Laieikawai quickly lay down on the board and with Hala-
aniani’s help rode toward the shore.

BECKWITH] TEXT AND TRANSLATION 507

T kela manawa i lilo aku ai o Laieikawai ma ka lima o Halaaniani,
olelo aku la ia Halaaniani, “ He mea kupanaha, ia oe no ka pae ole
ana wau, a lilo aku Ja ko’u papa.”

I aku o Halaaniani, “ He lilo no ka papa ou o ka wahine maikai,
ne kanaka ka mea nana e lawe mai.”

Ta laua no e olelo ana no keia mau mea, laweia mai la ka papa
heenalu o Laieikawai a hiki i kahi o laua e ku ana.

I aku o Laieikawai ia Halaaniani, “Auhea kau nalu o kau aua ana
iho nei ia’u?”

A no ka ninau a ke Alii wahine, au aku la lana, ia manawa a laua
e au ana, hai aku la o Halaaniani i kana olelo imua o ke Alii wahine,
* Ma keia au ana a kaua, mai alawa oe 1 hope, imua no na maka, aia
no ia’u kulana nalu, alaila hai aku au ia oe.”

Au aku la laua a liuliu loa komo mai la iloko o Laieikawai ka
haohao; ia manawa, pane aku oia, “ Haohao_ka nalu au e ke kane, ke
au aku nei kaua i kahi o ka nalu ole, eia kaua i ka moana lewa loa,
ke hai ka nalu i keia wahi, he mea kupanaha, he ale ka mea loaa i ka
moana loa.”

IT aku o Halaaniani, “FE hoolohe pono loa oe, ma ka’u olelo mua
ia oe malaila wale no kaua.”

Hoolohe aku la no o Laieikawai ma na olelo a kona hoa heenalu.

Ta au ana a Jaua a hiki i kahi a Halaaniani e manao ai o kulana
nalu ia, alaila, olelo aku la o Halaaniani i kona hoa heenalu, “ Nana
ia o uka.”

Pane aku o Laieikawai, “ Ua nalo ka aina, ua hele mai nei o Kumu-
kahi a onioni i ka ale.”

“O kulana nalu keia,” wahi a Halaaniani, “Ke olelo aku nei au
la oe, ina i haki ka nalu mua, aole kaua e pae ia nalu, ai ka lua o ka
nalu aole no e pae, ai ke kolu o ka nalu, o ka nalu ia o kaua e pae
al. I haki ka nalu, ai kakala, a i oia oe, mai haalele oe i ka papa o
ka mea no ia nana e hoolana; ina e haalele oe i ka papa, alaila aole oe
e ike ia’u.”

A pau ka laua kamailio ana no keia mau olelo, pule aku la o
Halaaniani i ko laua akua ma ka inoa o kona kaikuahine e like me ka
Malio kauoha mua.

Pule aku la o Halaaniani a hiki i ka hapalua o ka manawa; ku ana
ua nalu, hoomau aku la oia i ka pule a hikii ka Amama ana. Ku
hou ana ua nalu, o ka lua ia, aole i upuupu iho, opuu ana kahj nalu.

Ta wa kahea mai o Halaaniani i kona hoa, “ Pae kaua.”

Ta manawa, hoomoe koke o Laieikawai i ka papa, o ka pae aku la
no ia, ma ke kokua aku o Halaaniani.

508 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Now, when Laieikawai was deep under the wave, the crest broke
finely ; Laieikawai glanced about to see how things were; Halaaniani
was not with her. Laieikawai looked again; Halaaniani with great
dexterity was resting on the very tip of the wave. That was when
Laieikawai began to give way to Halaaniani.

Waka saw them returning from surf riding and supposed Laieika-
wai’s companion was Kekalukaluokewa.

Malio, the sister of Halaaniani, as is seen in the story of her life,
can do many marvelous things, and in Chapters XXII and XXIII
you will see what great deeds she had power to perform.

BECKWITH] TEXT AND TRANSLATION 509

I kela manawa, aia no 0 Laieikawai iloko 0 ka halehale poipu o ka
nalu, a i ka haki maikai ana o ka nalu, i alawa ae ka hana o Laiei-
kawai, aole o Halaaniani me ia. I alawa hou aku o Laieikawai, e
kau mai ana o Halaaniani ma ka pea o ka nalu, ma kona akamai nui.
Ia manawa ka hoomaka ana o Laieikawai e haawi ia ia iho ia
Halaaniani.

Hoi aku Ja Jaua mai ko laua heenalu ana, me ka ike mai no o Waka
i ko laua hee aku, ua kuhi nae o Kekalukaluokewa ko Laieikawai
hoa hee nalu.

A o Malio, ke kaikuahine o Halaaniani, ua ikeia ma kona kuamoo
moolelo, he hiki ia ia ke hana i na hana mana he nui, ma ka Mokuna
XXII a me ka Mokuna XXIII e ike ai kakou i ka nui o kana mau
hana mana,

CHAPTER XXII

While Laieikawai was surfing ashore with Halaaniani, Waka’s
supernatural gift was overshadowed by Malio’s superior skill, and
she did not see what was being done to her grandchild.

Just as Laieikawai came to land, Waka sent the birds in the mist,
and when the mist passed off only the surf boards remained ; Laieika-
wai was with Halaaniani in her house up at Paliuli. There Halaani-
ani took Laieikawai to wife.

The night passed, day came, and it was midday; Waka thought
this strange, for before sending her grandchild to meet Kekalukaluo-
kewa she had said to her:

“Go, to-day, and meet Kekalukaluokewa, then return to the up-
lands, you two, and after your flesh has become defiled come to me; I
will take care of you until the pollution is past.” Now, this was the
custom with a favorite daughter.

Because Waka was surprised, at midday of the second day after
Laieikawai joined Halaaniani, the grandmother went to look after
her grandchild.

When the grandmother came to them, they were both fast asleep,
like new lovers, as if the nights were the time for waking.

As Laieikawai lay asleep, her grandmother looked and saw that
the man sleeping with her grandchild was not the one she had
chosen for her.

Then Waka wakened the grandchild, and when she awoke the
grandmother asked, “Who is this?”

Answered the grandchild, “ Kekalukaluokewa, of course.”

Said the grandmother in a rage, “This is no Kekalukaluokewa ;
this is Halaaniani, the brother of Malio. Therefore, I give you my
oath never to see your face again, my grandchild, from this time
until I die, for you have disobeyed me. I thought to hide you away
until you could care for me. But now, live with your husband for
the future; keep your beauty, your supernatural power is yours no
longer; that you must look for from your husband; work with your
own hands; let your husband be your fortune and your pride.”

510

MOKUNA XXIT

T kela manawa a Laieikawai me Halaaniani e heenalu ana mai ka
moana mai, ua uhiia ko Waka mana e ka mana nui o Malio, a nolaila,
ua ike ole o Waka i na mea a pau e hanaia ana o kana moopuna.

I kela manawa, i ke kokoke ana aku o Laieikawai ma e pae 1 ka
honua, oia ka manawa a Waka i hoouna mai ai i na manu maloko o
ka noe, a 1 ka mao ana ae, o na papa heenalu wale no ke waiho ana,
aia aku la o Laieikawai me Halaaniani iuka o Paliuli ma ko
Laieikawai hale, malaila o Halaaniani 1 lawe ai ia Laieikawai i
wahine hoao nana.

Ta la a po, mai ka po a ao, a awakea, he mea haohao loa ia Waka
no kana moopuna, no ka mea, ua olelo mua aku oia i kana moopuna
mamua o kona hoouna ana aku e launa me Kekalukaluokewa. Eia ke
kauoha:

“Tho oe i keia la, a hui oe me Kekalukaluokewa, hoi mai olua a
uka nei, a laa ko kino, alaila, kii ae oe ia’u, na’u no e malama i kou
pau no ka hoohaumia ana ia oe.” E lixe me ka mea mau o na
kaikamahine punahele.

A no keia haohao o Waka, ma ke awakea o ka lua o ka la o ko
Laieikawai la hui me Halaaniani, hele aku Ja ke kupunawahine e
ike i ka pono o kana moopuna.

I ke kupunawahine i hiki aku ai; aia nae ua pauhia laua e ka
hiamoe nui, me he mea la ua lilo ka po i manawa makaala na laua e
like me ka mea mau i na mea hou. :

Ia manawa, iloko o ka wa hiamoe o Laieikawai, i nana iho ka
hana o ke kupunawahine, he kane e keia a ka moopuna e moe pu ana,
ka mea a ke kupunawahine i ae ole ai.

A no keia mea, hoala ae la o Waka i ka moopuna, a ala ae la,
ninau iho la ke kupunawahine, “ Owai keia?”

Olelo ae la ka moopuna, “ O Kekalukaluokewa no hoi.”

I mai la ke kupunawahine me ka inaina, “Aole keia 0 Kekaluka-
luokewa, o Halaaniani keia o ke kaikunane o Malio. Nolaila, ke hai
aku nei wau i kuu manao paa ia oe, aole wau e ike hou i kou maka.
e kuu moopuna ma keia hope aku a hiki i kuu la make, no ka mea,
ua pale oe i ka’u mau olelo, kainoa wau e ahai nei ia oe ma kahi
nalo, e nana mai ana oe ia’u, nolaila, e noho oe me ko kane mamuli
o ko wahine maikai, o ko mana, aole ia me oe, he nani ia ua imi aku
Ja no i ke kane, hana pono iho na lima, i kau kane na pono a me kou
hanohano.”

511

512 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

After this Waka made ready to build another house like that she
had built for Laieikawai. And by Waka’s art the house was speedily
completed.

When the house was ready, Waka went herself to meet Kekalu-
kaluokewa in person, for her heart yearned with love for Kakalu-
kaluokewa.

When Waka reached Kekalukaluokewa’s place, she clasped his feet
and said, with sorrowful heart: “ Great is my grief and my love for
you, O chief, for I desired you for my grandchild as the man to save
these bones. I thought my grandchild was a good girl, not so! I
saw her sleeping with Halaaniani, not the man I had chosen for her.
Therefore, I come to beseech you to give me a canoe and men also, and
I will go and get the foster child of Kapukaihaoa, Laielohelohe,”
who is like Laieikawai, for they are twins.”

And for this journey Kekalukaluokewa gave a double canoe with
men and all the equipment.

Before Waka went after Laielohelohe she commanded Kekalu-
kaluokewa as follows: “I shall be gone three times ten days and
three days over, then I shall return. Keep watch, and if the mist
rises on the ocean, then you will know that I am returning with your
wife, then purify yourself for two days before the marriage.”

According to her determination, Waka sailed to Oahu, where the
canoes landed at Honouliuli and Waka saw the rainbow arching up
at Wahiawa.

She took a little pig to sacrifice before Kapukaihaoa, the priest
who took care of Laielohelohe, and went up thither.

Waka went up and reached Kukaniloko; she drew near the place
where Laielohelohe was hidden, held the pig out to the priest and
prayed, and came to the amen, then she let the pig go.

The priest asked, “ Why do you bring me the pig? What can I
do for you?”

Said Waka, “ My foster child has sinned, she is not a good girl; I
wished to have the chief of Kauai for her husband, but she would not
listen to me, she became Halaaniani’s; therefore, I come to take your
foster child to be the wife of Kekalukaluokewa, the chief of Kauai.
We two shall be provided for, he will preserve our bones in the days
of our old age until we die, and when that chief is ours my foster
child will be supplanted, and she will realize how she has sinned.”

Said Kapukaihaoa, “The pig is well, therefore I give you my
foster child to care for, and if you succeed well, and I hear of your
prosperity, then I will come to seek you.”

BECKWITH] TEXT AND TRANSLATION 513

Mahope iho o keia manawa, hoomakaukau ae la o Waka e hana i
hale hou i like me ka hale i hanaia no Laieikawai. A ma ka mana
o Waka, ua hikiwawe, ua paa ka hale.

A makaukau ka hale, iho aku la o Waka e halawai kino me
Kekalukaluokewa, no ka mea, ua mokumokuahua kona manawa i ke
aloha ia Kekalukaluokewa.

A hiki o Waka ma kahi o Kekalukaluokewa, hopu aku la ma na
wawae me ka naau kaumaha, a olelo aku la, “ He nui kuu kaumaha,
a me kuu aloha ia oe e ke Alii, no ka mea, ua upu aku wau i ka’u
moopuna 0 oe ke kane e ola ai keia mau iwi, kainoa he pono ka’u
moopuna, aole ka, i ike mai nei ka hana i ka’u moopuna, e moe mai
ana me Halaaniani ka mea a ko’u naau i makemake ole ai. Nolaila,
i hele mai nei au e noi aku ia oe, e haawi mai oe i waa no’u, a me na
kanaka pu mai, e kii wau i ka hanai a Kapukaihaoa, ia Laielohelohe,
ua like no a like laua me Laieikawai, no ka mea, ua hanau mahoeia
laua.”

A no keia mea, haawi ae la o Kekalukaluokewa hookahi kaulua,
me na kanaka pu no, a me na lako a pau.

Mamua o ko Waka kii ana ia Laielohelohe, kauoha iho la oia ia
Kekalukaluokewa, “ Ke holo nei wau ekolu anahulu me na po keu
ekolu, alaila, hiki mai wau. E nana nae oe, ai ku ka punohu i ka
moana, alaila, manao ae oe ua hoi mai wau me ko wahine, alaila,
hoomalu oe ia oe a hiki i ko olua la e hoao ai.”

Ma ka manao paa o Waka, ua holo mai la oia a hiki i Oahu nei,
ma Honouliuli kau na waa, nana aku la no o Waka, e pio mai ana no
ke anuenue iuka o Wahiawa. J

Lalau iho la oia he wahi puaa, i mea alana aku imua o Kapukaihaoa,
ke kahuna nana i malama ia Laielohelohe, a pii aku la.

Pii aku la o Waka a hiki i Kukaniloko, hookokoke aku la oia ma
kahi 1 hunaia’i o Laielohelohe, hahau aku la i ka puaa imua o ke
kahuna me ka pule ana, a Amama ae la. Kuu aku la i ka puaa imua
o ke kahuna.

Ninau mai la ke kahuna, “ Heaha ka hana a ka puaa imua o’u?
A heaha ka’u e hana aku ai ia oe? ” :

T aku o Waka, “ Ua hewa ka’u hanai, ua pono ole, ua upu aku wau
o ke Alii o Kauai ke kane, aka, aole nae i hoolohe i ka’u olelo, ua lilo
aku ia Halaaniani; nolaila, i kii mai nei wau i kau hanai i wahine na
Kekalukaluokewa, ke Alii o Kauai, i ku kaua i ka moku, ola na iwi
o ko kaua mau la elemakule a hiki i ka make. <A loaa ia kaua kela
Alii, alaila, ku ka makaia o ka’u hanai, i ike ai ia ua hewa kana
hana ana.”

Olelo mai o Kapukaihaoa, “ Ua pono ka puaa, nolaila, ke hookuu
aku nei wau i ka’u hanai nau e malama, a loaa ia oe ka pomaikai, a
kui mai i o’u nei ka lono ua waiwai oe, alaila, imi aku wau.”

74936°—19—33 EtH——33

514 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Then Waka entered with Kapukaihaoa the taboo place where
Laielohelohe was hidden; Waka waited and the priest went still
farther into the place and brought her to Waka, then Waka knelt
before Laielohelohe and did her reverence.

On the day when Laielohelohe went on board the canoe, then the
priest took his foster child’s umbilical cord °* and wore it about his
neck. But he did not sorrow for Laielohelohe, thinking how good
fortune had come to her.

From the time Laielohelohe was taken on board, not one of the
paddlers had the least glimpse of her until they came to Hawaii.

Kekalukaluokewa waited during the time appointed.

The next day, in the early morning, when the chief awoke from
sleep, he saw the sign which Waka had promised, for there was the
colored cloud on the ocean.

Kekalukaluokewa prepared for Laielohelohe’s arrival, expecting to
see her first at that time. Not so!

In the afternoon, when the double canoes came in sight, all the
people crowded to the landing place to see the chief, thinking she
would come ashore and meet her husband.

When the canoe approached the shore, then fog and mist covered
the land from Paliuli to the sea.

Then Laielohelohe and Waka were borne under cover of the mist
on the birds to Paliul, and Laielohelohe was placed in the house
prepared for her and stayed there until Halaaniani took her.

Three days was Waka at Paliuli after returning from Oahu. Then
she came down with Kekalukaluokewa for the marriage of the chiefs.

Then Waka came to Kekalukaluokewa and said, “ Your wife has
come, so prepare yourself in forty days; summon all the people to
assemble at the place where you two shall meet; make a Adu shelter;
there disgrace Laieikawai, that she may see what wrong she has done.

At the time when Waka took away her supernatural protection
from Laieikawai, Aiwohikupua’s sisters took counsel as to what they
had better do; and they agreed upon what they should say to
Laieikawal.

BECKWITH] TEXT AND TRANSLATION 515

Ta manawa, komo aku la o Kapukaihaoa me Waka ma kahi kapu,
kahi hoi 1 hunaia’i o Laielohelohe, hoonohoia iho la o Waka, a komo
aku la ke kahuna ma kahii hunaia’i. A laweia mai laa mua o Waka,
ia manawa, kulou aku la o Waka imua o Laielohelohe, a hoomaikai
aku la.

I ka la i laweia’i o Laielohelohe a kau iluna o na waa, ia manawa,
lawe ae la ke kahuna i ka piko o kana hanai a lei iho la ma kona ai.
Aka, aole i kaumaha kona manao no Laielohelohe, no ka mea, ua
manao no ke kahuna he pomaikai‘e ili mai ana maluna ona.

I ka manawa i laweia’i o Laielohelohe, aole kekahi o na kanaka
hoewaa i ike aku ia ia a hiki wale i Hawaii.

Noho mai la o Kekalukaluokewa me ke kali iloko ka manawa i
kauohaia.

I kekahi la ma ke kakahiaka, iloko o ko ke Alii manawa i ala mai
ai mai ka hiamoe mai, ike ae la oia i ka hoailona a Waka i kauoha
al. No ka mea, aia ka punohu i ka moana.

Hoomakaukau ae la o Kekalukaluokewa ia ia iho no ka hiki
aku o Laielohelohe, me ka manao e ike mua ana laua i ka la e puka
aku ai, aole ka!

Ma ka auina la, ike maopopoia aku la na waa, akoakoa ae la na
kanaka a pau ma ke awa pae waa e ike i ke Alii, i ka manao e
puka aku ana a halawai me ke kane.

I ka hookokoke ana aku o na waa ma ke awa, ia manawa ka uhi
ana mai o ke ohu, a me ka noe mai Paliuli mai.

Ia manawa, kailiia’ku la o Laielohelohe me Waka maloko o ka
ohu, maluna o na manu a hiki i Paliuli, a hoonoho ia Laielohelohe
ma ka hale i hoomakaukauia nona, malaila oia 1 noho ai a loaa hou
ia Halaaniani.

Ekolu mau la o Waka ma Paliuli, mai ka hoi ana mai Oahu aku
nei. Iho mai la ola e halawai me Kekalukaluokewa, no ka hoao o
na’lii.

Ja Waka i hiki aku ai ma ko Kekalukaluokewa wahi, olelo aku la,
“Ua hiki mai ko wahine, nolaila, e hoomakaukau oe i kanaha la, e
kuahaua aku i na mea a pau, e akoakoa mai ma ko olua wahi e hui
ai, e hana 1 papai kilu, malaila e hoohilahila aku ai ia Laieikawai, i
ike ai oia 1 ka ino o kana hana.”

Ta ka manawa nae i lawe aku ai o Waka i ka mana maluna o
Laieikawai, alaila, kukakuka ae la na kaikuahine o Aiwohikupua i
ka mea e pono ai ko lakou noho ana; a hooholo ae la ua mau kaikama-
hine nei i ka lakou olelo e pane aku ai ia Laieikawai.

516 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Kahalaomapuana came to Laieikawai, and she said: “ We became
your bodyguard while Waka still protected you; now she has re-
moved her guardianship and left you. Therefore, as we agreed in
former days , ‘Adversity to one is adversity to all;’ now that you are
in trouble, we will share your trouble. As we will not forsake you,
so do not you forsake us until our death; this is what we have
agreed.”

When Laieikawai heard these words her tears fell for love of her
comrades, and she said, “ I supposed you would forsake me when for-
tune was taken from me; not so! What does it matter! Should for-
tune come to me hereafter, then I will place you far above myself.”

Halaaniani and Laieikawai lived as man and wife and Aiwohi-
kupua’s sisters acted as her servants.

Perhaps the fourth month of their union, one day at noon when
Halaaniani opened the door and went outside the house, he saw
Laielohelohe going out of her taboo house. Then once more longing
seized Halaaniani.

He returned with his mind fixed upon doing a mischief to the girl,
determined to get her and pollute her.

As he was at that time living on good terms with Laieikawai, Hala-
aniani sought some pretext for parting from Laieikawai in order to
carry out his purpose.

That night Halaaniani deceived Laieikawai, saying, “ Ever since
we have lived up here, my delight in surf riding has never ceased;
at noon the longing seizes me; it is the same every day; so I propose
to-morrow we go down to Keaau surf riding, and return here.”

The wife agreed.

Early in the morning Laieikawai sought her counsellors, the sisters
of Aiwohikupua, and told them what the husband had proposed that
night, and this pleased her counsellors.

Laieikawai said to them, “ We two are going to the sea, as our hus-
band wishes. You wait; do not be anxious if ten days pass and our
husband has not had enough of the sport of surf riding; but if more
than ten days pass, some evil has befallen us; then come to my help.”

BECKWITH] TEXT AND TRANSLATION 517

Hele aku la o Kahalaomapuana a hai aku la imua o Laieikawai,
me ka i aku, “ Ua kukakuka makou, kou mau kiai kino i ka manawa
e pono ana ko olua noho ana me ko kupunawahine, a ua lawe aku
nei kela i ka hoopomaikaiia mai a oe aku. Nolaila, e like me ko
kakou hoohiki ana mamua, “ No kekahi o kakou ka pilikia, malaila
pu kakou a pau.” Nolaila, ua loaa iho nei ia oe ka pilikia, no
kakou pu ia pilikia. Nolaila, aole makou e haalele ia oe, aole hoi
oe e haalele ia makou a hiki i ko kakou make ana, oia ka makou
olelo i hooholo mai nei.”

A lohe o Laieikawaii keia mau olelo, haule iho la na kulu waimaka
no ke aloha i kona mau hoa kuka, me ka i aku, “ Kuhi au e haalele
ana oukou ia’u i ka laweia’na o ka pomaikai mai o kakou aku, aole
ka! a heaha la hoi, a i loaa ka pomaikai ia’u ma keia hope aku,
alaila, e hoolilo no wau ia oukou a pau i mau mea nui maluna o’u.”

Noho iho la o Halaaniani me Laieikawai, he kane, he wahine; a
o na kaikuahine no o Aiwohikupua kona mau kanaka lawelawe.

I ka aha malama paha o ko laua noho hoao ana, ma kekahi a
awakea, puka ae la o Halaaniani mai loko ae o ka hale, i hele aku
iwaho, ia manawa, ike aku la oia ia Laielohelohe e puka ae ana mai
loko ae o kona hale kapu. Ja manawa, hiki hou ke kuko 1 loko o
Halaaniani.

Hoi aku la oia me ka manao ino no kela kaikamahine, me ka
manao e kii e hoohaumia.

Ta la no, ia laua e noho pono ana me Laieikawai, ia manawa, manao
ae la o Halaaniani e kii e hoohaumia ia Laielohelohe, nolaila imi
iho Ja o Halaaniani i hewa no Laieikawai, i mea hoi e kaawale ai
laua, alaila, kii aku i kana mea e manao nei.

I ka po iho, olelo hoowalewale aku la o Halaaniani ia Laieikawai,
me ka 1 aku, “Ja kaua e noho nei iuka nei mai ko kaua noho ana
iuka nei a hiki i keia manawa, aole he pau o ko’u lealea i ka heenalu,
aia awakea, kau mai ia’u ka lealea, pela i na la a pau, nolaila, ke
manao nei au apopo kaua iho i kai o Keaau i ka heenalu a hoi mai
no hoi.”

“Ae,” wahi a ka wahine.

Ia kakahiaka ana ae, hele aku la o Laieikawai imua o kona mau
hoa kuka, na kaikuahine hoi o Aiwohikupua, hai aku la i ko laua
manao me ke kane i kuka ai ia po, a he mea maikai no ia i kona mau
hoa kuka.

I aku nae o Laieikawai i ua mau hoa la, “ Ke iho nei maua i kai
ma ka makemake o ke kane a kakou, i kali ae oukou a i anahulu
maua, mai hoohuoi oukou, aole no i pau ka lealea heenalu o ka kakou
kane, aka hoi, i hala ke anahulu me ka po keu, alaila ua pono ole
maua, alaila, huki ae oukou ia’u.”

518 HAWAIIAN ROMANCE OF LAIBIKAWAI [ETH. ANN. 33

They departed and came to a place just above Keaau; then Hala-
aniani began to make trouble for Laieikawai, saying, “ You go ahead
to the coast and I will go up and see your sister-in-law, Malio, and
return. And if you wait for me until day follows night, and night
again that day, and again the day succeeds the night, then you will
know that I am dead; then marry another husband.”

This proposal of her husband’s did not please the wife, and she
proposed their going up together, but the slippery fellow used all
his cunning, and she was deceived.

Halaaniani left her. Laieikawai went on to Keaau, and at a place
not close to Kekalukaluokewa, there she remained; and night fell,
and the husband did not return; day came, and he did not return.
She waited that day until night; it was no better; then she thought
her husband was dead, and she began to pour out her grief.

BECKWITH] TEXT AND TRANSLATION 519

A hala aku la laua, a hiki i kahi e kokoke aku ana i Keaau, ia
manawa, hoomaka o Halaaniani e hana i ke kalohe ia Laieikawai,
me ka olelo aku, “ E iho mua aku oe o kaua, a hiki i kai e pii ae au
e ike i ko kaikoeke (Malio) a hoi mai wau. A inai kali oe ia’u ai po
keia la, a ao ka po, a i po hou ua la, alaila, manao ae oe ua make
wau, alaila, moe’ hou aku oe i kane hou.”

A no keia olelo a kana kane, aua aku ka wahine, a i ole, e pii pu
no laua, a no ka pakela loa o Halaaniani i ke akamai i ka hoopuka
ina olelo pahee, ua puni kana wahine maikai ia ia.

Hala aku la o Halaaniani, iho aku la no hoi o Laieikawai a hiki
i Keaau, ma kahi kaawale ae i pili ole aku ia Kekalukaluokewa, noho
tho la oia malaila; a po ia la, aole i hoi mai kana kane, mai ia po a
ao, aole i hoi mai. Kali hou aku la ia la a po, pale ka pono, alaila,
manao ae la o Laieikawai ua make kana kane, alaila, ia manawa,
hoomaka aku la ia i ka uwe paiauma no kana kane.

CHAPTER XXIII

Very heavy hearted was Laieikawai at her husband’s death, so she
mourned ten days and two (twelve days) for love of him.

While Laieikawai mourned, her counsellors wondered, for Laiei-
kawai had given them her charge before going to Keaau.

“Wait for me ten days, and should I not return,” she had bidden
them as told in Chapter X XIT; so clearly she was in trouble.

And the time having passed which Laieikawai charged her com-
panions to wait, Aiwohikupua’s sisters awoke early in the morning
of the twelfth day and went to look after their comrade.

They went to Keaau, and as they approached and Laieikawai spied
her counsellors she poured out her grief with wailing.

Now her counsellors marveled at her wailing and remembered
her saying “some evil has befallen”; at her wailing and at her
gestures of distress, for Laieikawai was kneeling on the ground with
one hand clapped across her back and the other at her forehead, and
she wailed aloud as follows:

O you who come to me—alas!

Here I am,

My heart is trembling,

There is a rushing at my heart for love.
Because the man is gone—my close companion!
He has departed.

He has departed, my lehua blossom, spicy kookoolau,
With his soft pantings,

Tremulous, thick gaspings,

Proud flower of my heart,

Behold—alas !

Behold me desolate—

The first faint fear branches and grows—I can not bear it!
My heart is darkened

With love.

Alas, my husband!

When her companions heard Laieikawai wailing, they all wailed
with her.
520

MOKUNA XXIII

He mea kaumaha loa ia Laieikawai no ka make ana o kana kane,
nolaila 1 kanikau ai oia hookahi anahulu me elua mau la keu (umi-
kumamalua la), no ke aloha ia ia.

Tloko o keia mau la kanikau o Laieikawai, he mea haohao loa ia i
kona mau hoa kuka, no ka mea, ua kauoha mua o Laieikawai mamua
o ko laua iho ana i kai o Keaau.

“He umikumamakahi-la e kali ai” kona mau hoa ia ia, ai “hoi ole
aku” ina lai kauohaia e like me ka kakou kamailio ana ae nei ma
ka Mokuna XXII, alaila, maopopo ua pono ole.

A no ka hala ana o ka manawa a Laieikawai i kauoha ai i kona
mau hoa, nolaila, ala ae la na kaikuahine o Aiwohikupua i ke kaka-
hiaka nui o ka umikumamalua o ka la iho aku la e ike i ka pono o
ko lakou hoa.

A hiki Jakou ma Keaau, ia Jakou e kokoke aku ana e hiki, ike mua
mai la o Laieikawai i kona mau hoa, paiauma mai la me ka uwe.

Aka, he mea haohao nae ia i kona mau hoa ka uwe ana, a ua akaka
kana kauoha “ua pono ole, laua.” Ma ka uwe ana a Laieikawai, a
me na helehelena o ka poina; no ka mea, aia o Laieikawai e kukuli
ana 1 ka honua, a o kekahi limu, ua pea ae-la ma ke kua, a o kekahi
lima, aia ma ka lae, a uwe helu aku la oia penei:

O oukou ia—e, auwe!

Hia wau la,

Ua haalulu kuu manawa,

Ua nei nakolo i ke aloha,

I ka hele 0 ke kane he hoa pili—e!
Ua hala—e.

Ua hala kuu lehua ala Kookoolau,

I ka nae kolopua,

Ulili nae o olopua,

Haihai pua o kuu manawa—e.
Hi—e.

Hia wau la ua haiki,
Ua kupu lia halia i ka maria—o—e,
Ke hoopaele mai nei i kuu manawa,
I ke aloha—la,

Auwe kuu ka—ne.

A lohe kona mau hoa i keia uwe a Laieikawai, uwe like ae la lakou
a pau.

521

522, HAWAIIAN ROMANCE OF LAIEIKAWAI [BTH. ANN. 33

After their lament, said Kahalaomapuana, “ This is a strange way
to ery; you open your mouth wide, but no tears run; you seem to be
dried up, as if the tears were shut off.”

Said the sisters, “ What do you mean?”

Kahalaomapuana replied, “As if there were nothing the matter
with our husband.”

Said Laieikawai, “He is dead, for on the way down, just
above here, he said, ‘You go ahead and I will go up and see
your sister-in-law, and if you wait for me until day follows night
and night day and day again that night, then I am dead, so he
charged me. I waited here; the appointed time passed; I thought
he was dead; here I stayed until you came and found me wailing.”

Said Kahalaomapuana, “ He is not dead; wait a day; stop wail-
ing!”

Because of Kahalaomapuana’s words they waited four days, but
nothing happened. Then Laieikawai began to wail again until eve-
ning of the third day, and this night, at dawn, for the first time she
fell asleep.

Just as sleep came to her Halaaniani stood before her with an-
other woman, and Laieikawai started up, and it was only a dream!

At the same time Mailehaiwale had a vision. She awoke and told
her dream to Mailelaulii and Mailekaluhea.

As they were talking about it Laieikawai awoke and told her
dream.

Said Mailelaulii, “ We are just talking of Mailehaiwale’s dream.”

As they discussed the dreams Kahalaomapuana awoke from sleep
and asked what they were talking about.

Mailehaiwale told the dream that had come to her: “ It was up at
Paliuli, Halaaniani came and took you, Kahalaomapuana, and you
two went away somewhere; my spirit stood and watched you, and
the excitement awoke me.”

Laieikawai also told her dream, and Kahalaomapuana said, “Ha-
laaniani is not dead; we will wait; do not weep; waste no tears.”

Then Laieikawai stopped wailing, and they returned to Paliuli.

At this place we shall tell of Halaaniani, and here we shall see his
clever trickery.

BECKWITH] TEXT AND TRANSLATION 523

A pau ka lakou pihe uwe, olelo mai la o Kahalaomapuana, “He
mea kupanaha, ia kakou e uwe nei, o ka hamama wale iho no ka
ko’u waha, aole a kahe mai o ka waimaka, 0 ke kaea pu wale ae la
no ia, me he mea Jai pania mai ka waimaka.”

T mai la na kaikuaana, “ Heaha la?”

T aku la o Kahalaomapuana, “ Me he mea la aole i poino ka kakou
kane.”

Olelo mai la o Laieikawai, “Ua make, no ka mea, ia maua no i
‘tho mai ai a mauka ae nei la, o ka hiki mai no hoi ia i kai nei, olelo
mai no kela ia’u, ‘e iho e oe mamua, e pii ae au e ike i ko kaikoeke,
e kali nae oe ia’u a i po keia Ja, a ao ka po, a po hou ua la, alaila,
ua make au, pela kana kauoha ia’u. Kali iho nei wau a hala kona
manawa 1 kauoha ai, manao ae nei au ua make, oia wau i noho jho
nei a hiki wale mai nei oukou la e uwe aku ana wau.”

I mai la o Kahalaomapuana, “Aole i make, nanaia aku i keia la,
ua oki ka uwe.”

A no keia olelo a Kahalaomapuana, kakali aku la lakou a hala
na la eha, aole lakou i ike i ke ko o ka Kahalaomapuana mea i olelo
ai. Nolaila, hoomau hou aku Ja o Laieikawai i ka uwe i ke ahiahi o
ke kolu o ka la a po, mai ia po a wanaao, akahi no a loaa ia ia ka
hiamoe.

Ta Laieikawai i hoomaka iho ai e hookau hiamoe, ku ana no o
Halaaniani me ka wahine hou, a hikilele ae la o Laieikawai, he
moeuhane ka.

Ja manawa no, ua loaa ia Mailehaiwale he moeuhane, ala ae la
oia a kamailio aku la ia Mailelaulii a me Mailekaluhea i keia moe.

E kamailio ana no lakou no kela moe, ia manawa, puoho mai la
o Laieikawai, a hai mai la i kana moe.

T aku la o Mailelaulii, “O ka makou no hoi ia e kamailio nei, he
moe no Mailehaiwale.”

E hahai ana no lakou i na moeuhane, puoho mai la o Kahalao-
mapuana mai ka hiamoe mai, a ninau mai i ka lakou mea e kamailio
ana.

Hai mai la o Mailehaiwale i ka moe i loaa ia ia, “I uka no i
Paliuli, hele ae la no o Halaaniani a lawe ae ana no ia oe, (Kaha-
laomapuana,) a hele aku nei no olua ma kahi e aku, ku aku nei ko’u
uhane nana ia olua, hikilele wale ae nei no hoi au.”

Hai ae la no hoi o Laieikawai i kana moe, i mai la o Kahalaoma-
puana, “Aole 1 make o Halaaniani, kali aku kakou, mai uwe, hoopau
waimaka.”

A no keia mea, hooki loa ae la o Laieikawai 1 kana uwe ana, hoi
aku la lakou iuka o Paliuh.

(Ma keia wahi, e kamailio kakou no Halaaniani, a maanei kakou
e ike ai i kona kalohe launa ole.)

524 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

When Halaaniani told Laieikawai he was going up to see Malio,
this was in order to get away from her after giving her his com-
mands.

The fellow went up and met Malio. His sister asked. “ What have
you come up here for?”

Said Halaaniani, “I have come up here to you once more to show
you what I desire, for I have again seen a beautiful woman with a
face like Laieikawai’s.

“Yesterday morning when I went outside my house I saw this
young girl with the lovely face; then a great longing took possession
of me.

“And because I remembered that you were the one who fulfilled
my wishes, therefore I have come up here again.”

Said Malio to her brother, “That is Laielohelohe, another of
Waka’s grandchildren; she is betrothed to Kekalukaluokewa, to be
his wife. Therefore go and watch the girl’s house without being
seen for four days, and see what she does; then come back and tell
me; then I will send you to seduce the girl. I can not do it by my
power, for they are two.”

At these words of Malio, Halaaniani went to spy outside of Laie-
lohelohe’s house without being seen; almost twice ten days he lay in
wait; then he saw Laielohelohe stringing Jehua blossoms. He came
repeatedly many days; there she was stringing /ehua blossoms.

Halaaniani returned to his sister as he had been directed. and told
her what he had seen of Laielohelohe.

When Malio heard the story she told her brother what to do to
win Laielohelohe, and said to Halaaniani, “ Go now, and in the mid-
dle of the night come up here to me, and we two will go to Laielo-
helohe’s place.”

Halaaniani went away, and close to the appointed time, then he
arose and joined his sister. His sister took a ¢/-leaf trumpet and
went with her brother, and came close to the place where Laielohelohe
was wont to string /ehua blossoms.

Then Malio said to Halaaniani, “ You climb up in the Jehua tree
where you can see Laielohelohe, and there you stay. Listen to me
play on the ¢i-leaf trumpet; when I have blown five times, if you
see her turn her eyes to the place where the sound comes from, then
we shall surely win, but if she does not look toward where I am
playing, then we shall not win to-day.”

As they were speaking there was a crackling in the bushes at the
place where Laielohelohe strung lehua blossoms, and when they
looked, there was Laielohelohe breaking /ehua blossoms.

BECKWITH] TEXT AND TRANSLATION 525

Ma kela olelo a Halaaniani ia Laieikawai e pii e halawai me Malio.
Ja laua i hookaawale ai mahope iho o ka Halaaniani kauoha ana ia ia.

Pii aku Ja oia a halawai pu me Malio, ninau mai la kona kaikua-
hine, “ Heaha kau o uka nei? ”

I aku la o Halaaniani, “TI pii hou mai nei wau ia oe, e hooko mai
oe 1 ko’u makemake, no ka mea, ua ike hou au he kaikamahine maikai
i like kona helehelena me ko Laieikawai.

“Ma ke awakea o nehinei, ia’u 1 puka ae ai iwaho mai ko maua
hale ae. Ike aku la wau i keia kaikamahine opiopio i maikai kona
mau helehelena; nolaila, ua pauhia mai wau e ka makemake nui.

“A no ko’u manao o oe no ka mea nana e hoopomaikai nei ia’u ma
na mea a’u e makemake ai, nolaila wau i hiki hou mai nei.”

I aku o Malio i kona kaikunane, “O Laielohelohe na, o kekahi
moopuna a Waka, ua hoopalauia na Kakalukaluokewa, a wahine
haoa. Nolaila, a hele oe e makai i ka hale o ua kaikamahine la
me ko ike oleia mai, i eha la au e makai aku ai, a ike oe i kana hana
mau, alaila, hoi mai oe a hai mai ia’u, alaila, na’u e hoouna aku ia oe
e hoowalewale i ua kaikamahine la. Aole e loaa ia’u ma kuu mana,
no ka mea, elua laua.”

A no keia olelo a Malio, hele aku la o Halaaniani e hoohalua mau
mawaho o ko Laielohelohe hale me kona ike oleia mai, kokoke alua
anahulu kona hookalua ana, alaila, ike oia i ka Laielohelohe hana,
he kui lehua. Hoomau pinepine aku la oia a nui na 1s ala No Ola e
hoomau ana i kana hana he kui lehua.

Hoi aku Ja o Halaaniani e halawai me ke kaikuahine e like me kana
kauoha, a hai aku Ja i na mea ana i ike ai no Laielohelohe.

A lohe o Malio i keia mau mea, alaila, hai aku la oia i na mea hiki
ke hanaia aku no Laielohelohe e kona kaikunane, me ka i aku ia
Halaaniani, “ E hoi oe a ma ka waenakonu o ka po, alaila, pii mai oe
i o’u nei, i hele aku ai kaua ma kahi o Laielohelohe.”

Hoi aku la o Halaaniani, a kokoke 1 ka manawa i kauo haia nona,
alaila, ala mai la oia a halawai me kona kaikuahine. Lalau ae la
kona kaikuahine i ka pu la-i, a hele aku la me kona kaikunane, a
kokoke aku Ja laua ma kahi a Laielohelohe e kui lehua mau ai.

Ta manawa, olelo aku la o Malio ia Halaaniani, “ EH pii oe maluna
o kekahi laau, ma kahi ou e ike aku ana ia Laielohelohe, a malaila oe
e noho ai. E hoolohe mai oe i ke kani aku a kuu pu la-i, elima a’u
puhi ana, ina ua ike oe e a-u ana kona maka 1 kahii kani aku ai ka pu
la-i, alaila ka hoi loaa ia kaua, aka hoi, i aluli ole ae kona mau maka i
kuu hookani aku, alaila, aole e loaa ia kaua i keia la.”

Ta laua no e kamailio ana no keia mau mea, uina mai ana kahi a ua
o Laielohelohe e kui lehua ai, i nana aku ka hana o Jaua, o Laielo-
helohe e haihai lehua ana.

526 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 88

Then Halaaniani climbed up the trunk of a tree and kept watch.
When he was up the tree, Malio’s trumpet sounded, again it sounded
a second time, so on until the fifth time, but Halaaniani did not
see the girl turn her eyes or listen to the sound.

Malio waited for Halaaniani to return and tell what he had seen,
but as he did not return, Malio again blew on the trumpet five times;
still Halaaniani did not see Laielohelohe pay the least attention
until she went away altogether.

Halaaniani came back and told his sister, and his sister said, “ We
have not won her with the trumpet; shall we try my nose flute? ”

The two returned home, and very early in the morning, they came
again to the same place where they had lain in ambush before.

No sooner were they arrived than Laielohelohe arrived also at her
customary station. Malio had already instructed her brother, as
follows:

“Take dehua flowers, bind them into a cluster, when you hear me
playing the nose flute, then drop the bunch of flowers right over her;
maybe she will be curious about this.”

Halaaniani climbed the tree right over where Laielohelohe was
wont to sit. Just as Malio’s nose flute sounded, Halaaniani dropped
the bunch of Zehua flowers down from the tree, and it fell directly
in front of Laielohelohe. Then Laielohelohe turned her eyes right
upward, saying, “ If you are a man who has sent me this gift and this
music of the flute, then you are mine: if you are a woman, then you
shall be my intimate friend.”

When Halaaniani heard this speech, he waited not a moment to
descend and join his sister.

To Malio’s question he told her what he had seen.

Said Malio to Halaaniani, “ We will go home and early in the
morning come here again, then we shall find out her intentions.”

They went home and returned early in the morning. When they
had taken their stations, Laielohelohe came as usual to string lehua
blossoms.

Then Malio sounded the fiute, as Laiclohelohe began to snip the
lehua blossoms, and she stopped, for her attention was attracted to
the music.

Three times Malio sounded the nose flute.

Then said Laielohelohe, “ If you are a woman who sounds the flute,
then let us two kiss.”

BECKWITH] TEXT AND TRANSLATION 527

Ta manawa, pii ae la o Halaaniani ma kekahi kumu laau a nana
aku la. Ia ianei maluna o ka laau, kani ana ka pu la-i a Malio, kani
hou aku Ja o ka lua ia, pela a hikii ka lima o ke kani ana o ka pu la-i,
aole o Halaaniani i ike iki ua huli ae ka maka a hoolohe i keia mea
kani.

Kali mai la o Malio o ka hoi aku o Halaaniani e hai aku i kana
mea i ike ai, aole nae i hoi aku, nolaila, hoomau hou aku la o Malio i
ke puhi i ka pu la-i elima hookani ana, aole no i ike iki o Halaaniani
i ka nana o Laielohelohe i keia mea, a hoi wale no.

Hoi aku la o Halaaniani a kamailio aku i kona kaikuahine, 1 mai la
kona kaikuahine, “ Loaa ole ae la ia kaua i ka pu la-i, i kuu hano aku
ia loaa?”

Hoi aku la laua ma ko laua wahi, a ma kekahi kakahiaka ae, hiki
hou no laua i kahi mua a laua i hoohalua ai.

Ta laua nei a hiki iho, hiki ana no o Laielohelohe ma kona wahi mau.
Mamua nae o ko Jaua hiki ana aku, ua hai mua aku o Malioi kana
olelo i kona kaikunane penei:

“ F haku oe i Jehua, e huihui a lilo i mea hookahi, aia lohe oe i kuu
hookani aku i ka hano, oia kou wa e hookuu iho aii kela popo lehua
iluna pono ona, malia o hoohuoi kela ia mea.”

Pii ae la o Halaaniani iluna o kekahi laau ma kahi kupono ia
Laielohelohe. Ja wa no, kani aku la ka hano a Malio, ia wa no hoi
.ko Halaaniani hoolei ana iho i ka popo lehua mai luna iho o ka
laau, a haule pololei iho la ma ke alo ponoi o Laielohelohe. Ia
manawa, alawa pono ae la na maka o Laielohelohe iluna, me ka
olelo.ae, “ Ina he kane oe ka mea nana keia makana, a me keia hano
e kani nei, alaila, na’u oe, ina he wahine oe, alaila 1 aikane oe na’u.”

A lohe o Halaaniani i keta olelo, he mea manawa ole ia noho ana
ilalo e hui me kona kaikuahine.

Ninau mai o Malio, hai aku la oia i kana mea i ike ai no Laielo-
helohe.

I aku o Malio ia Halaaniani, “I hoi kaua a kakahiaka hiki hou
mai kaua ianel, ia manawa e lohe maopopo aku ai kaua i kona
manao.”

Hoi aku la laua, a ma kekahi kakahiaka ana ae, pii hou aku la,
Ta laua i hiki aku ai a noho iho, hiki mai la o Laielohelohe ma kona
wahi mau e kui lehua ai.

Ta manawa, hookani aku la o Malio i ka hano ia Laielohelohe e
hoomaka aku ana e ako Jehua, aole nae e hiki, no ka mea, ua lilo loa
o Laielohelohe i ka hoolohe i ka mea Kani.

Ekolu: hookani ana a Malio i ka hano.

Ia manawa no, pane mai o Laielohelohe, “Ina he wahine oe ka
mea nana keia hano, alaila, e honi no kaua.”

528 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

At Laielohelohe’s words, Malio approched Laielohelohe and the
girl saw her, and she was a stranger to Laielohelohe’s eyes.

Then she started to kiss her. ;

And as the girl was about to give the promised kiss, Malio said,
“Let our kiss wait, first give my brother a kiss; when you two have
done, then we will kiss.”

Then said Laielohelohe, “ You and your brother may go away, do
not bring him into my presence; you both go back to your own place
and do not come here again. For it was only you I promised to
greet with a kiss, no one else; should I do as you desire, I should dis-
obey my good guardian’s command.”

When Malio heard this she returned to her brother and said, “ We
have failed to-day, but I will try my supernatural arts to fulfill your
desire.”

They went back to the house, then she directed Halaaniani to go
and spy upon Laieikawai.

When Halaaniani came to Keaau as his sister directed, he neither
saw nor heard of Laieikawai.

BECKWITH] TEXT AND TRANSLATION 529

A no keia olelo a Laielohelohe, hoopuka aku la o Malio imua o
Laielohelohe, a ike mai la kela ia ianei, a he mea malihini hoi ia i ko
Laielohelohe mau maka.

Ta wa, hoomaka mai la kela e hooko e like me kana olelo mua ma
ka honi ana o laua.

A no ka hahai ana mai o Laielohelohe e honi me Malio, i aku o
Malio, “Alia kaua e honi, me kuu kaikunane mua oe e honi aku ai,
a pau ko olua manawa, alaila, honi aku kaua.”

I mai o Laielohelohe, “ E hoi oe a kou kaikunane, mai hoike mai
ja ia imua o’u, e hoi olua ma ko olua wahi, mai hele hou mai. No
ka mea, 0 oe wale no ka’u mea i ae aku e haawi i ko’u aloha nou ma
ko kaua honi ana, aole au i ae me kekahi mea e ae. Ina e hooko au
i kau noi, alaila, ua kue wau i ka olelo a ko’u mea nana e malama
maikai nei.”

A lohe o Malio 1 keia olelo, hoi aku la a hai i kona kaikunane,
me ka i aku, “Ua nele ae nei kaua i keia la, aka, e hoao wau ma
kuu mana, i ko ai kou makemake.”

Hoi aku la laua a hiki i ka hale, ia manawa, kena ae la oia ia
Halaaniani e hele e makai aku ia Laieikawai.

Ja Halaaniani i hiki ai ma Keaau, mamuli o ke kauoha a kona
kaikuahine, aole oia i ike a i lohe hoi no Laieikawai.

74936°—19—833 ErH——84

CHAPTER XXIV-

On his arrival there, Halaaniani heard there was to be a great day
for Kakalukaluokewa, a day of celebration for the marriage of
Laielohelohe with Kekalukaluokewa. And when he had carefully
noted the day for the chief’s wedding feast he returned and told his
sister this thing.

When Malio heard it she said to her brother, “On the marriage
day of Kekalukaluokewa with Laielohelohe, on that day Laielohelohe
shall be yours.”

Now Aiwohikupua’s sisters were wont to go down to the sea at
Keaau to keep watch for their husband, to make sure if he were
dead or not.

As Aiwohikupua’s sisters were on the way to Keaau, they heard
of the festival for Kekalukaluokewa and Laielohelohe.

When the great day drew near, Waka went down from Paliuli
to meet Kekalukaluokewa, and Waka said to Kekalukaluokewa: “To-
morrow at sunrise call together all the people and the chiefs of the
household to the place prepared for the celebration; there let all be
assembled. Then go and show yourself first among them and near
midday return to your house until day declines, then I will send
a mist to cover the land, and the place where the people are as-
sembled.

“When the mist begins to close down over the land, then wait
until you hear the birds singing and they cease; wait again until
you hear the birds singing and they cease.

“And after that I will lift the mist over the land. Then you will
see up to Paliuli where the cloud rises and covers the mountain top,
then the mist will fall again as before.

“Wait this time until you hear the cry of the alae bird, and the
ewaewaiki calling; then come out of the house and stand before the
assembly.

“Wait, and when the vo birds call and cease, then I am prepared to
send Laielohelohe.

“When the voice of the 7iwipolena sounds, your wife is on the left
side of the place of meeting. Soon after this, you will hear the land
snails ® singing, then do you two meet apart from the assembly.

530

MOKUNA XXIV

Ta manawa nae ana i hiki aku ai, lohe iho la o Halaaniani, he la
nui no Kekalukaluokewa, he la hookahakaha, no ka hoao o Laielo-
helohe me ua Kekalukaluokewa nei. A maopopo iho la ia Halaaniani
ka la hookahakaha o na’lii, hoi aku la oia a hai aku i kona kaikuahine
no keia mea.

Ta Malio i lohe ai, olelo ae la oia i kona kaikunane, “A hiki i ka la
hookahakaha o Kekalukaluokewa me Laielohelohe, oia ka la e lilo ai o
Laielohelohe ja oe.”

A he mea mau hoi i na kaikuahine 0 Aiwohikupua ka iho i kai o
Keaau e hoohalua ai no ka lakou kane, no ka make a make ole paha.

T ua mau kaikuahine nei o Aiwohikupua e iho ana i Keaau, lohe
lakou he la nui no Kekalukaluokewa me Laielohelohe.

T ke kokoke ana aku i ua la nui nei, iho aku la o Waka mai Paliuli
aku e halawai me Kekalukaluokewa a olelo aku la o Waka ia Kekaluka
luokewa: “Apopo, 1 ka puka ana o ka la, e kuahaua oe i na kanaka a
pau, a me kou alo alii e hele aku ma kahi au 1 hoomakaukau ai no
ka hookahakaha, malaila e akoakoa ai na mea a pau. Ta manawa e
hele aku oe e hoike mua ia oe, a kokoke aku i ke awakea, alaila, e hoi
oe i kou hale; aia a hiki aku mahope iho o ka auina la, ia manawa,
e hoouhi aku wau i ka noe maluna o ka aina, a maluna hoi o kahi e
akoakoa ai na kanaka.

“Aja a hoomaka mai ke poi ana o ka noe ma ka aina, alaila, e kali
oe ia wa, a lohe oe i ka leo ikuwa a na manu a haalele wale; kali hou
aku oe ia wa, a lohe hou oe i ka leo ikuwa hou o na manu a haalele
wale.

“A mahope oia manawa, e hoopau aku no wau 1 Ka noe maluna o
ka aina. Alaila, e nana oe ia uka o Paliuli, i pu ka ohu a uhi iluna
o na kuahiwi, ia manawa e uhi hou ana ka noe e like me mamua.

“ ® kali oe ia manawa, ina e lohe oe 1 ke keu a ka Alae, a me ka leo
o ka Ewaewaiki e hoonene ana. Ia manawa, e puka oe mai ka hale nei
aku, a ku mawaho o ke anaina.

“ Hoolohe oe a e kupinai ana ka leo ona manu Oo a haalele, alaila,
ua makaukau wau e hoouna mai ia Laielohelohe.

“Aja kupinai mai ka leo 0 na Liwipolena, alaila, aia ko wahine ma
ke kihi hema o ka aha. A ma ia hope koke iho oia manawa, e lohe
auanei oe i ka leo o na Kahuli e ikuwa ana, ia manawa e hui ai olua
ma ke kaawale.

531

532 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

“ And when you two meet, a single peal of thunder will crash, the
earth tremble, the whole place of assembly shall shake. Then I will
send you two on the birds, the clouds and mist shall rise, and there
will be you two resting upon the birds in all your splendor. Then
comes Laieikawai’s disgrace, when she sees her shame and goes off
afoot like a captive slave.”

After all this was arranged, Waka returned to Paliuli.

Already has Halaaniani’s expedition been described to look after
his wife Laieikawai at Keaau, and already has it been told how he
heard of the marriage celebration of Kekalukaluokewa and Maie-
lohelohe.

On the day when Waka went to Keaau to meet Kekalukaluokewa,
as we have seen above,

On that very day, Malio told Halaaniani to get ready to go down
to the festival, saying: “To-morrow, at the marriage celebration of
Kekalukaluokewa and Laielohelohe, then Laielohelohe shall be yours.
For them shall crash the thunder, but when the clouds and mist clear
away, then all present at the place of meeting shall behold you and
Laielohelohe resting together upon the wings of birds.”

Early in the morning of the next day, the day of the chief’s mar-
riage celebration, Kihanuilulumoku was summoned into the presence
of Aiwohikupua’s sisters, the servants who guarded Laieikawai.

When the lizard came, Kahalaomapuana said, “ You have been
summoned to take us down to the sea at Keaau to see Kekalukaluoke-
wa’s wedding feast. Be ready to take us down soon after the sun
begins to decline.”

TGhanuilulumoku went away until the time appointed, then he
came to them.

And as the lizard started to come into his mistress’s presence, lo!
the land was veiled thick with mist up there at Paliuli, and all
around, but Kihanuilulumoku did not hurry to his mistresses, for he
knew when the chiefs’ meeting was to take place.

When Kekalukaluokewa saw this mist begin to descend over the
land, then he remembered Waka’s charge.

He waited for the remaining signs. After hearing the voices of
the ewaewaiki and the land shells, then Kekalukaluokewa came out
of his house and stood apart from the assembly.

Just at that moment, Kihanuilulumoku stuck out his tongue as a
seat for Laieikawai and Aiwohikupua’s sisters.

And when the voice of the thunder crashed, clouds and mist
covered the land, and when it cleared, the place of meeting was to
be seen; and there were Laielohelohe and Halaaniani resting upon
the birds.

BECKWITH] TEXT AND TRANSLATION 533

“Ta olua e hui ana, hookahi hekili e kui ia manawa, nakolo ka
honua, haalulu ka aha a pau. Ia manawa, e hoouna aku wau ia
oula maluna o na manu, a mao ae ka ohu a me ka noe, aia olua e kau
aku ana iluna o na manu me ko olua nani nui. Ia manawa e ku
al ka makaia o Laieikawai, i ike ai oia i kona hilahila a holo aku me
he pio kauwa la.”

A pau keia mau mea, hoi aku la o Waka iuka o Paliuh.

Mamua iho nei, ua oleloia ua hiki aku o Halaaniani i Keaau, e ike i
ka pono o kana wahine (Laieikawai), a ua oleloia no hoi, ua lohe
oia he la hookahakaha no Kekalukaluokewa me Laielohelohe.

T kela Ja a Waka i hiki ai i Keaau e halawai me Kekalukaluokewa,
e like me ka kakou ike ana maluna ae.

Oia no ka la a Malio i olelo aku ai ia Halaaniani e hoomakaukau
no ka iho e ike i ka Ja hookahakaha o Laielohelohe ma; me ka i aku
nae o Malio i kona kaikunane, “Apopo, i ka la hookahakaha o
Laielohelohe me Kekalukaluokewa, ia manawa e lilo ai o Laielohelohe
ia oe, no laua auanei ka hekili ekui, a mao ae ka ohu a me ka noe,
alaila, e ike auanei ka aha a pau, o oe a me Laielohelohe ke kau pu
mai iluna o ka eheu o na manu.”

I ke kakahiaka nui o kekahi la ae, oia hoi ka la hookahakaha o
ua mau Alii nei, kitia aku la o Kihanuilulumoku, a hele mai la
imua o na kaikuahine o Aiwohikupua kona mau kahu nana e malama.

A hiki mai la ua moo nui nei, olelo aku la o Kahalaomapuana,
“T kiiia aku nei oe e lawe ae oe ia makou i kai o Keaau, e nana
makou i ka la hookahakaha o Kekalukaluokewa, aia a hiki i ka
auina la a mahope iho oia manawa e kii mai oe a iho aku kakou.”

Hoi aku la o Kihanuilulumoku, a hiki i ka manawa i kauohaia’i, a
hele mai la.

T ua moo nei i hoomaka ai e hele mai imua o kona mau Haku, aia
hoi, ua uhi paaia ka aina i ka noe mai uka o Paliuli a puni ka aina;
aka, aole 1 wikiwiki o Kihanuilulumoku i ka lawe 1 kona mau Haku,
no ka mea, ua maopopo no ia Kihanuilulumoku ka manawa e hui ai
na/lil.

A ike o Kekalukaluokewa i keia noe i uhi mua mai maluna o ka
aina, alaila, hoomanao ae la ia i ke kauoha a Waka.

Kakali hou aku la no oia i na hoailona i koe. Mahope iho oia
manawa, lohe ae la kela i ka leo o ka Ewaewaiki a me ke Kahuli, ia
manawa, puka aku la o Kekalukaloukewa mai kona hale aku a ku
mawaho o ka aha, ma kahi kaawale.

I kela manawa, oia ka manawa a Kihanuilulumoku i kuu aku ai 1
kona alelo i waho i noho iho ai o Laieikawai me na kaikuahine o
Aiwohikupua.

A i ke kui ana o ka leo o ka hekili, uhi ka ohu a me ka noe, a i
ka mao ana ae, i nana aku ka hana o ka aha, aia o Laielohelohe me
Halaaniani e kau mai ana iluna o na manu.

534 HAWAIIAN ROMANCE OF LATEIKAWAL [ETH. ANN. 83

Then also were seen Laieikawai and Aiwohikupua’s sisters seated
upon the tongue of Kihanuilulumoku, the great lizard of Paliuli.

Now they arrived at the same instant as those for whom the day
was celebrated; lo! Laieikawai saw that Halaaniani was not dead, and
she remembered Kahalaomapuana’s prediction.

When Kekalukaluokewa saw Halaaniani and Laielohelohe resting
on the birds, he thought he had lost Laielohelohe.

So Kekalukaluokewa went up to Paliuli to tell Waka.

And Kekalukaluokewa told Waka all these things, saying:
“ Halaaniani got Laielohelohe; there she was at the time set, she and
Halaaniani seated together! ”

Said Waka, “ He shall never get her; but let us go down and I will
get close to the place of meeting; if she has given Halaaniani a kiss,
the thing which I forbade her to grant, for to you alone is my
grandchild’s kiss devoted—if she has defiled herself with him, then
we lose the wife, then take me to my grave without pity. But if she
has harkened to my command not to trust anyone els, not even to
open her lips to Halaaniani, then she is your wife, if my grand-
child has harkened to my command.”

As they approached, Waka sent the clouds and mist over the
assembly, and they could not distinguish one from another.

Then Waka sent Kekalukaluokewa upon the birds, and when the
clouds cleared, lo! Laielohelohe and Kekalukaluokewa sat together
upon the birds. Then the congregation shouted all about the place of
assembly: “The marriage of the chiefs! The marriage of the
chiefs! ” °§

When Waka heard the sound of shouting, then Waka came into
the presence of the assembly and stood in the midst of the congrega-
tion and taunted Laieikawai.

When Laieikawai heard Waka’s taunts, her heart smarted and
the hearts. of every one of Aiwohikupua’s sisters with her; then
Kihanuilulumoku bore them back on his tongue to dwell in the up-
lands of Olaa; thus did Laieikawai begin to burn with shame at
Waka’s words, and she and her companions went away together.

On that day, Kekalukaluokewa wedded Laielohelohe, and they
went up to the uplands of Paliuli until their return to Kauai. And
Halaaniani became a vagabond; nothing more remains to be said
about him.

And when the chief resolved to return to Kauai, he took his wife
and their grandmother to Kauai, and the men together with them.

BECKWITH] TEXT AND TRANSLATION 535

Ta manawa no hoi, ikeia mai la o Laieikawai me na kaikuahine o
Aiwohikupua e kau mai ana iluna o ke alelo o Kihanuilulumoku ka
moo nui o Paliuli.

Ta lakou i hiki ai i kela manawa hookahi me na mea nona ka la
hookahakaha; aia hoi ua ike aku la o Laieikawai ia Halaaniani aole
i make, alaila, hoomanao ae la oia i ka olelo wanana a Kahalaoma-
puana.

I kela manawa a Kekalukaluokewa 1 ike aku ai e kau mai ana o
Halaaniani me Laielohelohe iluna o na manu, alaila, manao ae la o
Kekalukaloukewa i kona nele ia Laielohelohe.

Ta manawa, pii aku la o Kekalukaluokewa iuka o Paliuli, e hai
aku i keia mea ia Waka.

A hai aku la o Kakalukaloukewa ia Waka i keia mau mea, “Ua
lilo o Laielohelohe ia Halaaniani, aia oia ke kau pu la me Halaaniani
i keia manawa.”

I mai la o Waka, “Aole e lilo ia ia, aka, e iho aku kaua a kokoke
aku wau i ka aha, ina ua haawi aku oia i kona ihu e honi aku ia
Halaaniani, ka mea a’u i kauoha aku ai aole e lilo i ka mea e ae, a
ia oe wale no e Jaa’i ka ihu o kuu moopuna, a laa pu no hoi me kona-
kino, alaila, ua nele kaua i ka wahine ole, alaila, e lawe aku oe ia’u
i ka lua me ko minamina ole. Aka hoi, ua hoolohe aku Ja ia i ka’u
kauoha, aole e lilo i kakahi mea e ae, aole no hoi e lilo ka leo ma
kona pane ole aku ia Halaaniani, alaila, ua wahine no oe, ua hoolohe
no kuu moopuna i ka’u olelo.”

Ta laua i kokoke e hiki aku, hoouna aku la o Waka i ka noe a me
ka ohu maluna o ka aha, a ile ole kekahi i kekahi.

Ta manawa i hoouna aku ai o Waka ia Kekalukaluokewa maluna
o na manu, a 1 ka mao ana ae o ka noe, aia hoi e kau pu mai ana o
Laielohelohe me Kekalukaluokewa iluna o na manu, alaila, uwa ae
la ke anaina kanaka a puni ka ha, “ Hoao na’lii e! hoao na’lii e!!”

A lohe o Waka i keia pihe uwa, alaila, hiki mai la o Waka imua o
ka aha, a ku mai la iwaenakonu o ke anaina, a hoopuka mai la i
olelo hoohilahila no Laieikawai.

A lohe o Laieikawai i keia leo hoohilahila a Waka ia ia, walania
iho la kona naau, a me na kaikuahine pu kekahi o Aiwohikupua, ia
manawa, lawe aku la ke alelo o Kihanuilulumoku ia lakou a noho
juka o Olaa, oia ka hoomaka ana o Laieikawai e hoaaia i kona hila-
hila nui no ka olelo a Waka, a hele pu no hoi me kona mau hoa.

I kela la, hoao ae la o Kekalukaluokewa me Laielohelohe, a hoi
aku Ja iuka o Paliuli a hiki i ko lakou hoi ana i Kauai. A lilo iho la
a Halaaniani i mea nele loa, aole ona kamailio i koe.

A ma ko ke Alii kane manaopaa, e hoi no i Kauai, lawe ae la oia
i kana wahine, a me ko laua kupunawahine i Kauai, 0 na kanaka pu

me lakou.

536 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

When they were ready to return, they left Keaau, went first to
Honoulinli on Oahu and there took Kapukaihaoa with them to
Kauai; and they went to Kauai, to Pihanakalani, and turned over
the rule over the land and its divisions to Kapukaihaoa, and Waka
was made the third heir to the chief's seat.

At this place let us tell of Laieikawai and her meeting with the
prophet, Hulumaniani.

Laieikawai was at Olaa as beautiful as ever, but the art of resting
on the wings of birds was taken away from her; nevertheless some of
her former power remained and the signs of her chiefly rank, accord-
ing to the authority the sisters of Aiwohikupua had over the lizard.

BECK WITH] HAWAIIAN ROMANCE OF LAIEIKAWAI 537

A makaukau lakou e hoi, haalele lakou ia Keaau, hiki mua lakou i
Oahu nei, ma Honouliuli, a lawe ae la ia Kapukaihaoa me lakou i
Kauai, a hiki lakou i Kauai, ma Pihanakalani, a ili ae la ka hoopono-
pono o na aina, a me ke aupuni ia Kapukaihaoa, a hooliloia iho la o
Waka oia ke kolu o ka hooilina o ka noho alii.

(Ma keia wahi, e kamailio kakou no Laieikawai, a me kona loaa
ana i ka Makaula ia Hulumaniani.)

Ta Laieikawai ma ma Olaa, e noho ana no oia me kona nani, aka,
o ka mana noho iluna o ka eheu o na manu, oia ka mea i kaawale mai
o Laieikawai aku, koe no nae kekahi mau kahiko e ae, a me kekahi
mau hoailona alii ia ia, mamuli o ka mana i loaa i na kaikuahine o
Aiwohikupua, mai a Kihanuilulumoku ae.

CHAPTER XXV

When Laieikawai returned from Keaau after Waka had disgraced
her, and dwelt at Olaa.

Then Aiwohikupua’s sisters consulted how to comfort the heavy
heart of the princess, Laieikawai, for her shame at Waka’s re-
proaches.

They went and told Laieikawai their decision, saying:

“OQ princess of peace, we have agreed upon something to relieve
your burden of shame, for not you alone bear the burden; all of us
share your trouble.

“Therefore, princess, we beseech you, best ease your heart of
sorrow; good fortune shall be yours hereafter.

“We have agreed here to share your fortune; our younger sister
has consented to go and get Kaonohiokala for your husband, the
boy chief who dwells in the taboo house at the borders of Tahiti, a
brother of ours, through whom Aiwohikupua gained the rank of
chief.

“Tf you will consent to your brother being fetched, then we shall
win greater honor than was ours before, and you will perenne a sacred
person of great dignity so that you can not associate with us; now
this is what we have thought of; you consent, then your reproach is
lifted, Waka is put to seine

Said Laieikawai, “ Indeed I would consent to ease my burden of
shame, only one thing I will not consent to—my becoming your broth-
er’s wife; for you say he is a taboo chief, and if we should be united, I
should not see you again, so high a chief is he, and this I should re-
gret exceedingly, our friendship together.”

Said her companions, “ Do not think of us; consider your grand-
mother’s taunts; when her reproach is lifted, then we are happy,
for we think first of you.”

And for this reason Laieikawai gave her consent.

Then Kahalaomapuana left directions with Laieikawai and her
sisters, saying: “I go to get our brother as husband for the princess;
your duty is to take good care of our mistress; wherever she goes,
there you go, whatever she wishes, that is yours to fulfill; but let her
body be kept pure until I return with our brother.”

538

MOKUNA XXV

Ta Laieikawai ma i hoi aku ai mai Keaau aku, mahope iho o kona
hoohilahila ana e Waka, a noho ma Olaa.

Ja manawa, kukakuka ae la na kaikuahine o Aiwohikupua i ka
mea hiki ke hooluolu aku i ka naau kaumaha o ke alii (Laieikawai)
no kona hilahila i ka olelo kumakaia a Waka.

Hele aku la lakou a hai aku la i ka lakou olelo hooholo i kuka ai
imua o Laieikawai me ka i aku:

“EK ke Alii wahine o ka lai; ua kukakuka ae nei makou i mea
e hoopau ai i kou naau kaumaha no kou hoohilahilaia, aka, aole o
oe wale kai kaumaha, o kakou like no a pau, no ka mea, ua komo
like kakou a pau no ia pilikia hookahi.

“Nolaila, e ke Alii e, ke noi aku nei makou ia oe, e pono no e
hoopauia kou naau kaumaha, no ka mea, e hiki mai ana ia oe ka
pomaikai ma keia manawa aku.

“Ua hooholo ae nei makou i pomaikai lke no kakou, ua ae ae
nei ko kakou kaikaina e kii aku ia Kaonohiokala i kane nau, he
keiki Alii e noho la i Kealohilani, ua hoonohoia ma ka pea kapu o
kukulu o Tahiti, he kaikunane no no kakou, ko Aiwohikupua mea
nana i hoalii mai ja ia.

“Tna e ae oe e kiiia ko kakou kaikunane, alaila, e loaa ia kakou
ka hanohano nui i oi aku mamua o keia, a e lilo auanei oe i mea
kapu ihiihi loa, me ko launa ole mai ia makou, a oia ka makou i
noonoo iho nei, a ae oe, alaila, ku kou makaia, hilahila o Waka.”

T mai la o Laieikawai, “Ua ae no wau e hoopau i ko’u kaumaha
hilahila, a hookahi a’u mea ae ole, o kuu lilo ana i wahine na ko
kakou kaikunane; no ka mea, ke olelo mai nei oukou, he Alii kapu
kela, a ina paha e hoao maua, pehea la wau e ike hou ai ia oukou,
no ka mea, he Alii kapu kela, a oia ka’u mea minamina loa, o ko
kakou launa pu ana.”

I aku la kona mau hoa, “Mai manao mai oe ia makou, e nana
oe i ka olelo hoohilahila a ko kupunawahine, aia ku kona makaia,
alaila pono makou, no ka mea, o oe no ka makou mea manao nui.”

A no keia mea, hooholo ae la 0 Laieikawai i kona ae.

Ta manawa, hai mai la o Kahalaomapuana i kana olelo kauoha
ia Laieikawai, a me kona mau kaikuaana, “ Ke kii nei au i ko kakou
kaikunane i kane na ke Alli, e pono ia oukou ke malama pono i ko
kakou Haku, ma kana wahi e hele ai, malaila oukou, na mea ana
a pau e makemake ai, oia ka oukou e hooko aku; aka, koe nae ka
maluhia o kona kino a hiki mai maua me ke kaikunane o kakou.”

539

540 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

After saying all this, Kahalaomapuana left her sisters and was
borne on the back of the big lizard Kihanuilulumoku and went to
fetch IKaonohiokala.

At this place we will leave off speaking of this journey; we must
tell about Laieikawai and her meeting with the prophet who fol-
lowed her from Kauai hither, as related in the first two chapters of
this story.

After Kahalaomapuana left her sisters, the desire grew within
Laieikawai’s mind to travel around Hawaii.

So her companions carried out the chief’s wish and they set out to
travel around about Hawaii.

On the princess’s journey around Hawaii they went first to Kau,
then Kona, until they reached Kaiopae in Kohala, on the right-hand
side of Kawaihae, about five miles distant; there they stayed several
days for the princess to rest.

During the days they were there the seer saw the rainbow arching
over the sea as if right at Kawaihae. The uplands of Ouli at Waimea
was the place the seer looked from.

For in former chapters it has been told how the seer came to Hilo,
to Kaiwilahilahi, and lived there some years waiting for the sign he
was seeking.

But when it did not come to the seer as he waited for the sign he
was seeking, then he waited and sought no longer for the sign he
had followed from Kauai to this place.

So he left Hilo, intending to go all the way back to Kauai, and he
set out. On his return, he did not leave the offerings which he had
brought from Kauai thither, the pig and the cock.

When he reached Waimea, at Ouli, there he saw the rainbow arch-
ing over the sea at Kawaihae.

And the seer was so weary he was not quick to recognize the rain-
bow, but he stayed there, and on the next day he did not see the sign
again.

Next day the seer left the place, the very day when Laieikawai’s
party left Kaiopae, and came back above Kahuwa and stopped at
Moolau.

When the seer reached Puuloa from Waimea, he saw the rainbow
arching over Moolau; then the seer began to wonder, “Can that be
the sign I came to seek?”

The seer kept right on up to the summit cf Palalahuakii. There
he saw the rainbow plainly and recognized it, and knew it was the
sign he was seeking,

BECKWITH] TEXT AND TRANSLATION 541

Mahope iho o keia mau mea, haalele iho la o Kahalaomapuana i
kona mau kaikuaana, a kau aku la maluna o ua moo nui nei (Kiha-
nuilulumoku), a kii aku Ja ia Kaonohiokala.

(Ma keia wahi, e waiho iki i ke kamailio ana no keia mea. E pono
ia kalkou e kamailio no Laieikawai, a me kona loaa ana i ka Makaula
nana i ike mai Kauai mai, e like me ka mea i oleloia ma na Mokuna
mua elua o keia Kaao.)

Mahope iho o ko Kahalaomapuana haalele ana 1 kona mau kai-
kuaana, kupu ae la iloko o Laieikawai ka manao makemake e kaapuni
ia Hawaii.

A no keia manao o Laieikawai, hooko aku la kona mau hoa 1 ko ke
Alii makemake, a hele aku la e kaapuni ia Hawaii a puni.

Ma keia huakai kaapuni a ke Alii, ma Kau mua, ma Kona, a
hiki Jakou ma Kaiopae i Kohala, ma ka aoao akau mai Kawaihae
mai, aneane elima mile ka loihi mai Kawaihae ae, malaila lakou
i noho ai 1 kekahi mau la, no ka mea, ua makemake iho la ke Ali
wahine e hooluolu malaila.

Tloko o ko Jakou mau la malaila, ike mai la ka Makaula i ka
pio a keia anuenue i kai, me he mea la i Kawaihae ponoi la. I uka
nae o Ouli, ma Waimea, kahi a ka Makaula i ike mai ai.

No ka mea, ua oleloia ma na Mokuna mua ae nei, ua hiki ka
Makaula ma Hilo, i Kaiwilahilahi; a ua loihi no na makahiki
malaila o ke kali ana i kana mea i imi al.

Aka, no ka hiki ole i ua Makaula nei ke kali no kana mea i imi
ai, nolaila, hoopau ae Ja oia i kona manao kali a me ka imi aku
no kana mea i ukali mai ai mai Kauai mai.

Nolaila, haalele keia ia Hilo, a manao ae la oia e hoi loa i Kauai,
a hoi aku la. Tloko nae o ko ka Makaula hoi ana, aole oia i haalele
i kana mau mea i lawe mai ai mai Kauai mai (oia ka puaa, a me
ka moa).

Ma keia hoi ana, a hiki ma Waimea, i Ouli, oia ka ka Makaula
ike ana aku i ka pio a ke anuenue i kai o Kawaihae.

A no ka maluhiluhi o ua Makaula nei, aole oia i wikiwiki mai
e ike 1 ke ano o ke anuenue. nolaila, hoomaha iho la oia malaila.
A ma kekahi la ae, aole oia i ike hou i kela hoailona.

Ma kekahi la ae, haalele ka Makaula ia wahi, ola la no hoi ka la
a Laieikawai ma 1 haalele ai ia kaiopae, hoi aku la a mauka o
Kahuwa, ma Moolau ko lakou wahi i noho ai.

T ka Makaula i hiki mai ai i Puuloa mai Waimea mai, ike aku la
cla e pio ana ke anuenue i Moolau, ia manawa, haupu iki ae la ka
manao o ka Makaula me ka nalu ana iloko ona iho, “O kuu mea no
paha kela i imi mai nei.”

Hoomau mai la ka Makaula i kona hele ana a hiki iluna pono o
Palalahuakii, alaila, ike maopopo aku la oia i ke ano o ke anuenue,
me ka hoomaopopo iloko ona, a ike lea 1 kana mea e imi nei.

549 HAWAIIAN ROMANCE OF LAIBEIKAWAI [ETH. ANN. 33

Then he prayed to his god to interpret the rainbow to him, but his
god did not answer his prayer.

The seer left that place, went to Waika and stayed there, for it was
then dark.

In the early morning, lo! the rainbow arched over the sea at
Kaiopae, for Laieikawai had gone back there.

Then the seer went away to the place where he had seen the rain-
bow, and, approaching, he saw Laieikawai plainly,, strolling along
the sea beach. A strange sight the beautiful woman was, and there,
directly above the girl, the rainbow bent.

Then the seer prayed to his god to show him whether this woman
was the one he was seeking or not, but he got no answer that day.
Therefore, the seer did not lay down his offering before Laieikawai.
The seer returned and stayed above Waika.

The next day the seer left the place, went to Lamaloloa and re-
mained there. Then he went repeatedly into the temple of Pahauna
and there prayed unceasingly to his god. After a number of days at
Moolau, Laieikawai and her companions left that place.

They came and stayed at Puakea and, because the people of the
place were surf riding, gladly remained.

The next day at noon, when the sun shone clear over the land, the
prophet went outside the temple after his prayer.

Lo! he saw the rainbow bending over the sea at Puakea, and he
went away thither, and saw the same girl whom he had seen before
at Kaiopae.

So he fell back to a distance to pray again to his god to show him
if this was the one he was seeking, but he got no answer that day;
and, because his god did not answer his petition, he almost swore at
his god, but still he persevered.

He approached the place where Laieikawai and her sisters were
sitting.

The seer was greatly disturbed at seeing Laieikawai, and when he
had reached the spot, he asked Laieikawai and her companions,
“Why do you sit here? Why do you not go surfing with the natives
of the place?”

The princess answered, “ We can not go; it is better to watch the
others.”

The seer asked again, “ What are you doing here?”

BECKWITH] TEXT AND TRANSLATION 543

Ia manawa, pule aku la oia i kona akua, e hai mai i ke ano o kela
anuenue ana e ike nei; aka, aole 1 loaa i kona akua ka hookoia o kana
pule.

Haalele ka Makaula ia wahi, hiki aku la oia ma Waika a malaila
ola i noho ai, no ka mea, ua poeleele iho la.

Ma ke kakahiaka ana ae, aia hoi, e pio ana ke anuenue i kai o
Kaiopae, no ka mea, ua iho aku o Laieikawai ilaila.

Ta manawa, iho aku Ja ka Makaula a hiki i kahi ana e ike nei i ke
anuenue, a i ka hookokoke ana aku o ua Makaula nei, ike maopopo
aku la oia ia Laieikawai, e kono mau ana i ka lae kahakai. He mea
e ka wahine maikai, aia iluna pono o ua kaikamahine nei e pio ana
ke anuenue.

Ta manawa, pule aku la ka Makaula i kona akua, e hoike mai ia ia
i keia wahine, o kana mea paha e imi nei, aole paha. Aka, aole i loaa
ka hoike ana ma ona la, nolaila, aole ka Makaula i waiho i kana mau
mohai imua o Laieikawai, hoi aku la ka Makaula a noho mauka o
Waika.

I kekahi la ae, haalele ka Makaula ia wahi, hiki aku la keia ma
Lamaloloa, a noho iho la malaila. Ia manawa, komo pinepine ae la
oia iloko o ka Heiau i Pahauna, malaila oia i pule hoomau ai i kona
akua. Ua loihi na la mahope iho o ka noho ana o Laieikawai ma
Moolau, haalele lakou ia wahi.

Hele aku la lakou a noho ma Puakea, a no kahi heenalu malaila,
noloila, ia lakou malaila e makaikai ana i ka heenalu ana a na
kamaaina, ua nanea loa Jakou malaila.

Ma kekahi la ae, ma ke awakea, i ka wa e lailai ana ka Ja maluna
© ka aina. Ia wa ka Makaula i puka ae ai mailoko ae o ka Heian,
mahope iho o ka pau ana o kana pule.

Aia hoi, ike aku la oia e pio ana ke anuenue i kai o Puakea, iho
aku la ua Makaula nei a hiki ilaila, ike aku la oia, ke kaikamahine
no ana i ike mua ai 1 Kaiopae.

A no keia mea, emi hope mai la oia a ma ke kaawale, pule hou aku
la i kona akua e hoike mai i kana mea e imi nei; aka, aole no i loaa
ka hoike ana ma ona Ja. A no ka hooko ole ia o kana mea e noi nei
i kona alkua, aneane oia e hoohiki ino aku i kona akua; aka, hoomana-
Wanui no ola.

Hoopuka loa aku la a ma kahi o Laieikawai ma e noho ana.

He mea pilikia loa i ka Makaula ka ike ana aku ia Laieikawai, a
ia lakou ma kahi hookahi, ninau aku la ka Makaula ia Laieikawai
ma, “ Heaha ka oukou mea e noho nei maanei, aole he au pu me na
kamaaina heenalu mai?”

“He mea hilki ole ia makou ke hele aku,” wahi a Laieikawai, “he
pono e nana aku i ka na kamaaina heenalu ana.”

Ninau hou aku ka Makaula, “ Heaha ka oukou hana maanei?”

b)

544 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

“We are sitting here, waiting for a canoe to carry us to Maui,
Molokai, Oahu, and to Kauai, then we shall set sail,” so they an-
swered.

To this the seer replied, “If you are going to Kauai, then here is
my canoe, a canoe without pay.”

Said Laieikawai, “If we go on board your canoe, do you require
anything of us?”

The seer answered, “ Where are you? Do not suppose I have asked
you on board my canoe in order to defile you; but my wish is to take
you all as my daughters; such daughters as you can make my name
famous, for my name will live in the saying, ‘The daughters of
Hulumaniani, so my name shall live; is not this enough to desire?”

Then the seer sought a canoe and found a double canoe with men
to man it.

Early in the morning of the next day they went on board the
canoe and sailed and rested at Honuaula on Maui, and from there
to Lahaina, and the next day to Molokai; they left Molokai, went to
Laie, Koolauloa, and stayed there some days.

On the day of their arrival at Laie, that night, Laieikawai said to
her companions and to her foster father:

“T have heard from my grandmother that this is my birthplace;
we were twins, and because our father had killed the first children
our mother bore, because they were girls, when we also were born
girls, then I was hidden within a pool of water; there I was brought
up by my grandmother.

“ And my twin, the priest guarded her, and because the priest who
guarded my companion saw the prophet who had come here from
Kauai to see us, therefore the priest commanded my grandmother to
flee far away; and this was why I was carried away to Paliuli and
why we met there.”

BECKWITH] TEXT AND TRANSLATION 545

“E noho ana makou maanel, e kali ana i waa, ina he waa e holo ai
i Maui, Molokai, Oahu, a hiki i Kauai, alaila, holo makou.” Pela
aku o Laieikawai ma.

A no keia olelo, i aku ka Makaula, “Ina e holo ana oukou i Kauai,
alaila, aia ia’u ka waa, he waa uku ole.”

T aku la o Laieikawai, “A ina e kau makou ma ko waa, aole anei au
hana e ae no makou?”

T aku la ka Makaula, “Auhea oukou, mai manao oukou i kuu olelo
ana, e kau wale oukou maluna o kuu waa, e hoohaumia aku ana au
ia oukou; aka, o ko’u makemake, e lilo oukou i mau kaikamahine
na’u, me he mau kaikamahine ponoi la, i lilo ai oukou i mea nana e
hookaulana i ko’u inoa, aia a lilo oukou i mea e kaulana ai au, alaila,
e ola auanei ko’u inoa. Na Kaikamahine a Hulumaniani, aia la,
ola kuu inoa, pela wale iho la no ko’u makemake? ”

Ta manawa, imi ae la ka Makaula i waa, a loaa ia 1a he kaulua, me
na kanaka pu no hoi.

Ma ke kakahiaka o kekahi la ae, kau aku la lakou maluna o na
waa, a holo aku la a kau ma Honuaula, i Maui; a mai laila aku a
Lahaina, a ma kekahi Ja ae, 1 Molokai; haalele lakou ia Molokai,
hiki lakou ma Laie, Koolauloa, a malaila lakou i noho ai i kekahi
mau la.

Ta la a lakou i hiki ai ma Laie, a ia po iho no, olelo ae la o
Laieikawai i kona mau hoa, a me ko lakou makuakane hookama.

Eia kana olelo:

“Ua lohe au i ko’u kupunawahine, ianei ko’u wahi i hanau ai, he
mau mahoe ka maua, a no ka pepehi o ko maua makuakane i na keiki
mua a ko maua makuahine i hanau ai no ka hanau kaikamahine wale
no, a ia maua hoi, hanau kaikamahine no, nolaila, ahaiia’i au iloko
o ka luawai, malaila ko’u wahii hanaiia ai e ko’u kupunawahine.

“A o ko’u lua, lilo ia i ke kahuna ka malama, a no ka ike ana o
ke Kahuna nana i malama i ko’u kokoolua, i ka Makaula nana i ike
mai mai Kauai mai, nolaila, kauoha ai ke Kahuna i ko’u kupu-
nawahine, e ahai loa; a oia ko’u mea i ahaiia’i i Paliuli, a halawai
wale kakou.”

74936°—19—33 ETH

35

CHAPTER XXVI

When the seer heard this story the seer saw plainly that this
was the very one he sought. But in order to make sure, the seer
withdrew to a distance and prayed to his god to confirm the girl’s
story.

After praying he came back and went to sleep, and as he slept
the seer received the assurance in a vision from his god, saying, “ The
time has come to fulfill your wishes, to free you from the weariness
of your long search. She is here—the one who told you her story;
this is the one you are seeking.

“Therefore arise and take the offering you have prepared and lay
it before her, having blessed her in the name of your god.

“This done, linger not; carry them at once to Kauai, this very
night, and let them dwell on the cliffs of Haena in the uplands of
Honopuwaiakua.”

At this the seer awoke from his dream; he arose and brought the
pig and the cock and held them out to Laieikawai, saying, “ Blessed
am I, my mistress, that my god has shown you to me, for long have
I followed you to win a blessing from you.

“ And therefore I beseech you to guard these bones under your spe-
cial favor, my mistress, and to leave this trust to your descendants
unto the last generation.”

Laieikawai answered, “Father, the time of my prosperity has
passed, for Waka has taken her favor from me; but hereafter I shall
win honor beyond my former honor and glory; then you shall also
rise to prosperity with us.”

And after these things the prophet did as his god commanded—
sailed that night and dwelt in the place commanded.

Many days the seer lived here with his daughter above Honopu-
waiakua. At one time the seer made one of his customary journeys.

As he traveled in his character as seer he came to Wailua. Lo!
all the virgin daughters of Kauai were gathered together, all of the
rank of chief with the girls of well-to-do families, at the command of
Aiwohikupua to bring the virgins before the chief, the one who
pleased the chief to become the wife of Aiwohikupua,

546

MOKUNA XXVI

A lohe ka Makaula i keia mea, alaila, hoomaopopo lea ae la ka
Makaula, o ka mea no keia ana e imi nei. Aka hoi, i mea e maopopo
lea ai, naue aku la ka Makaula ma kahi kaawale, a pule aku la i
kona akua e hooiaio mai i ka olelo a ke kaikamahine.

A pau kana pule ana, hoi mai la a hiamoe iho la, a iloko a kona
manawa hiamoe, hiki mai la ma o ua Makaula nei, ke kuhikuhi ma
ka hihio, mai kona akua mai, me ka olelo mai, “ Ua hiki mai ka
manawa e hookoia’i kou makemake, a e kuu ai hoi ka luhi o kou
imi ana ika loa. Ano hoi, o ka mea nona ke kamailio ana nona iho
ia oukou, ola no ua mea la au i imi al.

“ Nolaila, e ala ae oe, a e lawe i kau mea i hoomakaukau ai nona, e
waiho aku i kau mohai imua ona, me ka hoomaikai mua me ka inoa
o kou akua.

“A pau kau hana, alaila, mai kali, e lawe koke aku ia lakou ma
keia po no i Kauai, a hoonoho i na pali o Haena, iuka o Honopu-
waiakua.”

Ma keia mea, puoho ae Ja ka Makaula mai kona hiamoe ana, ala
ae la oia a lalau aku la i ka puaa a me ka moa, a hahau aku la imua
o Laieikawai, me ka olelo aku, “ Pomaikai wau e kuu Haku, i ka
hoike ana mai a kuu akua ia oe, no ka mea, he nui ko’u manawa 1
ukali aku ai ia oe, me ka manao e loaa ka pomaikai mai a oe mai.

“A nolaila, ke noi aku nei au ia oe e ae mai, e malamaia keia mau
iwi ma kou lokomaikai e kuu Haku, a e waiho pu ia ka pomaikai me
ka’u mau mamo a hiki i ka’u hanauna hope.”

T aku o Laieikawai, “ E ka makua, ua hala ke kau o ko’u pomaikai
nui, no ka mea, ua lawe aku o Waka i ka hoopomaikaiia mai o’u aku
nei; aka, ma keia hope aku, e kali oe a loaa ia’u he pomaikai oi aku
mamua o ka pomaikai a me ka hanohano i loaa mua ia’u, alaila, 0 oe
pu kekahi me makou ia hoopomaikaiia.”

A pau keia mau mea, lawe ae la ka Makaula e like me ke kauoha a
kona akua, holo aku la ia po a hoonoho i kahi i kauohaia.

T ua Makaula nei me kana mau kaikamahine mauka o Honopuwaia-
kua, a he mau la ko lakou malaila. He mea maui ua Makaula nei ke
kaahele i kekahi manawa.

Tloko o kona la e hele ana ma kona ano Makaula, ia ia hoi i hiki aku
al i Wailua. Aia hoi, ua hoakoakoaia na kaikamahine puupaa a
pau o Kauai, ma o ka poe kaukaualii me na kaikamahine koikoi,
mamuli nae o ka olelo kuahaua a Aiwohikupua, e laweia mai na
kaikamahine puupaa imua o ke Alii, o ka mea a ke Alii e lealea ai,
oia ka wahine a ke Alii (Aiwohikupua).

547

548 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

When the seer came within the crowd, lo! the maidens were as-
sembled in one place before the chief.

The seer asked some one in the crowd, “ What is this assembly for,
and why are all these maidens standing in a circle before the chief?”

He was told, “ All the virgins have been summoned by the chief’s
command, and the two who please Aiwohikupua, these he will take
for his wives in place of Poliahu and Hinaikamalama, and their
parents are to be clothed in feather cloaks.

Then the seer stood before the chiefs and all the assembly and cried

in a loud voice: ‘

“QO chiefs, it is a wise and good thing for the chief to take which-
ever one of these virgins pleases him, but not one of these can fill the
loss of Poliahu and Hinaikamalama.

“Tf any one of these virgins here could compare in beauty with
the left leg of my daughters, then she would be worth it. These
are pretty enough, but not hike my daughters.”

Said Aiwohikupua in an angry voice, “ When did we ever know
that you had daughters! ”

And those who had brought their daughters before the chief
looked upon the seer as an enemy.

And to the chief’s angry words the seer replied, “ Did I not seek
diligently and alone for a ruler over all these islands? And this
lord of the land, she is my daughter, and my other daughters, they
are my lord’s sisters.

“Should my daughter come hither and stand upon the sea, the
ocean would be in tumult; if on land, the wind would blow, the sun
be darkened, the rain fall, the thunder crash, the lightning flash, the
mountain tremble, the land would be flooded, the ocean reddened, at
the coming of my daughter and lord.”

And the seer’s words spread fear through the assembly. But
those whose virgin daughters were present were not pleased.

They strongly urged the chief, therefore, to bind him within the
house of detention, the prison house, where the chief’s enemies were
wont to be imprisoned.

Through the persistence of his enemies, it was decided to make
the seer fast within that place and let him stay there until he died.

On the day of his imprisonment, that night at dawn, he prayed
to his god. And at early daybreak the door of the house was
opened for him and he went out without being seen.

BECKWITH] - TEXT AND TRANSLATION 549

A hiki aku la ka Makaula iloko o kela akoakoa, aia hoi, ua hoakoa-
koaia na kaikamahine ma kahi hookahi, e ku ana imua o ke Alii.

Ninau aku la ka Makaula i kekahi poe o ka Aha, “ Heaha ka hana
a keia Aha? <A heaha hoi ka hana a keia poe kaikamahine e ku poai
nei imua 0 ke Alii?”

Haiia mai la, “Ua kuahauaia na kaikamahine puupaa a pau ma
ke kauoha a ke Alii, a o ka mea a Aiwohikupua e makemake ai, alaila, .
e lawe oia elua mau kaikamahine i mau wahine nana, a o laua na mea
pani ma ka hakahaka o Poliahu a me Hinaikamalama, a o na makua
nana na kaikamahine i laweia i mau wahine na ke Alii, e hoaahuia ka
Abuula no laua.”

Ta manawa, ku ae la ua Makaula nei, a kahea aku la me ka leo nw
imua o ke Alii ame ka Aha a pau:

“FE ke Alii, ke ike nei au, he mea maikai no ke Alii ka, lawe ana i
kekahi o keia poe puupaa i mea hoolealea no ke Alii; aka, aole e
hiki i kekahi o keia poe kaikamahine puupaa ke pani ma ka haka-
haka o Poliahu a me Hinaikamalama.

“Tna i nana iho nei wau i kekahi o keia poe puupaa, ua ane like
iki aku ka maikai me ka uha hema o ka’u mau kaikamahine, alaila,
e aho la ia. He nani no keia poe, aole nae e like aku me kekahi o
ka’u poe kaikamahine.”

I mai la o Aiwohikupua me ka leo huhu, “I nahea makou i ike
ai he kaikamahine kau?”

A o ua Makaula nei, lilo ae Ja ia 1 enemi no ka poe nana na kai-
kamahine i laweia imua o ke Alii.

A no ka olelo huhu ana mai o ke Alii, i aku ua Makaula nei, “ Owau
hookahi ka mea i imi ikaika i Haku no ka aina a puni na moku, o
ua Haku la o ka aina, oia ua kaikamahine la a’u, a o na kaikamahine e
ae a’u, he mau kaikuahine no ia no kuu Haku kane.

“Ina e hele mai ua kaikamahine nei a’u a ku iloko o ke kai, he
kaikoo ma ka moana, ina e ku ma ka aina, lulu ka makani, malu
ka la, ua ka ua, kui ka hekili, olapa ka uwila, opaipai ka mauna,
waikahe ka aina, pualena ka moana i ka hele a kuu kaikamahine
Haku.” :

A no keia olelo a ka Makaula, lilo iho la ia olelo ana i mea eehia
no na kanaka a puni ka aha. Aka hoi, o ka poe nana na kaikamahine
puupaa, aole o lakou oluolu.

Nolaila, koi ikaika ae la lakou i ke Alii, e hoopaaia iloko o ka hale
paehumu (Halepaahao), kahi e hoopaa ai i ko ke Alii poe lawehala.

Ma ka manaopaa o kona poe enemi, hooholoia ae la ua Makaula
nei e laweia iloko o kahi paa, a malaila oia e noho ai a make.

Ma ka la o ua Makaula nei e hoopaaia’i, a ma ia po iho, ma ka
wanaao, pule aku la oia i kona akua, a ma kona ano Makaula, ua hiki
aku ka leo o kana pule imua o kona akua. A ma ka malamalama loa
ana ae, ua weheia ka puka o ka hale nona, a hele aku la oia me kona
ike oleia mai.

550 HAWAIIAN ROMANCE OF LAIEIKAWATI (ETH. ANN. 3s

In the morning the chief sent the executioner to go and see how
the prophet fared in prison.

When the executioner came to the outside of the prison, he called
with a loud voice:

“QO Hulumaniani! O Hulumaniani! Prophet of God! How
are you? Are you dead?” Three times the executioner called,
‘but heard not a sound from within.

The executioner returned to the chief and said, “The prophet
is dead.”

Then the chief commanded the head man of the temple to make
ready for the day of sacrifice and flay the prophet on the place
of sacrifice before the altar.

Now the seer heard this command from some distance away, and
in the night he took a banana plant covered with ¢fapa like a human
figure and put it inside the place where he had been imprisoned,
and went back and joined his daughters and told them all about
his troubles.

And near the day of sacrifice at the temple, the seer took
Laieikawai and her companions on board of the double canoe.

In the very early morning of the day of sacrifice at the temple
the man was to be brought for sacrifice, and when the head men
of the temple entered the prison, lo! the body was tightly wrapped
up, and it was brought and laid within the temple.

And close to the hour when the man was to be laid upon the altar
all the people assembled and the chief with them; and the chief went
up on the high place, the banana plant was brought and Jaid directly
under the altar.

Said the chief to his head men, “‘ Unwrap the tapa from the body
and place it upon the altar prepared for it.”

When it was unwrapped there was a banana plant inside, not the
prophet, as was expected. “This is a banana plant! Where is the
prophet?” exclaimed the chief.

-Great was the chief’s anger against the keeper of the prison where
the prophet was confined.

Then all the keepers were called to trial. While the chief’s keepers
were being examined, the seer arrived with his daughters in a double
canoe and floated outside the mouth of the inlet.

The seer stood on one canoe and Aiwohikupua’s sisters on the other,
and Laieikawai stood on the high seat between, under the symbols of
a taboo chief.

As they stood there with Laieikawai, the wind blew, the sun was
darkened, the sea grew rough, the ocean was reddened, the streams
went back and stopped at their sources, no water flowed into the
sea.°® After this the seer took Laieikawai’s skirt“ and laid it down
on the land; then the thunder crashed, the temple fell, the altar
crumbled.

BECKWITH] TEXT AND TRANSLATION aol

Ia kakahiaka, hoouna aku la ke Alii i kona Tamulu e hele aku e
ike i ka pono o ua Makaula nei maloko o kahi paa o ke Alii.

A hiki aku la ka Damuku mawaho o ka hale, kahi i hoopaaia’i ka
Makaula, a kahea aku la oia me ka leo nui.

“— Hulumaniani e! E Hulumaniani e!! E ka Makaula o ke
akua!!! Pehea oe? Ua make anei oe?” Ekolu hea ana o ka Ila-
muku i keia olelo, aole nae oia i lohe i kekahi leo noloko mai.

Hoi aku Ja ka Ilamuku, a hai aku la i ke Alii, “Ua make ka
Makaula.”

E hoomakaukau no ka la e Kauwila ai ka Heiau, a kau aku. Ia
manawa, kauoha ae la ke Alii i na Luna o ka Heiau, a kau aku i ka
Makaula ma ka Jele imua o ke kuahu.

A lohe ka Makaula i keia mea ma kahi kaawale aku, a ma ia po
iho, lawe aku la oia hookahi pumaia, ua wahiia i ke kapa me he
kupapau la, a hookomoia iloko o kahi i hoopaaia’i ua Makaula nei,
a hoi aku Ja a hui me kana mau kaikamahine, a hai aku la i keia mau
mea, a me kona pilikia ana.

A kokoke i ka la kauwila o ka Heiau, lawe ae la ka Makaula ia
Laieikawai, a me kona mau hoa pu maluna o na waa.

I ke kakahiaka nui hoi o ka la e kauwila ai ka Heiau, kilia aku
la ke kanaka o ka Heiau, ai ke komo ana aku o na Luna o ke Alu,
aia hoi, ua paa i ka wahiia, laweia aku la a waiho maloko o ka Heiau.

A kokoke i ka hora e hauia’i ke kanaka ma ka lele, akoakoa ae
la na mea a pau, a me ke Alii pu; a hiki ke Alii iluna o ka anuu,
laweia mai la ua pumaia la i wahiia a kupono malalo o ka lele.

T aku ke Alii i kona mau Luna, “ E wehe i ke kapa o ke kupapau,
a kau aku iluna o ka lele i hoomakaukauia nona.”

I ka wehe ana ae, aia he pumaia ko loko, aole ka Makaula ka mea
i manaoia. “He pumaia keia! Auhea hoi ka Makaula,” wahi a ke
Alii.

Nui loa iho la ka huhu o ke Alii i na Luna o ka Halepaahao, kahi
i hoopaaia’i ka Makaula. ;

I kela manawa, hookolokoloia iho la kona mau Luna. Ja manawa
hoi e hookolokoloia ana na Luna o ke Alii, hiki mai la ua Makaula
nei me kana mau kaikamahine maluna o ke kaulua, a lana mawaho o
ka nuku o ka muliwai.

Ku mai la ka Makaula ma kekahi waa, a o na kaikuahine o Aiwohi-
kupua ma kekahi waa, a o Laieikawai hoi iluna o ka pola o na waa
kahi i ku mai ai, iloko hoi o kona puloulou Alii kapu.

Ta wa a lakou e ku la me Laieikawai, lulu ka makani, malu ka la,
kaikoo ke kai, pualena ka moana, hoi ka waikahe o na kahawai a paa
ina kumu wai, aole he puka waii kai. A pau ia, lawe ka Makaula i
ka pa-u o Laieikawai a waiho iuka, ia wa, kui ka hekili, hiolo ke
Heian, haihai ka lele.

552 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

After all these signs had been displayed, Aiwohikupua and the
others saw Laieikawai standing above the canoes under the symbol
of a taboo chief. Then the assembly shouted aloud, “ O the beautiful
woman! O the beautiful woman! How stately she stands! ”

Then the men ran in flocks from the land down to the sea beach;
one trampled on another in order to see.

Then the seer called out to Aiwohikupua, “ Your keepers are not
guilty; not by their means was I freed from prison, but by my god,
who has saved me from many perils; and this is my lord.

“T spoke truly; this is my daughter, my lord, whom I went to seek,
my preserver.”

And when Aiwohikupua looked upon Laieikawai his heart trem-
bled, and he fell to the ground as if dead.

When the chief recovered he commanded his head man to bring
the seer and his daughter to fill the place of Poliahu and Hinaika-
malama. '

The head man went and called out to the seer on the canoe and told
him the chief’s word.

When the seer heard it he said to the head man, “ Return and tell
the chief, my lord indeed, that my lordly daughter shall never be-
come his wife; she is chief over all the islands.”

The head man went away; the seer, too, went away with his
daughters, nor was he seen again after that at Wailua; they re-
turned and dwelt at Honopuwaiakua.

BECKWITH] TEXT AND TRANSI-ATION 553

A pau keia mau mea i ka hoikeia, i nana aku ka hana o Aiwohi-
lupua, a me na mea e ae, e ku mai ana o Laieikawai maloko o ka
puloulou Alii kapu iluna o na waa. Ja manawa, kanikani pihe aku
la ka aha, ‘“ Ka wahine maikai—e! Ka wahine maikai—e! Kilakila
ia e ku mai la! ”

Ta manawa, naholo mai Ja na kanaka a ku mauka o kahakai, hehi
kekahi maluna o kekahi i ike Jea aku lakou.

Ia manawa, kahea aku la ka Makaula ia Aiwohikupua, “ Mai
hoahewa aku 1 kou mau Luna, aole wau na lJakou i hookuu mai kahi
paa mai, na kuu akua i Jawe mai ia’u mai kuu pilikia mauwale ana,
a kuu Haku.

“He oiaio ka’u olelo ia oe, he kaikamahine ka’u, kuu Haku hoi
a’u 1 imi ai, ka mea nana keia mau iwi.”

A no ka ike maopopo ana aku o Aiwohikupua ia Laieikawai, he
mea e hoi ka haalulu o kona puuwai, a waiho aku la i ka honua me
he mea make la.

A mama ae la ke Alii, kauoha ae Ja oia i kona Luna e lawe mai i
ka Makaula me na kaikamahine pu mai, i pani ma ka hakahaka o
Poliahu, a me Hinaikamalama.

Hele aku la ka Luna a kahea aku Ja i ka Makaula, iluna o na waa,
me ka hai aku 1 ka olelo a ke Alii.

A lohe ka Makaula i keia mea, hai aku la oia i kana olelo i ka
Luna, “ E hoi oe a ke Alii, kuu Haku hoi, e olelo aku oe, aole e lilo
kuu kaikamahine Haku i wahine nana, aia he Alii aimoku, alaila,
lilo kuu kaikamahine.”

Hoi aku Ja ka Luna, hoi aku la no hoi ka Makaula me kana mau
kaikamahine, aole nae i ike houia ma ia hope iho i Wailua, hoi aku
Ja Jakou a noho i Honopuwaiakua.

CHAPTER XXVII

In this chapter we will tell how Kahalaomapuana went to get
Kaonohiokala, the Eyeball-of-the-Sun, the betrothed husband of
Laieikawai, and of her return.

After Kahalaomapuana had laid her commands upon her sisters
and made preparation for the journey,

At the rising of the sun Kahalaomapuana entered inside Kiha-
nuilulumoku and swam through the ocean and came to The Shining
Heavens; in four months and ten days they reached Kealohilani.

When they arrived they did not see Mokukelekahiki, the guard
who watches over Kaonohiokala’s wealth, his chief counsellor in The
Shining Heavens; twice ten days they waited for Mokukelekahiki
to return from his garden patch.

Mokukelekahiki returned while the lizard was asleep inside the
house; the head alone filled that great house of Mokukelekahiki’s,
the body and tail of the lizard were still in the sea.

A terrible sight to Mokukelekahiki to see that lizard; he flew away
up to Nuumealani, the Raised Place in the Heavens; there was Kaeloi-
kamalama, the magician who closes the door of the taboo house on
the borders of Tahiti, where Kaonohiokala was hidden.

Mokukelekahiki told Kaeloikamalama how he had seen the lizard.
Then Kaeloikamalama flew down with Mokukelekahiki from the
heights of Nuumealani, the land in the air.

As Mokukelekahiki and his companion approached the house where
the lizard was sleeping, then said Kihanuilulumoku to Kaha-
laomapuana, “ When those men get here who are flying toward us,
then I will throw you out and land you on Kaeloikamalama’s neck,
and when he questions you, then tell him you are a child of theirs,
and when he asks what our journey is for, then tell him.”

Not long after, Mokukelekahiki and Kaeloikamalama thundered
at the door of the house.

When the lizard looked, there stood Kaeloikamalama with the
digging spade called Kapahaelihonua, The Knife-that-cuts-the-
earth, twenty fathoms its length, four men to span it. Thought the
lizard, “ A slaughterer this.” There was Kaeloikamalama swinging
the digging spade in his fingers.

554

MOKUNA XXVII

Ma keia Mokuna, e kamailio kakou no ke kii ana o Kahalao-
mapuana ja Kaonohiokala 1 kane hoopalau na Laieikawai, a me kona
hoi ana mai.

A pau ke kauoha a Kahalaomapuana i kona mau kaikuaana, a
makaukau hoi kona hele ana.

Ma ka puka ana o ka la, komo ae la o Kahalaomapuana iloko o
Kohanuilulumoku, a au aku la ma ka moana a hiki i Kealohilani, eha
malama me ke anahulu, hiki keia iloko o Kealohilani.

Ta lava i hiki aku ai, aole laua i ike ia Mokukelekahiki ke kiai
nana e malama ko Kaonohiokala waiwai, kona Kuhina Nui hoi iloko
o Kealohilani, elua anahulu ko laua kali ana, hoi mai o Mokukele-
kahiki mai ka mahina mai.

Hoi mai la o Mokukelekahiki, e moe ana keia moo iloko ka hale,
i ke poo no piha o loko 0 ua hale nui nei o Mokukelekahiki, 0 ke kina
no a me ka huelo o ua moo nei, iloko no o ke kai.

He mea weliweli ia Mokukelekahiki ka ike ana i ua moo nei, lele
aku la oia a hiki iluna o Nuumealani, ilaila o Kaeloikamalama ke
kupua nui nana e pani ka puka o ka pea kapu o kukulu o Tahiti,
kahi i hunaia’i o Kaonohiokala.

Hai aku la o Mokukelekahiki ia Kaeloikamalama i kona ike ana
i ka moo. Ia manawa, lele aku la o Kaeloikamalama me Mokukele-
kahiki, mai luna mai o Nuumealani, he aina aia i ka lewa.

Ja hiki ana mai o Mokukelekahiki ma ma ka hale e moe nei ka moo.

Ta manawa, olelo aku la o Kihanuilulumoku (ka moo) ia Kahalao-
mapuana, “JT hiki mai auanei keia mau kanaka e lele mai nei i o
kaua nei, alaila, e luai aku wau ia oe a kau ma ka a-i o Kaeloikama-
lama, a 1 ninau ae ia oe, alaila, hai aku oe, he kama oe na Jaua, a i
ninau mai i ka kaua hana i hiki mai ai, alaila, hai aku oe.”

Aole i upuupu iho mahope iho o ka Jaua kamailio ana, halulu ana
0 Mokukelekahiki laua me Kaeloikamalama ma ka puka o ka hale.

I nana aku ka hana o ua moo nei, e ku mai ana o Kaeloikamalama
me ka Jaau palau, 0 Aapahielihonua ka inoa, he iwakalua anana ka
loa, eha kanaka nana e apo puni. Manao iho la ka moo he luku
keia, ala nae e oniu’ana o Kaeloikamalama i ka laau palau i ka
welau o kona lima.

555

556 HAWAIIAN ROMANCE OF LAIEIKAWAI LETH. ANN. 33

Then Kihanuilulumoku lifted his tail out of the water, the sea
swelled, the waves overwhelmed the cliffs from their foundations
as high waves sweep the coast in February; the spume of the sea
rose high, the sun was darkened, white sand was flung on the shore.

Then fear fell upon Kaeloikamalama and his companion, and
they started to run away from before the face of the lizard.

Then Kihanuilulumoku threw out Kahalaomapuana, and she fell
upon Kaeloikamalama’s neck.”

Kaeloikamalama asked, “ Whose child are you?”

Said Kahalaomapuana, * The child of Mokuekelekahiki, of Kaeloi-
kamalama, of the magicians who guard the taboo house on the bor-
ders of Tahiti.” 7

The two asked, “ On what journey, my child, do you come hither? ”

Kahalaomapuana answered, “A journey to seek one from the
heavens.”

Again they asked, “To seek what one from the heavens? ”

“ aonohiokala,” replied Kahalaomapuana, “the high taboo one
of Kaeloikamalama and Mokukelekahiki.”

Again they asked, “ Kaonohiokala found, what is he to do?”

Said Kahalaomapuana, “'To be husband to the princess of broad
Hawaii, to Laieikawai, our mistress.”

Again they asked, “ Who are you?”

She told them, “ Kahalaomapuana, the youngest daughter of
Moanalihaikawaokele and Laukieleula.”

When Mokukelekahiki and Kaeloikamalama heard she was their
own child, then they released her from Kaeloikamalama’s neck and
kissed their daughter.

For Mokukelekahiki and Kaeloikamalama were brothers of Lau-
kieleula, Aiwohikupua’s mother.

Said Kaeloikamalama, “ We will show you the road, then you
shall ascend.”

For ten days they journeyed before they reached the place to go
up; Kaeloikamalama called out, “O Lanalananuiaimakua! Great
ancestral spider. Let down the road here for me to go up!! There
is trouble below!!!”

Not long after, Great ancestral spider let down a spider-web
that made a network in the air.

Then Kaeloikamalama instructed her, saying, “ Here is your way,
ascend to the top, and you will see a house standing alone in a
garden patch; there is Moanalihaikawaokele; the country is Kahaka-
ekaea.

“When you see an old man with long gray hair, that is Moana-
lihaikawaokele; if he is sitting up, don’t be hasty; should he spy you
first, you will die, he will not listen to you, he will take you for
another.

“

BECKWITH] TEXT AND TRANSLATION 557

Ta manawa, hapai mai la o Kohanuilulumoku i kona huelo mailoko
ae o ka moana, pii ke kai iluna, me he poi ana a ka nalu i ke kumu
pali, me he akuku nalu la 1 poi iloko o ka malama o Kaulua, pii
ke ehu o ke kai iluna, pouli ka la, ku ka punakea iuka.

Ma ia wa, kau mai la ka weli ia Kaeloikamalama ma, hoomaka
laua e holo mai ke alo aku 0 ua moo nel.

Ta manawa, luai aku ana o Kihanuilulumoku ia Kahalaomapuana,
kau ana iluna o ka a-i o Kaeloikamalama.

Ninau ae la o Kaeloikamalama, “ Nawai ke kama o oe? ”

I aku la o Kahalaomapuana, “Na Mokukelekahiki, na Kaeloi-
kamalama; na kupua nana e malama ka pea kapu o kukulu o
Tahiti.”

Ninau laua, “ Heaha ka huakai a kuu kama i hiki mai ai?”

Hai aku la o Kahalaomapuana, “ He huakai imi Lani.”

Ninau hou laua, “ Imi i ka Lani owai? ”

“© Kaonohiokala,” wahi a Kahalaomapuana, “ka Lani kapu
a Kaeloikamalama laua o Mokukelekahiki.”

Ninau hou no laua, “A loaa o Kaonohiokala, heaha ka hana?”

I aku la o Kahalaomapuana, “I kane na ke kaikamahine Alii
o Hawaiiakea, na Laieikawai, ke Haku o makou.”

Ninau hou no laua “ Owai oe?”

Hai aku la keia, “O Kahalaomapuana, ke kaikamahine muli a
Moanalihaikawaokele taua me Laukieleula.”

A lohe o Kaeloikamalama Jaua me Mokukelekahiki, he mea e ko
laua aloha, ia manawa, kuu iho la mai ka a-i iho, honi aku la i ka
ihu o ke kaikamahine.

No ka, mea, o Mokukelekahiki, a me Kaeloikamalama, he mau
kaikunane no Laukieleula ka makuahine 0 Jakou me Aiwohikupua.

T aku la o Kaeloikamalala, “ E hele kaua a loaa ke alanui, alaila,
pli aku oe.”

Hele aku la laua hookahi anahulu, hiki i kahi e pii ai, kahea aku
la o Kaeloikamalama, “E ka Lanalananuiaimakua—e! kuuia mai
ke alanui, 1 pli aku wa—u!! ua hewa o lalo ne—i!!!”

Aole 1 upuupu iho, kuu mai ana o Lanalananuiaimakua i ka
punawelewele, hihi pea ka lewa.

Ta manawa, aoao aku la o Kaeloikamalama, “ Eia ko alanui, i pii
auanei oe a hiki iluna, a i ike oe hookahi hale e ku ana iloko o ka
mahina, aia ilaila o Moanalihaikawaokele o Kahakaekaea ia aina.

“T nana aku auanei oe, ka elemakule e loloa ana ka lauoho, ua hina
ke poo, o Moanalihaikawaokele no ia. Ina e noho ana iluna, mai
wikiwiki aku oe, o ike e mai auanei kela ia oe, make e oe, aole e Iche
i kau olelo, kuhi auanei ia oe he mea e.

558 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

“Wait until he is asleep; should be turn his face down he is not
asleep, but when you see him with the face turned up, he is really
asleep; then approach not the windward, go to the leeward, and sit
upon his breast, holding tight to his beard, then call out:

“O Moanalihaikawaokele—O !
Here am I—your child,

Child of Laukieleula,

Child of Mokukelekahiki,

Child of Kaeloikamalama,

The brothers of my mother,
Mother, mother,

Of me and my older sisters
And my brother, Aiwohikupua,
Grant me the sight, the long sight, the deep sight,
Release the one in the heavens,
My brother and lord,

Awake! Arise!

“So you must call to him, and if he questions you, then tell him
about your journey here.

“On the way up, if fine rain covers you, that is your mother’s
doings; if cold comes, do not be afraid. Keep on up; and if you smell
a fragrance, that too is your mother’s, it is her fragrance, then all
is well, you are almost to the top; keep on up, and if the sun’s rays
pierce and the heat strikes you, do not fear when you feel the sun’s
hot breath; try to bear it and you will enter the shadow of the moon;
then you will not die, you have entered Kahakaekaea.”

When they had finished talking, Kahalaomapuana climbed up, and
in the evening she was covered with fine rain; this she thought was
her father’s doings; at night until dawn she smelled the fragrance of
the kiele plant; this she thought was her mother’s art; from dawn
until the sun was high she was in the heat of the sun, she thought this
was her brother’s doing.

Then she longed to reach the shadow of the moon, and at evening
she came into the shadow of the moon; she knew then that she had
entered the land called Kahakaekaea.

She saw the big house standing, it was then night. She ap-
proached to the leeward; lo! Moanalihaikawaokele was still awake;
she waited at a distance for him to go to sleep, as Kaeloikamalama
had instructed her. Still Moanalihaikawaokele did not sleep.

When at dawn she went, Moanalihaikawaokele’s face was turned
upwards, she knew he was asleep; she ran quickly and seized her
father’s beard and called to him in the words taught her by Kaeloi-
kamalama, as shown above.

BECKWITH] TEXT AND TRANSLATION 559

“ Kali aku oe a moe, e huli ana ke alo 1 lalo, aole i moe, aka, 1 nana
aku oe, a i huli ke alo iluna, ua moe ka hoi, alaila, hele aku oe, mai
hele oe ma ka makani, hele oe ma ka lulu, a noho iluna o ka umauma,
paa oe a paa i ka umiumi, alaila, kahea iho oe:

“B® Moanalihaikawaokele—e !
Eia wau he kama nau,
He kama na Laukieleula,
He kama na Mokukelekahiki,
He kama na Kaeloikamalama,
Na kaikunane o kuu makuahine ;
Makuakane, makuakane hoi,
O o'u me o’u kaikuaana,
Me kuu kaikunane o Aiwohikupua hoi.
Homai he ike, he ike nui, he ike loa,
Kuuia mai kuu Lani,
Kuu kaikunane Haku—e.
Ei ala! E ala mai o—e!!”

“Pela auanei oe e hea iho ai, a ina e ninau mai kela ia oe, alaila,
hai aku oe 1 kau huakai i hele mai ai.

“T pii auanei oe, a i uhi ke awa, na ko makuakane ia hana, i hiki
mai ke anu ma ou la, mai maka’u oe. Alaile, pil no oe, a i honi oe i
ke ala, o ko makuahine no ia, nona ke ala, alaila, palekana, kokoke
oe e puka iluna, pii no oe, a i o mai auanei ka kukuna o ka la, a i
keehi ka wela ia oe mai maka’u oe, i ike auanei oe i ka oi o ka nohi o
ka la, alaila, hoomanawanui aku no oe a komo i ka malu o ka mahina,
alaila, pau ka make, o ko komo no ia iloko 0 Kahakaekaea.”

A pau ka laua kamailio ana no keia mau mea; pii aku Ja o Kahala-
omapuana, a ahiahi, paa ola i ke awa, manao ae la keia o ka ka
makuakane hana ia, mai ia po a wanaao, honi oia i ke ala o ke kiele,
manao ae la keia o ka makuahine ia, mai ia wanaao a kiekie ka la,
loaa ola 1 ka wela o ka la, manao ae Ja oia, o ka hana keia a kona
kaikunane.

Ta manawa, ake aku la keia e komo i ka malu o ka mahina, a ma
ke ahiahi, hiki aku la oia i ka malu o ka mahina, manao ae la keia, ua
komo i ka aina 1 kapaia o Kahakaekaea. ;

Ike aku la oia i keia hale nui e ku ana, ua po iho la, hele aku la oia
ma ka lulu, aia no e ala mai ana o Moanalihaikawaokele, hoi mai la
oia a ma kahi kaawale, e kali ana o ka moe iho, e like me ke
kuhikuhi a Kaeloikamalama. Aoale nae i loaa ka hiamoe ia
Moanalihaikawaokele.

A ma ka wanaao, hele aku la keia, iluna ke alo 0 Moanalihaika-
waokele, manao ae la keia ua hiamoe, holokiki aku la keia a paa ma
ka umiumi o ka makuakane, kahea iho la e like me ke aoao ana a
Kaeloikamalama i hoikeia maluna.

560 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Moanalihaikawaokele awoke; his beard, the place where his
strength lay, was held fast; he struggled to free himself; Kahala-
omapuana held the beard tight; he kept on twisting here and there
until his breath was exhausted.

He asked, “Whose child are you?”

Said she, “Yours.”

Again he asked, “Mine by whom ?”

She answered, “Yours by Laukieleula.”

Again he asked, “Who are you?”

“Tt is Kahalaomapuana.”

Said the father, “Let go my beard; you are indeed my child.”

She let go, and the father arose and set her upon his lap and wailed,
and when he had ended wailing, the father asked, “ On what journey
do you come hither?”

“A journey to seek one from the heavens,” answered Kahalao-

‘mapuana.

“To seek what one from the heavens?”

“Kaonohiokala,” the girl answered.

“The high one found, what.is he to do?”

Said Kahalaomapuana, “I have come to get my brother and lord
to be the husband to the princess of broad Hawaii, to Laieikawai,
our royal friend, the one who protects us.”

She related all that her brother had done, and their friend.

Said Moanalihaikawaokele, “The consent is not mine to give, your
mother is the only one to grant it, the one who has charge of the
chief; she lives there in the taboo place prohibited to me. When
your mother is unclean, she returns to me, and when her days of
uncleanness are over, then she leaves me, she goes back to the chief.

“Therefore, wait until the time comes when your mother returns,
then tell her on what journey you have come hither.”

They waited seven days; it was Laukieleula’s time of uncleanness.

Said Moanalihaikawaokele, “It is almost time for your mother to
come, so to-night, get to the taboo house first and sleep there; in
the early morning when she comes, you will be sleeping in the house;
there is no place for her to go to get away from you, because she is
unclean. If she questions you, tell her exactly what you have told
me.” ¥

That night Moanalihaikawaokele sent Kahalaomapuana into the
house set apart for women.

BECKWITH] TEXT AND TRANSLATION 561

Ala ae la o Moanalihaikawaokele, ua paa kahi e ikaika ai, o ka
umiumi, kupaka ae la aole e hiki, ua paa loa ka umiumi ia Kahalao-
mapuana, 01 noke i ke kupaka i o ianei, a pau ke aho o Moanalihaika-
waokele.

Ninau ae la, “ Nawai ke kama o oe?”

I aku la keia, “ Nau no.”

Ninau hou kela, “ Na’u me wai?”

Hai aku keia, “ Nau no me Laukieleula.”

Ninau hou kela, “ Owai oe?”

“© Kahalaomapuana.”

T ae la ka makuakane, “ Kuuia ae kuu umiumi, he kama io oe na’u.”

Kuu ae la keia, ala ae la ka makuakane, a hoonoho iho la iluna o
ka uha, uwe iho la, a pau ka uwe ana, ninau iho ka makuakane,
“ Weaha kau huakai i hiki mai ai?”

“ He huakai imi Lani,” wahi a Kahalaomapuana.

“Tmi owai ka Lani e imi ai?”

“© Kaonohiokala,” wahi a ke kaikamahine.

“ A loaa ka Lani, heaha ka hana?”

IT aku Ja o Kahalaomapuana, “TI kii mai nei au i kuu kaikunane
Haku, i kane na ke kaikamahine Alii o Hawatiakea, na Laieikawai,
ke aikane Alii a makou, ko makou mea nana i malama.”

Hai aku la oia i na mea a pau i hanaia e ko lakou kaikunane, a me
ka lakou aikane.

I mai la o Moanalihaikawaokele, “Aole na’u e ae aku, na ko
makuahine wale no e ae aku, ka mea nana ke Alii, aia ke noho la
i kahi kapu, kahi hiki ole ia’u ke hele aku, aia hanawai ko makua-
hine, alaila, hoi mai i o’u nei, a pau na la haumia o ko makuahine,
alaila, pau ka ike ana me a’u, hoi no me ke Alii.

“Nolaila, e kali oe, a hiki i na la mai o ko makuahina, i hoi mai
kela, alaila, hai aku oe i kau huakai i hiki mai ai ianei.”

* Kakali iho la laua ehiku la, maopopo iho la na la e hanawai ai o
Laukieleula.

I aku la o Moanalihaikawaokele ia Kahalaomapuana, “ Ua kokoke
mai ka la e mai ai ko makuahine, nolaila, ma keia po, e hele mua oe
ma ka Halepea, malaila oe e moe ai, i hiki mai kela i kakahiaka, e
moe aku ana oe i ka hale, aole ona wahi e hele e aku ai, no ka mea,
ua haumia, ina e ninau ia oe, hai pololei aku no oe e like me kau
olelo ia’u.”

Ma ia po iho, hoouna aku la o Moanalihaikawaokele, ia Kahalao-
mapuana iloko o ka Halepea.

74936°—19—33 ErH——36

CHAPTER XXVIII

Very early in the morning came Laukieleula; when she saw some-
one sleeping there, she could not go away because she was unclean
and that house was the only one open to her. ‘“ Who are you, lawless
one, mischief-maker, who have entered my taboo house, the place
prohibited to any other?” So spoke the mistress of the house.

Said the stranger, “I am Kahalaomapuana, the last fruit of your
womb.”

Sai’ the mother, “Alas! my ruler, return to your father. I can
not see you, for my days of uncleanness pave come; when they are
endec, we will visit together a little, then go.”

Se Kahalaomapuana went back to Moanalihaikawaokele; the
father asked, “ How was it?”

The daughter said, “ She told me to return to you until her days of
uncleanness were ended, then she would come to see me.”

Three days the two stayed there; close to the time when Laukie-
leula’s uncleanness would end, Moanalihaikawaokele said to his
daughter, “Come! for your mother’s days are almost ended; to-
morrow, early in the morning before daylight, go and sit by the
water hole where she washes herself; do not show yourself, and
when she jumps into the pool and dives under the water, then run
and bring hither her skirt and her polluted clothes; when she has
bathed and returns for the clothes, they will be gone; then she will
think that I have taken them; when she comes to the house, then
you can get what you wish.

“Tf you two weep and cease weeping and she asks you if I have
taken her clothes, then tell her you have them, and she will be
ashamed and shrink from you because she has defiled you; then she
will have nothing great enough to recompense you for your defile-
ment, only one thing will be great enough, to get you the high one;
then when she asks you what you desire, tell her; then you shall see
your brother; we shall both see him, for I see him only once a year;
he peeps out and disappears.”

At the time the father had said, the daughter arose very early in
the morning before daylight, and went as her father had directed.

When she arrived, she hid close to the water hole; not long after,
the mother came, took off her polluted clothes and sprang into the
water.

562

MOKUNA XXVIII

Ma ke kakahiaka nui, hiki ana o Laukieleula, 1 nana mai ka hana
e moe ana keia mea, aole nae e hiki i ua o Laukieleula ke hookaawale
ja ia, no ka mea, ua haumia, o kela hale wale no kahi i aeia nona,
“QOvwai oe e keia kupu, e keia kalohe, nana i komo kuu wahi kapu,
kahi hiki ole ina mea e ae ke komo ma keia wahi?” Pela aku ka mea
hale.

Hai aku ka malihini, “O Kahalaomapuana au, ka hua hope loa
a kou opu.”

IT aku ka makuahine, “Auwe! e kuu Haku, e hoi oe me ko makua-
kaue, aole e hiki ia’u e ike ia oe, no ka mea, ua hiki mai kuu mau la
haumia, aia a pau kuu haumia ana, e launa no kaua no ka manawa
pokole a hele aku.”

A no keia mea, hoi aku la o Kahalaomapuana me Moanalihai-
kawaokele, ninau mai Ja ka makuakane, “ Pehea mai Ja?”

I aku ke kaikamahine, “ Olelo mai nei ia’u e hoi mai me oe, a pau
ka manawa haumia, alaila hele mai e ike ia’u.”

Noho iho la laua ekolu la, kokoke 1 ka wa e pau ai ka haumia o
Laukieleula, olelo aku o Moanalihaikawaokele i ke kaikamahine, “ O
hele, no ka mea, ua kokoke mai ka wa mau o ko makuahine, hele no oe
i kakahiaka nui poeleele o ka la apopo, a noho ma ka luawai, kahi ana
e hoomaemae ai ia ia, mai hoike oe, aia a lele kela iloko 0 ke kiowai, a i
luu ilalo o ka wai, alaila, holo aku oe a lawe mai i ka pa-u, a me ke
kapa ona i haumia i kona mai, i auau kela a hoi mai ma kapa, aole
ke kapa, alaila manao mai ua kii aku au, i hoi mai ai kela i ka hale
nei, alaila ki kou makemake.

“Ina i uwe olua a i pau ka uwe ana, a i ninau mai ia’u i ke kapa
ona au i lawe mai ai, alaila, hai aku oe, aia ia oe; a e hilahila kela
me ka menemene ia oe i ko haumia ana, oia hoi, aole ana mea nui e
ae e uku mai ai no kou haumia i kona kapa i hoohaumiaia 1 kona
mai, hookahi wale no mea nui ana o ka Lani au i kii mai nei, aia a
ninau kela 1 kou makemake, alaila, hai aku oe, o ko ike ka hoi ia i ko
kaikunane, ike pu me a’u, no ka mea, hookahi wale no a’u ike ana i
ka makahiki hookahi, he kiei mai ka, o ka nalo aku la no ia.”

A hiki i ka manawa a ka makuakane i olelo ai, ala ae la ke
kaikamahine i kakahiaka nui poeleele, a hele aku la e like me ke
kauoha a kona makuakane.

Ta ia i hiki aku ai, pee iho la ma kahi kokoke i ke koiwai, aole i
upuupu iho, hiki ana ka makuahine, a wehe i ke kapa i hoohaumiaia,
a lele aku la iloko o ka wai.

563

564 HAWATIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Then the girl took the things as directed and returned to her father,

She had not been there long; the mother came in a rage; Moana-
lihaikawaokele absented himself and only the daughter remained in
the house.

“© Moanalihaikawaokele, give me back my polluted clothes, let
me take them to wash in the water.” No answer; three times she
called, not once an answer; she peeped into the house where Kahala-
omapuana lay sleeping, her head covered with a clean piece of tapa.

She called, “O Moanalihaikawaokele, give me back my polluted
skirt; let me take it to wash in the water.”

Then Kahalaomapuana started up as if she had been asleep and
said to her mother, “My mother and ruler, he has gone; only I
am in the house; that polluted skirt of yours, here it is.”

“Alas! my ruler. I shrink with fear of evil for you, because you
have guarded my skirt that was polluted; what recompense is there
for the evil I fear for you, my ruler?”

She embraced the girl and wailed out the words in the line above.

When she had ceased wailing, the mother asked, “ On what journey
do you come hither to us?”

“T come to get my older brother for a husband for our friend,
the princess of the great broad land of Hawaii, Laieikawai, our
protector when we were lovelessly deserted by our older brother;
therefore we are ashamed; we have no way to repay the princess
for her protection; and for this reason permit me and my princely
brother to go down below and bring Laieikawai up here.” These
were Kahalaomapuana’s words to her mother.

The mother said, “I grant it in recompense for your guarding my
polluted garment.

“Tf anyone else had come to get him, I would not have consented ;
since you come in person, I will not keep him back.

“Tndeed, your brother has said that you are the one he loves
best and thinks the most of; so let us go up and see your brother.

“Now you wait here; let me call the bird guardian of you two,
who will bear us to the taboo house at the borders of Tahiti,”

BECKWITH] TEXT AND TRANSLATION 565.

Ta manawa, lawe ae la ke kaikamahine i ka mea i kauohaia ia ia,
a hoi aku la me ka makuakane.

Aole keia i liuliu iho, halulu ana ka makuahine, ua hookaawale
mua ae o Moanalihaikawaokele ia ia ma ke kaawale, o ke kaikamahine
wale no ko ka hale.

“FE Moanalihaikawaokele, o kuu kapa i haumia, homai, e lawe ae
au e hoomaemae i ka wai.” Aole nae he ekemu mai, ekolu ana kahea
ana, aole nae he ekemuia mal, kiei aku la keia iloko o ka hale, e moe
ana o Kahalaomapuana, ua pulou iho i ke kapa i hoohaumia ole ia.

Kahea tho la, “ E Moanalihaikawaokele, homai kuu kapa i haumia
i kuu mai, e lawe ae au e hoomaemae i ka wai.”

Ja manawa, puoho ae la o Kahalaomapuana, me he mea la ua
hiamoe, me ka i aku i ka makuahine, “ E kuu Haku makuahine, ua
hele aku nei kela, owau wale no ko ka hale nei, a o ko kapa nae i
haumia i ko mai, eia la.”

“Auwe! e kuu Haku, he nui kuu menemene ia oe i kou malama ana
i ke kapa 1 haumia ia’u, a heaha Ja auanei ka uku o kuu menemene
ja oe e kuu Haku?”

Apo aku la ia 1 ke kaikamahine, a uwe aku la 1 ka mea i oleloia ma
ka pauku maluna ae nei.

A pau ka uwe ana, ninau iho ka makuahine, “ Heaha kau huakai i
hiki mai ai 1 0 maua nel?”

“T kii mai nei au 1 kuu kaikunane i kane na ke aikane a makou,
ke Alii wahine 0 Hawaii-nui-akea, o Laieikawai, ka mea nana i
malama ia makou iloko o ko makou -haaleleia’na e ko makou kai-
kunane aloha ole, nolaila, ua hilahila makou, aola a makou uku e
uku aku ai no ka malama ana a ke Alii ia makou; a no ia mea, e
ae mai oe e iho ae au me kuu kaikunane Lani ilalo, a lawe mai ia
Laieikawai iluna nei.” O ka Kahalaomapuana olelo keia imua o
kona makuahine.

I mai Ja ka makuahine, “ Ke ae aku nei au, no ka mea, aole o’u
uku no kou malama ana i kuu kapa i haumia ia’u.

“Tna no la hoi he mea e ka mea nana i kii mai nei, ina no la hoi
aole wau e ae aku; o ko kii paka ana mai nei, aole au e aua aku.

“Oia hoi, ua olelo no ko kaikunane o oe hookahi no kana mea i
oi aku ke aloha, a me ka manao nui; a nolaila, e pii kaua e ike i ko
kaikunane.

“WNolaila, e kali oe pela, e hea ae au i ke kahu manu o olua, a
pana kaua e lawe aku a komo i ka pea kapu o kukulu o Tahiti.”

566 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 82

Then the mother called:

O Halulu at the edge of the light,

The bird who covers the sun,

The heat returns to Kealohilani.

The bird who stops up the rain,

The stream-heads are dry of Nuumealani.
The bird who holds back the clouds above,
The painted clouds move across the ocean,
The islands are flooded,

Kahakaekaea trembles,

The heavens flood not the earth.

O the lawless ones, the mischief makers!
O Mokukelekahiki !

O Kaeloikamalama !

The lawless ones who close the taboo house at the borders of Tahiti,
Here is one from the heavens, a child of yours,

Come and receive her, take her above to Awakea, the noonday.

Then that bird’* drooped its wings down and its body remained
aloft, then Laukieleula and Kahalaomapuana rested upon the bird’s
wings and it flew and came to Awakea, the Noonday, the one who
opens the door of the sun where Kaonohiokala lived.

At the time they arrived, the entrance to the chief’s house was
blocked by thunderclouds.

Then Laukieleula ordered Noonday, “ Open the way to the chief’s
place!”

Then Noonday put forth her heat and the clouds melted before
her; lo! the chief appeared sleeping right in the eye of the sun in
the fire of its intensest heat, so he was named after this custom
The Eye of the Sun.

Then Laukieleula seized hold of one of the sun’s rays and held it.
Then the chief awoke.

When Kohalaomapuana looked upon her brother his eyes were
like lightning and his skin all over his body was like the heat of the
furnace where iron is melted.

Laukieleula cried out, “O my heavenly one, here is your sister,
Kahalaomapuana, the one you love best, here she is come to seek you.”

When Kaonohiokala heard he awoke from sleep and signed with
his eyes to Laukieleula to call the guards of the shade. She called:

O big bright moon,
O moving cloud of Kaialea,
Guards of the shadows, present yourselves before the chief.

Then the guards of the shade came and stood before the chief. Lo!
the heat of the sun left the chief.

When the shadows came over the place where the chief lay, then
he called his sister, and went to her, and wept over her, for his heart
fainted with love for his youngest sister, and long had been the days
of their separation.

BECKWITH] TEXT AND TRANSLATION 567

Ta manawa, hea aku la ka makuahine,

E Haluluikekihiokamalama—e,

Ka manu nana e pani ka la,

Hoi ka wela i Kealohilani,

Ka manu nana e alai ka ua,

Maloo na kumuwai o Nuumealani.

Ka manu nana i kaohi na ao luna,

Nee na opua i ka moana,

Huliamahi na moku,

Naueue Kahakaekaea,

Palikaulu ole ka lani,

O na kupu, na eu,

O Mokukelekahiki,

O Kaeloikamalama,

Na kupu nana e pani ka pea kapu o kukulu o Tahiti,
Fia la he Lani hou he kana nau,

Kiiia mai, lawe aku i luna i o Awakea.”

Ta wa, kuu iho Ja ua manu nei i na eheu i lalo, a o ke kino aia no i
luna. Ma ia wa, kau aku la o Laukieleula me Kahalaomapuana i
luna o ka eheu o ua manu nei, o ka lele aku la no ia a hiki i o Awakea,
ka mea nana e wehe ke pani o ka la, kahi i noho ai o Kaonohiokala.

Ja manawa a laua i hiki aku ai, ua paniia aku la ko ke Alii wahi
e na ao hekili.

Alaila, kena ae la o Laukieleula ia Awakea, “ Weheia mai ke pani
o kahi o ke Ali.”

Ia manawa, ke ae la o Awakea me kona wela nui, a auhee aku la na
ao hekili imua ona. Aia hoi ikeia aku la ke Alii e moe mai ana i
ka onohi pono o ka la, i ka puokooko hoi o ka wela loa, nolaila i
kapaia’i ka inoa o ke Alii, mamuli oia ano (Kaonohiokala).

Ja manawa, lalau iho la o Laukieleula i kekahi kukuna o ka la
a kaohi iho la. Ja manawa, ala mai la ke Alii.

Ja Kahalaomapuana i ike aku aii kona kaikunane, ua like na maka
me ka uwila, a o kona ili a me kona kino a puni, ua like me ka okooko
o ke kapuahi hooheehee hao.

Kahea aku la o Laukieleula, “E kuu Lani, eia ko kuahine 0 Kahala-
omapuana, ka mea au e aloha nui nei, eia la ua imi mai nei ia kaua.”

A lohe o Kaonohiokala, ala mai la mai kona hiamoe ana, alawa
ae la kela ia Laukieleula, e hea aku i na dai o ka malu. Kahea ae la.

“FE ka Mahinanuikonane,
E Kaohukolokaialea,
Na kiai o ka malumalu, kulia imua o ke Alii.”

Ta manawa, hele mai la na kiai o ka malu a ku iho la imua o ke
Ali. Aja hoi, ua holo ka wela o ka la mai ke Alii aku.

A loaa ka malumalu imua o ko ke Alii wahi moe, alaila, kahea
mai la 1 ke kaikuahine, a hele aku la a uwe iho la, no ka mea, ua
maeele kona puuwai i ke aloha no kona kaikuahine opiopio. A he
nui no hoi na la o ke kaawale ana.

568 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

When their wailing was ended he asked, “ Whose child are you?”

Said the sister, “ Mokukelekahiki’s, Kaeloikamalama’s, Moanalihai-
kawaokele’s through Laukieleula.”

Again the brother asked, “ What is your journey for?”

Then she told him the same thing she had told the mother.

When the chief heard these things, he turned to their mother and

‘asked, “ Laukieleula, do you consent to my going to get the one
whom she speaks of for my wife?”

“T have already given you, as she requested me; if anyone else had
brought her to get you, if she had not come to us two, she might have
stayed below; grant your little sister’s request, for you first opened
the pathway, she closed it: no one came before, none after her.”
Thus the mother.

After this answer Kaonohiokala asked further about her sisters
and her brother.

Then said Kahalaomapuana, “ My brother has not done right; he
has opposed our living with this woman whom I am come to get you
for. When he first went to woo this woman he came back again after
us; we went with him and came to the woman’s house, the princess of
whom I speak. That night we went to the uplands; in the midst
of the forest there she dwelt with her grandmother. We stood out-
side and looked at the workmanship of Laieikawai’s house, inwrought
with the yellow feathers of the oo bird.

“Mailehaiwale went to woo her, gained nothing, the woman re-
fused; Mailekaluhea went, gained nothing at all; Mailelaulii went,
gained nothing at all; Mailepakaha went, gained nothing at all; she
refused them all; I remained, I never went to woo her; he went away
in a rage leaving us in the jungle.

“ When he left us, we followed; our brother’s rage waxed as if we
had denied his wish.

“Then it was we returned to where he left us, and the princess
protected us, until I left to come hither; that is how we live.”

When Kaonohiokala heard this story, he was angry. Then he
said to Kahalaomapuana, “ Return to your sisters and to your friend,
the princess; my wife she shall be; wait, and when the rain falls
and floods the land, I am still here.

“When the ocean billows swell and the surf throws white sand
on the shore, I am still here; when the wind whips the air and for
ten days lies calm, when thunder peals without rain, then I am at
Kahakaekaea.

“When the dry thunder peals again, then ceases, I have left the
taboo house at the borders of Tahiti. I am at Kealohilani, my
divine body is laid aside, only the nature of a taboo chief remains,
and I am become a human being like you.

BECKWITH] TEXT AND TRANSLATION 569

A pau ka uwe ana, ninau iho la, “ Nawai ke kama o oe?”

Pane aku ke kaikuahine, “Na Mokukelekahiki, na Kaeloika-
malama, na Moanalihaikawaokele laua o Laukieleula.”

Ninau hou mai la ke kaikunane, “ Heaha ka huakai?”

Alaila, hai aku Ja kela e like me kana olelo 1 ka makuahine.

A lohe ke Alii i keia mau olelo, haliu aku la oia i ko laua maku-
ahine, me ka ninau aku, “ Laukieleula, ua ae anei oe ia’u e kii i ka
mea a ianei e olelo mai nei i wahine na’u?”

“Ua haawi mua wau ia oe ua lilo, e like me kana noi ia’u; ina o
kekahi o lakou kai kii mai nei, ina aole e hiki mai i o kaua nei, i lalo
aku la no, hoi; aeia aku ka olelo a kou pokii, no ka mea, nau i wehe
mua ke alanui, a na ko kaikuahine 1 pani mai, aohe he mea mamua
ou, a aohe no hoi he mea mahope iho,” pela aku ka makuahine.

A pau keia mau olelo, ninau hou mai la o Kaonohiokala ia
Kahalaomapuana no kona mau kaikuaana a me kona kaikunane.

Alaila hai aku la o Kahalaomapuana, “Aole he pono o ko makou
kaikunane, ua kue ko makou noho ana, o keia wahine no a’u i kii mai
nelia oe. I ka huakai mua ana i kii ai i ua wahine nei; hoi hou ae ia
makou, hele no makou a hiki i kahi o ua wahine nei, ke Alii wahine
2’ueolelo nei. I ka po, hiki makou i uka, iloko o ka ululaau oia wale
no a me kona kupunawahine ko ia wahi. Ku makou mawaho, i nana
aku ka hana i ka hale o ua o Laieikawai, ua uhiia mai i ka hulu
melemele o ka Oo.

“Ti o Mailehaiwale, aole i loaa, hoole no ua wahine nei, kii aku
o Mailekaluhea, aole no i loaa, kii aku o Mailelaulii, aole no i loaa,
kii aku o Mailepakaha, aole no i loaa, i ka hoole wale no a pau lakou,
koe owau, aole hoi wau i kii, o ka huhu iho Ja no 1a ia makou haalele
i ka nahelehele.

“A haalele kela ia makou, ukali aku makou mahope, pakela loa no
ko makou kaikunane i ka huhu, me he mea Ja na makou i hoole kona
makemake.

“ Nolaila la, hoi hou makou a kahi i haalele mua ia ai, na ua
kaikamahine Alii Ja i malama ia makou, a haalele wale aku la
wau, hele mai nei, oia iho Ja ko makou noho ana.”

A lohe o Kaonohiokala i keia mau olelo, he mea e ka huhu. Ia
manawa, olelo aku la oia ia WKahalaomapuana, “ E hoi oe me ou
kaikuaana a me ke aikane Alii a oukou, kuu wahine hoi, kali mai
oukou, i nee ka ua ma keia hope iho, a i lanipili, ela no wau i anei.

“T kaikoo auanei ka moana, a i ku ka punakea i uka, eia no wau
ianei. Ina e paka makani a hookahi anahulu malie, i kui paloo ka
hekili, aia wau i Kahakae kaea.

“Kui paloo hou auanei ka hekili ekolu pohaku, ua hala ia’u ka
pea kapu o kukulu o Tahiti, aia wau i Kealohilani, ua pau kuu kino
kapu Akua alaila o kuu kapu Alii koe, alaila noho kanaka aku wau
ma ko kakou ano.

570 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

“ After this, hearken, and when the thunder rolls, the rain pours
down, the ocean swells, the land is flooded, the lightning flashes, a
mist overhangs, a rainbow arches, a colored cloud rises on the ocean,
for one month bad weather closes down,’* when the storm clears,
there I am behind the mountain in the shadow of the dawn.

“Wait here and at daybreak, when I leave the summit of the
mountain, then you shall see me sitting within the sun in the center
of its ring of light, encircled by the rainbow of a chief.

“ Still we shall not yet meet; our meeting shall be in the dusk of
evening, when the moon rises on the night of full moon; then I will
meet my wife.

“ After our marriage, then I will bring destruction over the earth
upon those who have done you wrong.

“Therefore, take a sign for Laieikawai, a rainbow; thus shall I
know my wife.”

These words ended, she returned by the same way that she had
climbed up, and within one month found Kihanuilulumoku and
told all briefly, “We are all right; we have prospered.”

She entered into Kihanuilulumoku and swam over the ocean; as
many days as they were in going, so many were they in returning.

They came to Olaa. Laieikawai and her companions were gone:
the lizard smelled all about Hawaii; nothing. They went to Maui;
the lizard smelled about; not a trace.

He sniffed about Kahoolawe, Lanai, Molokai. Just the same.
They came to Kauai; the lizard sniffed about the coast, found noth-
ing; sniffed inland; there they were, living at Honopuwaiakua, and
Kihanuilulumoku threw forth Kahalaomapuana.

The princess and her sisters saw her and rejoiced, but a stranger
to the seer was this younger sister, and he was terrified at sight of
the lizard; but because he was a prophet, he stilled his fear.

Eleven months, ten days, and four days over it was since Kahala-
omapuana left Laieikawai and her companions until their return
from The-shining-heavens.

BECKWITH] TEXT AND TRANSLATION 571

“Ma ia hope iho, hoolohe mai oukou a i hui ka hekili, ua ka ua,
kaikoo ka moana, he waikahe ma ka aina, olapa ka uwila, uhi ka noe,
pio ke anuenue, ku ka punohu i ka moana, hokahi malama e poi ai
ka ino a mao ae, aia wau ma ke kua o na mauna i ka wa molehulehu
o ke kakahiaka. 7

“ Kali mai oukou a i puka aku ka la, a haalele iho i ka piko o na
mauna; ia manawa, e ike ae ai oukou ia’u e noho ana wau iloko o ka
la, iwaena o ka Luakalai, i hoopuniia 1 na onohi Alii.

“Aole nae kakou e halawai ia manawa; aia ko kakou halawai i
ka ehu ahiahi; ma ka puka ana mai o ka mahina i ka po i o Ma-
healani, alaila e hui ai au me kuu wahine.

“ Aia a hoao maua, alaila, e hoomaka wau i ka luku maluna o ka
aina no ka poe i hana ino mai ia oukou.

*Nolaila, e lawe aku oe i ka hoailona o Laieikawai, he anuenue
o kuu wahine ia.”

A pau keia mau mea, hoi iho la oia ma ke ala ana i pii aku ai,
hookahi malama, a halawai iho la me Kihanuilulumoku, hai aku la i
ka hua olelo, “ Ua pono kaua, ua waiwai no hoi.”

Komo ae la oia iloko o Kihanuilulumoku, au aku la ma ka
moana, e like me na la o ka hele ana aku, pela no ka loihi o ka
hoi ana mai.

Hiki laua i Olaa, aole a Laieikawai ma, hanu ae la ua moo nei
a puni o Hawaii, aole. Hiki laua i Maui, hanu ae la ka moo, aole no.

Hanu aku la ia Kahoolawe, Lanai, a me Molokai, oia ole like no.
Hiki laua i Kauai, hanu ae la a puni aole i loaa, hanu ae la i na
mauna, aia hoi, e noho ana 1 Honopuuwaiakua, luai aku la ua o
Kihanuilulumoku ia Kahalaomapuana.

Tke mai la ke Alii a me kona mau kaikuaana, he mea e ka olioli.
Aka, he mea malihini nae i ka Makaula keia kaikamahine opiopio,
a he mea weliweli no hoi i ua Makaula nei ka ike ana i ka moo,
aka, ma kona ano Makaula, ua hoopauia kona maka’u.

He umikumamakahi malama, me ke anahulu, me eha la keu, oia
ka loihi o ke kaawale ana o Kahalaomapuana mai ka la i haalele ai ia,
Laieikawai ma, a hikii ko laua hoi ana mai mai Kealohilani mai.

CHAPTER XXIX

When Kahalaomapuana returned from Kealohilani, from her jour-
ney in search of a chief, she related the story of-her trip, of its wind-
ings and twistings, and all the things she had seen while she was
away.

When she recited the charge given her by Kaonohiokala, Laieika-
wai said to her companions, “O comrades, as Kahalaomapuana tells
me the message of your brother and my husband, a strange forebod-
ing weighs upon me, and I am amazed; I supposed him to be a man,
a mighty god that! When I think of seeing him, however I may de-
sire it, I am ready to die with fear before he has even come to us.”

Her companions answered, “ He is no god; he is a man like us, yet"
in his nature and appearance godlike. He was the firstborn of us;
he was greatly beloved by our parents; to him was given superhuman
powers which we have not, except Kahalaomapuana; only they two
were given this power; his taboo rank still remains; therefore, do
not fear; when he comes, you will see he is only a man like us.”

Now, before Kahalaomapuana’s return from Kealohilani, the seer
foresaw what was to take place, one month before her return. Then
the seer prophesied, in these words: “A blessing descends upon us
from the heavens when the nights of full moon come.

“When we hear the thunder peal in dry weather and in wet, then
we shall see over the earth rain and lightning, billows swell on the
ocean, freshets on the land, land and sea covered thick with fog,
fine mist and rain, and the beating of the ocean rain.

“When this passes, on the day of full moon, in the dusk of the
early morning, at the time when the sun’s rays strike the mountain
tops, then the earth shall behold a youth sitting within the eye of the
sun, one like the taboo child of my god. Afterwards the earth shall
behold a great destruction and shall see all the haughty snatched
away out of the land; then we shall be blessed, and our seed.”

When his daughters heard the seer’s prophecy, they wondered
within themselves that he should prophesy at this distance, without
knowing anything about their sister’s mission for which they waited.

As a prophet it was his privilege to proclaim about Kauai those
things which he saw would come to pass.

572

MOKUNA XXIX

Ia Kahalaomapuana i hoi mai ai mai kana huakai imi Alii, mai
Kealohilani mai, hai aku la oia i ka moolelo o ko laua hele ana, a
me na hihia he nue, a me na lauwili ana, a me na mea a pau ana i
ike ai iloko o kona manawa hele.

Iloko nae o kana manawa e olelo nei no ka olelo kauoha a Kaono-
hiokala, i mai la o Laieikawai i kona mau hoa, “ E na hoa, ia Kaha-
laomapuana, e olelo nei no Kaonohiokala ke kaikunane o kakou,
kuu kane hoi, ke kau e mai nei ia’u ka halia o ka maka’u, a me ka
weliweli, ke kuhi nei au he kanaka, he Akua nui loa ka! Iahona
paha a ike aku, o kuu make no paha ia, no ka mea, ke maka’u honua
€ mai nei no i kona manawa aole me kakou.”

T aku la kona mau hoa, “Aole ia he Akua, he kanaka no e like me
kakou, o kona ano nae, a me kona helehelena, he ano Akua. <A no
kona hanau mua ana, lilo ai oia i hiwahiwa na na makua o kakou,
ma ona la i haawiia’i ka mana nui hiki ole ia makou, a o Kaha-
laomapuana nei, alua wale no mea i haawiia’i ka mana, koe aku nae
ke kapu no ko kakou kaikunane, nolaila, mai maka’u oe; aia no
hoi paha a hiki mai la, ike aku no hoi paha oe la, he kanaka no e
like me kakou.”

Mamua aku nae o ko Kahalaomapuana hoi ana mai Kealohilani
mai, ua ike mua aku ka Makaula hookahi malama mamua’ku o ko
laua hoi ana mai. Nolaila, wanana mua ka Makaula me ka olelo iho,
“K loaa ana ka pomaikai ia kakou mai ka lewa mai, aia a hiki aku
ina po mahina konane e hiki mai ai.

“ Aia a lohe aku kakou i ka hekili kui pamaloo, a me ka hekili
iloko o ke kuaua, ia manawa e ike ai ko ka aina nei, he ua me ka
uwila, he kaikoo nia ka moana, he waikahe ma ka aina, uhi paaia ka
aina, a me ka moana a punie ka noe, ke awa, ka ohu, a me ke kualau.

“A hala ae ia, a i ka la o Mahealani, ma ka ehu kakahiaka, i ka
manawa e keehi iho ai na kukuna o ka la i ka piko o na mauna, ia
manawa e ike aku ai ko ka aina, he Kamakahi ke noho mai ana iloko
o ka onohi o ka la, he mea like me ke keiki kapu a kuu Akua. E ike
auanei ka aina i ka luku nui ma ia hope iho, a nana e kaili aku i ka
poe hookiekie mai ka aina aku, alaila, no kakou ka pomaikai, a me
ka kakou pua aku.”

A lohe kana mau kaikamahine i keia wanana a ka Makaula, nalu
iho la lakou iloko o lakou iho ma ke kaawale i keia wanana a ka
Makaula, me ka hai ole aku i ua Makaula nei, no ka mea, ua hooma-
nao wale ae la lakou no ka Jakou mea i hoouna aii ko Jakou kaikaina.

Ma kona ano Makaula, ua hiki ja ia ke hele aku e kukala ma Kauai
a puni, me ka hai aku i kana mea i ike a no na mea e hiki mai ana
mahope.

an

574 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

So, before leaving his daughters, he commanded them and said,
“My daughters, I am giving you my instructions before leaving you,
not, indeed, for long; but I go to announce those things which I have
told you, and shall return hither. Therefore, dwell here in this place,
which my god has pointed out to me, and keep yourselves pure until
my prophecy is fulfilled.”

The prophet went away, as he had determined, and he went into
the presence of the chiefs and men of position, at the place where the
chiefs were assembled; there he proclaimed what he had seen.

And first he came to Aiwohikupua and said, “ From this day, erect
flag signals around your dwelling, and bring inside all whom you
love.

“For there comes shortly a destruction over the earth; never has
any destruction been seen before like this which is to come; never
will any come hereafter when this destruction of which I tell is
ended.

“ Before the coming of the wonder-worker he will give you a sign
of destruction, not over all the people of the land, but over you
yourself and your people; then the high ones of earth shall lie down
before him and your pride shall be taken from you.

“Tf you listen to my word, then you will be spared from the de-
struction that is verily to come; therefore, prepare yourselves at
once.”

And because of the seer’s words, he was driven away from before
the face of the chief.

Thus he proclaimed to all the chiefs on Kauai, and the chiefs who
listened to the seer, they were spared.

He went to Kekalukaluokewa, with his wife and all in their com-
pany.

And as he said to Aiwohikupua, so he said to Kekalukaluokewa,
and he believed him.

But Waka would not listen, and aswered, “If a god is the one to
bring destruction, then I have another god to save me and my chiefs.”

And at Waka’s words the seer turned to the chiefs and said, “ Do
not listen to your grandmother, for a great destruction is coming
over the chiefs. Plant flag signals at once around you, and bring all
dear to you inside the signals you have set up, and whoever will not
believe me, let them fall in the great day of destruction.

“When that day comes, the old women will lie down before the
soles of the feet of that mighty youth, and plead for life, and not
get it, because they have disbelieved the words of the prophet.”

And because Kekalukaluokewa knew that his former prophecies
had been fulfilled, therefore he rejected the old woman’s counsel.

BECKWITH] TEXT AND TRANSLATION SS

A no keia mea, kauoha iho la oia i kana mau kaikamahine, mamua
o kona haalele ana ia lakou, me ka olelo aku, “ E a’u mau kaikama-
hine, ke hele nei au ma kuu aoao mau, e haalele ana wau ia oukou,
aole nae e hele loa ana, aka, e hele ana wau e hai aku i keia mea a’u e
kamailio nei ia oukou, a hoi mai wau; nolaila, e noho oukou ma kahi
a kuu Akua i kuhikuhi ai ia’u, e waiho oukou ia oukou maloko o ka
maluhia a hiki i ka hookoia’na o kuu wanana.”

Hele aku Ja ua Makaula nei e like me kona manaopaa, a hele aku la
ola imua a na’lii a me ka poe koikoi, ma kahi e akoakoa ai na’lii,
malaila oia i kukala aku ai e like me kona ike.

A hiki mua oia i o Aiwohikupua, me ka i aku, “ Mai keia la aku,
e kukulu mua oe i mau lepa a puni kou wahi, a e hookomo i kau poe
aloha a pau maloko.

“No ka mea, ma keia hope koke iho, e hiki mai ana ka luku maluna
o ka aina, aole e ikeia kekahi luku mamua aku, e like me ka luku e
hiki mai ana, aole hoi mahope iho o ka pau ana ae o keia luku a’u e
olelo nei.

“ Mamua o ka hiki ana mai o ka mea mana, e hoike mai no oia i
hoailona no ka luku ana, aole maluna o na makaainana, maluna pono
iho no ou, a o kou poe, ia manawa, e moe ai na mea kiekie o ka aina
nei imua ona, ae kailiia aku ka hanohano mai a oe aku.

“Ina e hoolohe oe i ka’u olelo, alaila, e pakele oe i ka luku e hiki
mai ana, a oiaio; ano e hoomakaukau oe ia oe.”

A no keia olelo a ka Makaula, kipakuia mai la ka Makaula mai ke
alo mai o ke Alii.

Pela oia i kukula hele ai imua o na’lii a puni o Kauai, o ka poe alii
i lohe 1 ka ka Makaula, o lakou no kai pakele.

Hele aku oia imua o Kekalukaluokewa, kana wahine, a me ko laua
alo a pau.

E like me ka olelo no Aiwohikupua, pela kana olelo ia Kekalu-
kaluokewa, a manaoio mai la oia.

Aka, o Waka, aole oia i hooko, me ka olelo mai, “ Ina he Akua ka
mea nana e luku mai, alaila, he Akua no ko’u e hiki ai ke hoopakele
ja’u, a me ka’u mau Alii.”

A no keia olelo a Waka, haliu aku la ka Makaula i ke Alii, a olelo
aku la, “ Mai hoolohe i ka ko kupunawahine, no ka mea, e hiki mai
ana ka luku nui maluna o na’lii. Ano e kukulu i lepa a puni oe, a e
hookomo i kau mea aioha maloko o no Jepa i kukuluia, a o ka mea e
manaoio ole i ka’u, e haule no lakou iloko o ka luku nui.

“A hikii ua la la, e moe ana na luahine ma na kapua i o ke keiki
mana, me ke noi aku i ola, aole e loaa, no ka mea, ua hoole i ka olelo
a ka Makaula nei.”

A no ka mea, ua ike o Kekalukaluokewa i ke ko mau o kana mau
wanana mamua aku, nolaila, ua pale kela i ka olelo a ka luahine.

576 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

When the seer left the chief planted flag signals all around the
palace and stayed within the protected place as the prophet had
commanded.

At the end of his circuit, the seer returned and dwelt with his
daughters.

For no other reason than Jove did the seer go to tell those things
which he saw. He had been back one day with his daughters at
Honopuwaiakua when Kahalaomapuana arrived, as described in the
chapter before.

BECKWITH] TEXT AND TRANSLATION 577

A hala aku la ka Makaula, kukulu ae la ke Alii i lepa a puni kona
Hale Alii, a noho iho ia maloko o kahi hoomalu e like me ka olelo a
ka Makaula.

A pau ka huakai kaapuni a ka Makaula, hoi aku la oia a noho me
kana mau kaikamahine.

No ke aloha wale no o ka Makaula ke kumu o kona hele ana aku e
hai i kana mea i ike ai. Hookahi la o kona noho ana me kana mau
kaikamahine ma Honopuuwaiakua, mai kona hoi ana aku mai kaa-
puni, hiki mai o Kahalaomapuana, e like me ka kakou ike ana mamua
ae nei 1 hoikeia ma neia Mokuna.

74936°—19—83 n1H——37

CHAPTER XXX:

Ten days after Kahalaomapuana’s return from Kealohilani came
the first of their brother’s promised signs.

So the signs began little by little during five days, and on the sixth
day the thunder cracked, the rain poured down, the ocean billows
swelled, the land was flooded, the lightning flashed, the mist closed
down, the rainbow arched, the colored cloud rose over the ocean.

Then the seer said, “ My daughters, the time is come when my
prophecy is fulfilled as I declared it to you.”

The daughters answered, “This is what we have been whispering
about, for first you told us these things while Kahalaomapuana had
not yet returned, and since her return she has told us the same thing
again.”

Said Laieikawai, “I tremble and am astonished, and how can my
fear be stilled? ”

“Tear not; be not astonished; we shaJl prosper and become mighty
ones among the islands round about; none shall be above us; and you
shall rule over the land, and those who have done evil against you
shall flee from you and be chiefs no more.

“For this have I followed you persistently through danger and
cost and through hard weariness, and I see prosperity for me and
for my seed to be mine through you.”

One month of bad weather over the land as the last sign; in the
early morning when the rays of the sun rose above the mountain,
Kaonohiokala was seen sitting within the smoking heat of the sun,
right in the middle of the sun’s ring, encircled with rainbows and a
red mist.

Then the sound of shouting was heard all over Kauai at the sight
of the beloved child of Moanalihaikawaokele and Laukieleula, the
great high chief of Kahakaekaea and Nuumealani.

Behold! a voice shouting, “The beloved of Hulumaniani! the
wonderful prophet! Hulumaniani! Give us life!”

From morning until evening the shouting lasted, until they were
hoarse and could only point with their hands and nod their heads,
for they were hoarse with shouting for Kaonohiokala.

Now, as Kaonohiokala looked down upon the earth, lo! Laieikawai
was clothed in the rainbow garment his sister, Kahalaomapuana, had
brought her; then through this sign he recognized Laieikawai as his
betrothed wife.

578

MOKUNA XXX

Hookahi anahulu mahope iho o ko Kahalaomapuana hoi ana mai
mai Kealohilani mai, ia manawa, hiki mai la ka hoailona mua a
ko lakou kaikunane, e like me ke kauoha i kona kaikuahine.

Pela i hoao Jiilii ai na hoailona iloko o na la elima, a i ke ono o
ka Ja, kui ka hekili, ua ka ua, kaikoo ka moana, waikahe ka aina,
olapa ka uwila, uhi ka noe, pio ke anuenue, ku ka punohu i ka
moana.

Ta manawa, olelo aku ka Makaula, “E a’u mau kaikamahine, ua
liki mai ka hoohoia’na o kuu wanana e like me ka’u olelo mua ia
oukou.”

I aku la na kaikamahine, “ Oia hoi ka makou i hamumu iho nei,
no ka mea, ua lohe mua no makou i keia mea ia oe, oiai aole keia
(Kahalaomapuana) 1 hiki mai, a ma ka ianei hoi ana mai nei, lohe
hope makou ia ianei.”

Olelo mai la o Laieikawai, “ He haalulu nui ke’u, a me ka weliweli,
a pehea la e pau ai kuu maka’u?”

“Mai maka’u oe, aole hoi e weliweii, e hiki mai ana ka pomaikai ia
kakou, a e lilo auanei kakou 1 mea nui nana e ai na moku a puni,
aole kekahi mea e ae, a e noho Alii auanei oukou maluna o ka aina,
a e holo aku ka poe hana ino mai ia oukou mai ka noho Alii aku.

“Nolaila wau i ukali ai me ka hoomanawanui iloko o ka luhi, a
me ka inea, iloko o na pilikia he nui, a ke ike nei wau, no’u ka
pomaikai a no ka’u mau pua, mai ia oukou mai.”

Hookahi malama o ka ino ma ka aina no ka hoailona hope, ma
ke kakahiaka, i na kukuna o ka la i haalele iho aii na mauna. Ikeia
aku la o Kaonohiokala e noho ana iloko o a wela kukanono o ka
la, mawaena pono o ka Luakalai, i hoopuniia i na anuenue, a me ka
ua koko.

I kela wa no, loheia aku la ka pihe uwa a puni o Kauai, i ka ike
ena aku i ka Hiwahiwa Kamakahi a Moanalihaikawaokele laua o
Laukieleula, ke Alii nui o Kahakaekaea, a me Nuumealani.

Aia hoi he leo uwa, “Ka Hiwahiwa a Hulumaniani—e! Ka
Makaula nui mana! E Hulumaniani—e! Homai he ola!”

Mai ke kakahiaka a ahiahi ka uwa ana, ua paa ka leo, o ke
kuhikuhi wale iho no a ka lima aohe leo, me ke kunou ana o ke poo,
no ka mea, ua paa ka leo i ka uwa ia Kaonohiokala.

Ia manawa a Kaonohiokala e nana mai ana i ka honua nei, aia
loi, e aahu mai ana o Laieikawai i ke kapa anuenue a kona
kaikuahine (Kahalaomapuana) i lawe mai ai, alaila, maopopo ae la
ia ia o Laieikawai no keia, ka wahine hoopalau ana.

579

580 HAWAIIAN ROMANCE OF LAIEIKAWAI LETH. ANN. 33

In the dusk of the evening, at the rising of the bright full moon,
he entered the prophet’s inclosure.

When he came, all his sisters bowed down before him, and the
prophet before the Beloved.

And Laieikawai was about to do the same; when the Beloved saw
Laieikawai about to kneel he cried out, “O my wife and ruler! O
Laieikawai! do not kneel, we are equals.”

“My lord, I am amazed and tremble, and if you desire to take my
life, it is well; for never have I met before with anyone so terrible
as this!” answered Laieikawai.

“TJ have not come to take your life, but on my sister’s visit to me
I gave her a sign for me to know you by and recognize you as my
betrothed wife; and therefore have I come to fulfill her mission,” so
said Kaonohiokala.

When his sisters and the seer heard, then they shouted with joyful
voices, “ Amen! Amen! Amen! it is finished, flown beyond!” They
rose up with joy in their eyes.

Then he called to his sisters, “I take my wife and at this time of
the night will come again hither.” Then his wife was caught away
out of sight of her companions, but the prophet had a glimpse of
her being carried on the rainbow to dwell within the moon; there
they took in pledge their moments of bliss.

And the next night when the moon shone bright, at the time when
its light decreased, a rainbow was let down, fastened to the moon
and reaching to the earth; when the moon was directly over Honopu-
waiakua, then the chiefs appeared above in the sky in their majesty
and stood before the prophet, saying: “Go and summon all the people
for ten days to gather together in one place; then I will declare my
wrath against those who have done you wrong.

“At the end of ten days, then we shall meet again, and I will tell
you what is well for you to do, and my sisters with you.”

When these words were ended the seer went away, and when he
had departed the five sisters were taken up to dwell with the wife
in the shelter of the moon.

On the seer’s circuit, according to the command of the Beloved, he
did not encounter a single person, for all had gone up to Pihanaka-
Jani, the place where it had been predicted that victory should be
accomplished.

BECKWITH] TEXT AND TRANSLATION 581

Ma ka ehu ahiahi, ma ka puka ana mai a ka mahina konane o
Mahealani, hiki mai la iloko 0 ke anapuni a ka Makaula.

Ta Kaonohiokala i hiki mai ai, moe kukuli iho la kona mau
kaikuahine, a me ka Makaula imua o ka Hiwahiwa.

A o Laieikawai kekahi, i ka Hiwahiwa i ike mai ai ia Laieikawai
e hoomaka ana e kukuli; kahea mai la ka Hiwahiwa, “FE kuu Haku
wahine, e Laieikawaie! mai kukuli oe, ua like no kaua.”

“EH kuu Haku, he weliweli ko’u, a me ka haalulu nui. A ino i
manao oe e lawe i kuu ola nei, e pono ke lawe aku, no ka mea, aole
wau i halawai me kekahi mea weliweli nui mamua e like me keia,”
wahi a Laieikawali.

“Aole au i hiki mai e lawe i kou ola, aka, ma ka huakai a kuu
kaikuahine i hiki ae nei i o’u la, a nolaila, ua haawi mai wau i
hoailona no’u e ike ai ia oe, a e maopopo ai ia’u o oe kuu wahine
hoopalau, a nolaila ua hele mai au e hocko e like me kana kii ana ae
nei,” pela aku o Kaonohiokala.

A lohe kona mau kaikuhine a me ka Makaula pu, alaila hooho
maila lakou me ka leo oliol:

“Amama! Amama! Amama! Ua noa, lele wale aku la.” Ala ae
Jakou i luna me ka maka olioli.

Ja manawa, kahea iho la oia i kona mau kaikuahine, “Ke lawe
nei wau i kuu wahine, a ma kela po e hiki hou mai maua.” Alaila,
Kailiia aku la kana wahine me ka ike oleia e kona mau hoa, aka, 0 ka
Makaula ka mea i ike aweawea aku i ka laweia ana ma ke anuenue a
noho i loko o ka Mahina, malaila i hooiaio ai laua i ko laua mau
minute oluolu.

A ma kekahi po ae, i ka mahina e konane oluolu ana, i ka wa hapa
0 ka Jai.

Kuuia mai la kekahi anuenue i uliliia mai luna mai o ka mahina a
hiki i lalo nei, i ka wa e kupono ana ka mahina i luna pono o
Honopuuwaiakua. :

Ja manawa, iho mai la na’lii o ka lewa me ko laua ihiihi nui a ku
mai la 1 mua o ka Makaula, me ka olelo iho, “ E hele ae oe e kala
aku i na mea a pau i hookahi anahulu, e hoohuiia ma kahi hookahi,
alaila, e hoopuka aku wau i olelo hoopai no ka poe i hana ino mai ia
oukou.

“A pau na la he umi, alaila e hui hou kaua, a na’u no e hai aku i
ka mea e pono ai ke hana oe, a me kau mau kaikamahine pu me oe.”

A pau keia mau olelo, hele aku la ka Makaula, a hala ia, alaila
kaili puia aku la na kaikuahine elima i luna a noho pu me ia i ka olu
o ka Mahina.

T ka Makaula i kaapuni ai mamuli o ka olelo a ka Hiwahiwa, acle
oia 1 halawai me kekahi kanaka hookahi, no ka mea, ua pau i uka
o Pihanakalani, kahi i oleloia he lanakila.

, 582 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

After ten days the seer returned to Honopuwaiakua; lo! it was de-
serted.

Then Kaonohiokala met him, and the seer told him about the cir-
cuit he had made at the Beloved’s command.

Then the prophet was taken up also to dwell in the moon.

And in the morning of the next day, at sunrise, when the hot rays
of the sun rose over the mountains,

Then the Beloved began to punish Aiwohikupua and Waka.

To Waka he meted out death, and Aiwohikupua was punished by
being deprived of all his wealth, to wander like a vagrant over the
earth until the end of his days.

At the request of Laieikawai to spare Laielohelohe and her hus-
band, the danger passed them by, and they became rulers over the
land thereafter.

Now in the early morning of the day of Aiwohikupua’s and
Waka’s downfall,

Lo! the multitude assembled at Pihanakalani saw a rainbow let
down from the moon to earth, trembling in the hot rays of the sun.

Then, as they all crowded together, the seer and the five girls stood
on the ladder way, and Kaonohiokala and Laieikawai apart, and the
soles of their feet were like fire. This was the time when Aiwohi-
kupua and Waka fell to the ground, and the seer’s prophecy was ful-
filled.

When the chief had avenged them upon their enemies, the chief
placed Kahalaomapuana as ruler over them and stationed his other
sisters over separate islands. And Kekalukaluokewa was chief coun-
sellor under Laielohelohe, and the seer was their companion in coun-
cil, with the power of chief counsellor.

After all these things were put in order and well established,
Laieikawai and her husband were taken on the rainbow to the land
within the clouds and dwelt in the husband’s home.

In case her sisters should do wrong then it was Kahalaomapuana’s
duty to bring word to the chief.

But there was no fault to be found with his sisters uptil they left
this world.

BECKWITH] TEXT AND TRANSLATION 583

A pau na Ja he umi, hiki aku ka Makaula i Honopuwaiakua, aia
‘hoi ua mehameha.

Ia manawa, halawai mai la me ia o Kaonohiokala, a hai aku la i
kana olelo hoike no kana oihana kaapuni e like me ke kauoha a ka
Hiwahiwa.

Ta manawa kaili puia aku la ka Makaula a noho i ka mahina.

A ike kakahiaka o kekahi la ae, ma ka puka ana mai o ka la, i ka
wa i haalele iho ai na kukuna wela o ka la i na mauna.

Ja manawa ka hoomaka ana o ka Hiwahiwa e hoopai ia Aiwohiku-
pua a me Waka pu.

Haawiia ka make no Waka, a o Aiwohikupua, hoopaiia aku la ia
e lilo i kanaka ilihune, e aea haukae ana maluna o ka aina a hiki i
kona mau la hope.

Ma ke noi a Laieikawai, e hoopakele ia Laielohelohe a me kana
kane, nolaila, ua maalo ae ka pilikia mai o laua ae, a no laua kekahi
kuleana ma ka aina ma ia hope iho.

I ke kakahiaka nae, i ka hoomaka ana o ka luku ia Aiwohikupua a
me Waka.

Aia hoi, o ke anaina i akoakoa ma Pihanakalani, ike aku la lakou
i ke anuenue i kuuia mai ma ka mahinea mai, i uliliia i na kukuna
wela o ka la.

Alaila, ia manawa akoakoa lakou a pau, ka Makaula, a me na
kaikamahine elima e kau mai ana ma ke ala i uliliia, a o Kaonohi-
okala me Laieikawai ma ke kaawale, a he mau kapuai ko laua me he
ahi la. Oia ka manawa a Aiwohikupua a me Waka i haula ai i ka
houna, me ka apono i ka olelo a ka Makaula.

A pau ka hoopai a ke Alii no na enemi, hoonoho ae la ke Alii oluna
ia Kahalaomapuana i Moi, a hoonoho pakahi aku la i na kaikuahine
ona ma na mokupui. A o Kekalukaluokewa no ke Kuhina Nui, a me
Laielohelohe, a o ka Makaula no ko lakou mau hoa kuka ma ke ano
Kuhina Nui.

A pau ka hooponopono ana no keia mau mea a pono ka noho ana,
kaili puia aku la o Laieikawai e kana kane ma ke anuenue iloko 0 na
ao kaalelewa a noho ma kahi mau o kana kane.

Ina e hewa kona mau kaikuahine, alaila na Kahalaomapuana e
lawe ka olelo hoopii imua o ke Alii.

Aka, aole i loaa ka hewa o kona mau kaikuahine ma ia hope iho a
hiki i ka haalele ana i keia ao.

CHAPTER XXXI

After ‘the marriage of Laieikawai and Kaonohiokala, when his
sisters and the seer and Kekalukaluokewa and his wife were well
established, after all this had been set in order, they returned to
the country in the heavens called Kahakaekaea and dwelt in the
taboo house on the borders of Tahiti.

And when she became wife under the marriage bond, all power
was given her as a god except that to see hidden things and those
obscure deeds which were done at a distance; only her husband had
this power.

Before they left Kauai to return to the heavens, a certain agree-
ment was made in their assembly at the government council.

Lo! on that day, the rainbow pathway was let down from
Nuumealani and Kaonohiokala and Laieikawai mounted upon that
way, and she laid her last commands upon her sisters, the seer, and
Laielohelohe; these were her words:

“My companions and our father the prophet, my sister born
with me in the womb and your husband, I return according to our
agreement; I leave you and return to that place where you will not
soon come to see me; therefore, live in peace, for each alike has
prospered, not one of you lacks fortune. But Kaonohiokala will
visit you to look after your welfare.” )

After these words they were borne away out of sight. And as
to her saying Kaonohiokala would come to look after the welfare of
her companions, this was the sole source of disturbance in Laieika-
wai’s life with her husband.

‘While Laieikawai lived at home with her husband it was Kaono-
hiokala’s custom to come down from time to time to look after his
sisters’ welfare and that of his young wife three times every year.

They had lived perhaps five years under the marriage contract,
and about the sixth year of Laieikawai’s happy life with her hus-
band, Kaonohiokala fell into sin with Laielohelohe without anyone
knowing of his falling into sin.

584

MOKUNA XXXI

Mahope o ko Laieikawai hoao ana me Kaonohiokala, me ka hoo-
ponopono i ka noho ana o kona mau kaikuahine, ka Makaula, a me
Kekalukaluokewa ma; a pau keia mau mea i ka hooponoponoia, hoi
aku la laua iluna o ka aina i oleloia o Kahakaefaea, 0 noho ma ka
pea kapu o Kukulu o Tahiti.

A no ka lilo ana o Laieikawai i wahine mau ma ka berita paa,
nolaila, haawiia ae la ia ia kekahi mau hana mana a pau ma ke ano
Akua, e like me kana kane; koe nae ka mana hiki ole ke ike i na mea
huna, a me na hana pohihihii hanaia ma kahi mamao, no kana kane
wale no.

Mamua nae o ko laua haalele ana ia Kauai, a hoi aku iluna,
ua hanaia kekahi olelo hooholo iloko o ko lakou akoakoa ana; ma
ka ahaolelo hooponopono aupuni ana.

Oia hoi, i ka la i kuuvia mai ai ke alanui anuenue mai Nuumealani
mai, a kau aku la o Kaonohiokala, a me Laieikawai maluna o ke ala
anuenue i oleloia, a waiho mai la i kona leo kauoha hope i kona
mau hoa, ka Makaula, a me Laielohelohe, eia kana olelo:

“ E o’u mau hoa, a me ko kakou makuakane Makaula, kuu kaikaina
i ka aa hookahi, a me ka kaua kane; ke hoi nei au mamuli o ka
mea a kakou i kuka ai, a ke haalele nei wau ia oukou, a hoi aku i
kahi hiki ole ia oukou ke ike koke ae; nolaila, e nana kekahi i kekahi
me ka noho like, no ka mea, ua hoopomaikai like ia oukou, aole kekahi
mea o oukou i hooneleia i ka pomaikai. Aka, oia nei (Kaonohi-
okala) no ko maua mea e hiki mai i o oukou nei, e ike.i ka pono o
ko oukou noho ana.”

A pau keia mau mea, laweia aku la laua me ko laua ike oleia. A e
like me ka olelo, “o Kaonohiokala ka mea iho mai e ike i ka pono
o kona mau hoa,” oia kekahi kumu i haunaele ai ko Laieikawai ma
noho ana me kana kane.

Ta Laieikawai ma ko laua wahi me kana kane, he mea mau ia
Kaonohiokala ka iho pinepine mai ilalo nei e ike i ka pono o kona mau
kaikuahine, a me kana wahine opio (Laielohelohe), ekolu iho ana i
ka makahiki hookahi.

Elima paha makahiki ka loihi o ko Jaua noho ana ma ka hoohiki
paa o ka berita mare; ai ke ono paha o ka makahiki o ko Laieikawai
ma noho pono ana me kana kane, ia manawa, haula iho la 0 Kaono-
hiokala i ka hewa me Laielohelohe; me ka ike ole o na mea e ae 1
keia haule ana i ka hewa.

586 HAWAHAN ROMANCE OF LAIBIKAWATI [ETH. ANN. 23

After Laieikawai had lived three months above, Kaonohiokala
went down to look after his sister’s welfare, and returned to
Laieikawai; so he did until the third year, and after three years
of going below to see after his sisters, lo! Laielohelohe was full-
grown and her beauty had increased and surpassed that of her sister,
Laieikawai’s.

Not at this time, however, did Kaonohiokala fall into sin, but his
sinful longing had its beginning.

On every trip Kaonohiokala took to do his work below, for four
years, lo! Laielohelohe’s loveliness grew beyond what he had seen
before, and his sinful lust increased mightily, but by his nature
as a child of god he persisted in checking his lust; for perhaps a
minute the lust flew from him, then it clung to him once more.

In the fifth year, at the end of the first quarter, Kaonohiokala
went away to do his work below.

At that time virtue departed far from the mind of Kaonohiokala
and he fell into sin. ;

Now at this time, when he met his sisters, the prophet and his
punalua and their wife (Laielohelohe), Kaonohiokala began to redis-
tribute the land, so he called a fresh council.

And to carry out his evil purpose, he transferred his sisters to be
guards over the land called Kealohilani, and arranged that they
should live with Mokukelekahiki and have charge of the land with
him.

When some of his sisters saw how much greater the honor was to
become chiefs in a land they had never visited, and serve with Moku-
kelekahiki there, they agreed to consent to their brother’s plan.

But Kahalaomapuana would not consent to return to Kealohilani,
for she cared more for her former post of honor than to return to
Kealohilani.

And in refusing, she spoke to her brother as follows: “ My high
one, as to your sending us to Kealohilani, let them go and I will
remain here, living as you first placed me; for I love the land and
the people and am accustomed to the life; and if I stay below here
and you above and they between, then all will be well, just as we were
born of our mother; for you broke the way, your little sisters fol-
lowed you, and I stopped it up; that was the end, and so it was.”

BECKWITH] TEXT AND TRANSLATION 587

I ka ekolu malama o Laieikawai ma iluna, iho mai la o Kaono-
hiokala e ike 1 ka pono o kona mau kaikuahine, a hoi aku la me
Laieikawai, pela i kela a me keia hapakolu o ka makahiki, a i ka
ekolu makahiki o ko Kaonohiokala huakai makai i ka pono o kona
mau kaikuahine; aia hoi, ua hookanaka makua loa ae la kana wahine
opio (Laielohelohe), alaila, ua pii mai a mahuahua ka wahine mai-
kai, a oi ae mamua o kona kaikuaana o Laieikawai.

Aole nae i haula o Kaonohiokala ia manawa i ka hewa, aka, ua
hoomaka ae kona kuko ino e hana i ka mea pono ole.

T kela hele ana keia hele ana a Kaonohiokala i kana hana mau ilalo
nei, a hiki i ka eha makahiki; aia hoi, ua hoomahuahuaia mai ka
nani o Laielohelohe mamua o kana ike mua ana, a mahuahua loa
ae Ja ka manao ino o Kaonohiokala; aka, ma kona ano keiki Akua,
hoomanawanui aku la no oia e pale ae i kona kuko, hookahi paha
minute e lele aku ai ke kuko mai ona aku, alaila, pili mai_la no.

I ka lima o ka makahiki, ma ka pau ana o ka hapaha mua o ua
makahiki la, iho hou mai la o Kaonohiokala i kana hana mau ilalo
nei. J

I kela manawa, ua kailiia aku ko Kaonohiokala manao maikai mai
ona aku a kaawale loa, a haule iho la oia i ka hewa.

T kela manawa no hoi, ia ia e halawai la me kona mau kaikuahine,
ame ka Makaula hoi, ka punalua a me ka laua wahine hoi (Laielo-
helohe), hoomaka ae la o Kaonohiokala e hooponopono hou no ke
aupuni, a nolaila, ua hoomaka hou ka ahaolelo.

A imeae pono ai ko ke Alii manao kolohe, hoolilo ae la oia 1 kona
mau kaikuahine i poe kiai no ka aina 1 oleloia o Kealohilani, a na
lakou e hooponopono pu me Mokukelekahiki i ka noho ana, a me na
hana a pau e pili ana i ka aina.

A ike ae Ja kekahi o kona mau kaikuahine, ua oi aku ka hanohano
mamua 0 keia noho ana, no ka méa, ua hooliloia i mau alii no kahi
hiki ole ia Jakou ke noho e lawelawe pu me Mokukelekahiki, nolaila,
hooholo ae la lakou i ka ae mamuli o ka olelo a ko Jakou kaikunane.

Aka, o Kahalaomapuana, aole oia i ae aku e hoi iloko o Kealohi-
lani; no ka mea, ua oj aku kona minamina i ka hanohano mau i loaa
ia la mamua o ka hoi ana i Kealohilani.

A no ko Kahalaomapuana ae ole, hoopuka aku la oia i kana olelo
imua o kona kaikunane, “ E kuu Lani, ma kou hoolilo ana ae nei ia
makou e hoi i Kealohilani, a o lakou no ke hoi, a owau nei la, e
noho ae no wau ilalo nei, e like me kau hoonoho mua ana; no ka mea,
ke aloha nei wau i ka aina a me na makaainana, a Ua maa ae nei no
hoi ka noho ana; a ina owau no malalo nei, o oe no maluna mai, a o
lakou nei hoi iwaena ae nei, alaila, pono iho no kakou, like loa me ka
hanau ana mai a ko kakou makuahine, no ka mea, nau i wahi ke
alanui, a o kou mau pokii hoi, hele aku mahope ou, a na’u hoi i pani
aku. o ke oki no ia, a oia la.”

588 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

Now he knew that his youngest sister had spoken well; but be-
cause of Kaonohiokala’s great desire to get her away so that she
would not detect his mischievous doings, therefore he cast lots upon
his sisters, and the one upon whom the lot rested must go back to
Kealohilani.

Said Kaonohiokala to his sisters, “Go and pull a grass flower; do
not go together, every one by herself, then the oldest return and
give it to me, in the order of your birth, and the one who has the
longest grass stem, she shall go to Kealohilani.”

Every one went separately and returned as they had been told.

The first one went and pulled one about two inches in length, and
the second one pulled and broke her flower perhaps three inches and
a half; and the third, she pulled her grass stem about two inches
long; and the fourth of them, hers was about one inch long; and
Kahalaomapuana did not pull the tall flowers, she pulled a very short
one, about three feet long hers was, and she cut off half and came
back, thinking her grass stem was the shortest.

But in comparing them, the oldest laid hers down before her
brother. Kahalaomapuana saw it and was much surprised, so she
secretly broke hers inside her clothing; but her brother saw her
doing it and said, “ Kahalaomapuana, no fooling! leave your grass
stem as it is.”

The others laid down theirs, but Kahalaomapuana did not show
hers; said he, “ The lot rests upon you.”

Then she begged her brother to draw the lot again; again they
drew lots, again the lot rested upon Kahalaomapuana; Kahalao-
mapuana had nothing left to say, for the lot rested upon her.

Lo! she was sorrowftil at separating herself from her own chief-
house and the people of the land; darkened was the princess’s heart
by the unwelcome lot that sent her back to Kealohilani.

And on the day when Kahalaomapuana was to depart for Ke-
alohilani, the rainbow was let down from above the earth.

Then she said to her brother, “ Let the pathway of my high one
wait ten days, and let the chiefs be gathered together and all the
people of the land, that I may show them my great love before you
take me away.”

When Kaonohiokala saw that his sister’s words were well, he grant-
ed her wish; then the pathway was taken up again with her brother.

BECKWITH] TEXT AND TRANSLATION 589

A no keia olelo a kona kaikuahine muli loa, manao iho la oia, ua
pono ka olelo a kona kaikuahine. Aka, no ke ake nui o Kaonohiokala
e kaawale aku oia i kahi e, i mea e ike oleia’i kona kalohe ana, nolaila,
hailona aku la oia i kona mai Kaikuahine, a o ka mea e ku ai ka
hailona, oia ke hoi iloko o Kealohilani.

I aku la o Kaonohiokala i kona mau kaikuahine, “E hele oukou e
u-u mai i pua Kilioopu, aole e hui i ko oukou hele ana, e hele oukou
ma ke kaawale kekahi i kekahi, a loaa, alaila, e hoi mai ko oukou
mua a haawi mai ia’u, e like me ko hanau ana, pela oukou e heleai,
a pela no hoi oukou ke hoi mai, a o ka mea loihi o kana Kilioopu, oia
ke hoi i Kealohilani.”

Hele aku Ja kela a me keia o lakou ma ke kaawale, a hoi mai la
e like me ka mea i oleloia ia lakou.

Hele aku la ka mea mua, a huhuki mai la elua iniha paha ka loihi
o kana, a o ka lua hoi, huhuki mai la, a oki ae la i kana Kilioopu
ekolu iniha a me ka hapa paha; a o ke kolu hoi, huhuki mai la i
kana Kilioopu, elua iniha paha ka loihi; a o ka eha o lakou hookahi
iniha paha ka loihi o kana, a o Kahalaomapuana hoi, aole oia i
huhuki mai ma ke Kilioopu loloa, huhuki mai la oia ma ka mea
ili loa, ekolu kapuai paha kona loa; a oki ae la oia i ka hapalua
o kana, a hoi aku la, me ka manao o kana Kilioopu ka pokole.

Aka, i ka hoohalike ana, kiola aku la ka mua i kana imua o ko
lakou kaikunane, ike aku la o Kahalaomapuana i ka ka mua, he mea
kahaha loa ia ia, nolaila, momoku malu ae la oia i kana iloko o kona
aahu, aka, ua ike aku la kona kaikunane i kana hana, i aku la, “E
Kahalaomapuana, mai hana malu oe, e waiho i kau Kilioopu pela.”

Kola aku la na mea i koe i ka lakou, aka, o Kahalaomapuana, aole
i hoike mai, 1 mai nae “Ua ku ia’u ka hailona.”

A no keia mea, koi aku la oia 1 kona kaikunane e hailona hou; e
hailona hou ana, ku hou no ia Kahalaomapuana ka hailona; aole
olelo i koe a Kahalaomapuana, no ka mea, ua ku ka hailona ia ia.

Oia hoi, he mea kaumaha nae ia Kahalaomapuana, ke kaawale
ana’ku mai kona noho Alii aku, a me na makaainana, no ka mea, ua
hoopovliia ko ke Alii wahine naau makemake ole e hoi i Kealohilani
e ka hailona.

A i ka la o Kahalaomapuana i hoi ai i Kealohilani, kuuia mai la
ke anuenue mai luna mai a hiki ilalo nei. -

Ta manawa, hai aku la oia i kana olelo imua o kona kaikunane,
me ka i aku, “E.ku ke alanui o kuu Lani pela, e kali no na la he umi,
e hoakoakoaia mai na’lii, a me na makaainana a pau, i hoike aku ai
wau 1 ko’u aloha nui ia lakou mamua o kou lawe ana aku ia‘u.”

A ike iho la o Kaonohiokala, ua pono ka olelo a kona kaikuahine
hooholo ae la oia i kona manao ae; alaila, lawe houia aku la ke alanui
iluna me kona kaikunane pu.

590 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 85

And on the tenth day, the pathway was let down again before the
assembly, and Kahalaomapuana mounted upon the ladder way pre-
pared for her and turned with heavy heart, her eyes filled with a
flood of tears, the water drops of Kulanihakoi, and said: ‘“O chiefs
and people, I am leaving you to return to a land unknown to you;
only I and my older sisters have visited it; it was not my wish to go
back to this land, but my hand decided my leaving you according
to the lot laid by my divine brother. But I know that every one of
us has a god, no one is without; now, therefore, do you pray to your
god and I will pray to my god, and if our prayer has might, then
shall we meet again hereafter. Love to you all, love to the land, we
cease and disappear.”

Then she caught hold of her garment and held it up to her eyes
before the assembly to hide her feeling for the people and the land.
And she was borne by the rainbow to the land above the clouds, to
Lanikuakaa, the heavens higher up.

The great reason why Kaonohiokala wished to separate Kahalao-
mapuana in Kealohilani was to hide his evil doings with Laielohelohe,
for Kahalaomapuana was the only one who could see things done in
secret; and she was a resolute girl, not one to give in. Kaonohiokala
thought she might disclose to Moanalihaikawaokele this evil doing:
ro he got his sister away, and by his supernatural arts he made the
lot fall to Kahalaomapuana.

When his sister had gone, about the end of the second quarter of
the fifth year, he went away below to carry out his lustful design
upon Laielohelohe.

Not just at that time, but he made things right with Kekaluka-
luokewa by putting him in Kahalaomapuana’s place and the seer as
his chief counsellor.

Mailehaiwale was made governor on Kauai, Mailekaluhea on Oahu,
Mailelaulii on Maui and the other islands, Mailepakaha on Hawaii.

BECKWITH J TEXT AND TRANSLATION 591

A i ka umio ka la, kuuia mai la ua alanui nei imua o ke anaina,
a kau aku Ja o Kahalaomapuana iluna o ke alanui ulili i hooma-
kaukauia nona, a huli mai la me ka naau kaumaha, i hoopihaia kona
mau maka ina kulu wai o Kulanihakoi, me ka i mai, “ E na’lii, na
makaainana, ke haalele nei wau ia oukou, ke hoi nei wau i ka aina
a oukou i ike ole ai, owau a me o’u mau kaikuaana wale no kai ike;
aole nae no ko’u makemake e hoi ia aina, aka, na ko’u lima no i ae
ia’u e haalele ia oukou mamuli o ka hailona a kuu kaikunane Lani
nei. Aka hoi, ua ike no wau he mau Akua like ko kakou a pau, aole
mea nele, nolaila, e pule oukou i ke Akua, a e pule no hoi wau i ko’u
Akua, a ina i mana na pule a kakou, alaila, e halawai hou ana no
kakou ma keia hope aku. Aloha oukou a pau, aloha no hoi ka aina,
oki kakou la nalo.”

Alaila, lalau ae la oia i kona aahu, a palulu ae la i kona mau maka
imua o ke anaina, i mea e huna ai i kona manaonao i na makaainana
a me ka aina. A laweia’ku la oia ma ke anuenue iloko o na ao
kalelewa ma ka Lanikuakaa.

O ke kumu nui o ko Kaonohiokala manao nui e hookawale ia
Kahalaomapuana i Kealohilani, i mea e nalo ai kona kalohe ia Laielo-
helohe; no ka mea, o Kahalaomapuana, aia kekahi ike ia ia, he ike
hiki ke hanaia kekahi bana ma kahi malu; a he kaikamahine manao-
paa no, aole e hoopilimeai. O manao auanei o Kaonohiokala o haiia
kana hana kalohe ana imua o Moanalihaikawaokele, nolaila oia i
hookaawale aii kona kaikuahine, a ma ke ano Akua o Kaonohiokala,
ua lilo ka hailona ia Kahalaomapuana.

A kaawale aku la kona kaikuahine, a i ka pau ana paha o a
hapaha elua o ka lima o ka makahiki, iho-hou mai la oia ilalo nei e

hooko i kona manao kuko ia Laielohelohe.

Aole nae oia 1 hooko koke ia manawa; aka, i mea e pono ai oia
imua o Kekalukaluokewa nolaila, waiho aku la oia imua o Kekalu-
kaluokewa e pani ma ka hakahaka o Kahalaomapuana, a o ka Ma-
kaula no kona Kuhina Nui.

A hoonohoia aku la o Mailehaiwale i Kiaaina paha no Kauai;
ia Mailekaluhea no Oahu; o Mailelaulii no Maui a me na moku e ae;
ja Mailepakaha no Hawaii.

CHAPTER XXXII

When Kekalukaluokewa became head over the group, then Kaono-
hiokala sent him to make a tour of the islands and perform the func-
tions of a ruler, and he put Laielohelohe in Kekalukaluokewa’s place
as his substitute.

And for this reason Kekalukaluokewa took his chief counsellor
(the prophet) with him on the circuit.

So Kekalukaluokewa left Pihanakalani and started on the business
of visiting the group; the same day Kaonohiokala left those below.

When Kaonohiokala started to return he did not go all the way up,
but just watched that day the sailing of Kekalukaluokewa’s canoes
over the ocean.

Then Kaonohiokala came back down and sought the companion-
ship of Laielohelohe, but not just then was the sin committed.

When the two met, Kaonohiokala asked Laielohelohe to separate
herself from the rest, and at the high chief’s command the princess’s
retainers withdrew.

When Laielohelohe and Kaonohiokala were alone he said, “ This
is the third year that I have desired you, for your beauty has grown
and overshadowed your sister’s, Laieikawai’s. Now at last my
patience no longer avails to turn away my passion from you.”

“Q my high one,” said Laielohelohe, “ how can you rid yourself of
your passion? And what does my high one see fit to do?”

“ Let us know one another,” said Kaonohiokala, “this is the only
thing to be done for me.”

Said Laielohelohe, “We can not touch one another, my high one,
for the one who brought me up from the time I was born until I
found my husband, he has strictly bound me not to defile my flesh
with anyone; and, therefore, my high one, it is his to grant your
wish.”

When Kaonohiokala heard this, then he had some check to his
passion, then he returned to the heavens to his wife, Laieikawai. He
had not been ten days there when he was again thick-pressed by the
thunders of his evil lust, and he could not hold out against it.

To ease this passion he was again forced down below to meet
Laielohelohe.

592

MOKUNA XXXII

A lilo ae la o Kekalukaluokewa i poo kiekie ma ke aupum., alaila,
hoouna aku la o Kaonohiokala ia Kekalukaluokewa e hele e kaapuni
ma na mokupuni a pau e lawelawe i kana oihana Moi, a hoonoho iho
la ia Laielohelohe ma ko Kekalukaluokewa wahi ma ke ano hope Moi.

A no keia mea, lawe ae la o Kekalukaluokewa i kona Kuhina Nui
(ka Makaula), ma kana huakai kaapuni.

I ka la i haalele ai o Kekalukaluokewa ia Pihanakalani, a hele aku
la ma kana oihana kaapuni. Ia la no hoi ka haalele ana o Kaonohi-
okala ia lalo nei.

Ma kela hoi ana o Kaonohiokala, aole nae oia i hiki loa iluna, aka,
ua ike nae oia ia la e holo ana na waa o Kekalukaluokewa i ka moana.

A no ia mea, hoi hou mai la o Kaonohiokala mai luna mai a hiki
ilalo nei, a launa iho la me Laielohelohe, aole nae i hanaia ka hewa
la manawa.

Ia laua me Laielohelohe e halawai la, noi aku la o Kaonohiokala ia
Laielohelohe e hookaawaleia na mea e ae, a ma kona ano Mea Nui,
ua hookaawaleia ko ke Alii wahine mau aialo.

Ia Laielohelohe me Kaonohiokala o laua wale no ma ke kaawale,
i aku la, “O ka ekolu keia o ko’u mai makahiki (puni) o ka make-
make ana ia oe, no ka mea, ua ulu kou nani a papale maluna o kou
kaikuaana (Laieikawai). A nolaila, ma na la hope nei, ua hiki ole
ia’u ke hoomanawanui e pale aku i ke kuko no’u ia oe mai o’u aku.”

“FE kuu Lani e,” wahi a Laielohelohe, “ pehea la e kaawale ai ia
kuko ou mai a oe ae? A heaha Ja ka manao o kuu Lani e pono ai
ke hana? ”

“FE launa kino kaua,” wahi a Kaonohiokala, “oia wale no ka mea
e pono ai ke hanaia imua o’u.”

I aku la o Laielohelohe, “Aole kaua e launa kino e kuu Lani, no
ka mea, o ka mea nana i malama ia’u mai kuu wa uuku mai a loaa
wale kuu kane, nana ka olelo paa ma o’u la, aole e haawi i kuu kino
me kahi mea e ae e hoohaumia; a nolaila, e kuu Lani e, na ka mea
nana ka hoohiki paa ia’u e ae aku i kou makemake.”

A lohe o Kaonohiokala i keia mea, akahi no a hoomohalaia ke
kuko ino iloko, alaila, hoi aku la oia iluna me kana wahine (Laie-
ikawai). Aole nae i anahulu kona mau la i luna, uhi paapu houia
mai la oia e na hekili o ke kuko ino, a hiki ole ke hoomanawanui no
ke kuko.

A na keia kuko, kaikai kino houia mai la oia mai luna mai e
halawai hou me Laielohelohe.

74936°—19—33 ErH——88 593

594 HAWAIIAN ROMANCE OF LATEIKAWAI (ETH. ANN. 33

And having heard that her guardian who bound her must give his
consent, he first sought Kapukaihaoa and asked his consent to the
chief’s purpose.

So he went first and said to Kapukaihaoa: “I wish to unite myself
with Laielohelohe for a time, not to take her away altogether, but to
ease my heavy heart of its lust after your foster child; for I first
begged my boon of her, but she sent me for your consent, and ‘so I
have come to you.”

Said Kapukaihaoa: “High one of the highest, I grant your re-
quest, my high one; it is well for you to go in to my foster child;
for no good has come to me from my charge. It was our strong
desire, mine and hers. who took care of your wife Laieikawai,
that Kekalukaluokewa should be our foster child’s husband; very
good, but in settling the rule over the islands, the gain has gone
to others and I have nothing. For he has given all the islands to
your sisters, and I have nothing, the one who provided him with his
wife; so it will be well, in order to avoid a second misfortune, that
you have the wife for the two of you.”

At the end of their secret conference, Kapukaihaoa went with the
chief to Laielohelohe.

Said he, “ My ward, here is the husband, be ruled by him; heavens
above, earth beneath; a solid fortune, nothing can shake its founda-
tion; and look to the one who bore the burden.”

Then Laielohelohe dismissed her doubts; and Kaonohiokala took
Laielohelohe and they took their pleasure together.

Three days after, Kaonohiokala returned to Kahakaekaea.

And after he had been some days absent, the pangs of love caught
him fast, and changed his usual appearance.

Then on the fourth day of their separation, he told a lie to Laieika-
wai and said, “ This was a strange night for me, I never slept, there
was a drumming all night long.”

Said Laieikawai, “ What was it?”

Said Kaonohiokala, “ Perhaps the people below are in trouble.”

* Perhaps so,” said Laieikawai. “ Why not go down and see?”

And at his wife’s mere suggestion, in less than no time Kaono-
hiokala was below in the companionship of Laielohelohe. But Late-
lohelohe never thought of harm; what was that to her mind!

When they met at the chief’s wish, Laielohelohe did not love
Kaonohiokala, for the princess did not wish to commit sin with the
great chief from the heavens, but to satisfy her guardian’s greed.

BECKWITH] c TEXT AND TRANSLATION 595

A no ka lohe mua ana o Kaonohiokala “na ka mea nana 1
malama” ia ia ka “hoohiki paa e ae aku.” Nolaila, kii mua aku la
oia ma o Kapukaihaoa la, e noi aku e ae maii ko ke Alii makemake.

A nolaila hoi, hele mua aku la oia a olelo aku ia Kapukaihaoa,
“Ua makemake wau e lawe ia Laielohelohe e pili me a’u i keia
manawa, aole nae no ke kaili loa mai, aka, 1 mea e hoomama ae ai i
ko’u naau kaumaha i ke kuko i kau milimili, no ka mea, ua noi mua
aku wau 1 ua milimili la au i kuu makemake; aka, ua kuhikuhi mai
kela nau e ae aku, a nolaila, kii mai nei wau ma ou la.”

I aku o Kapukaihaoa, “ EK ka lani o na lami, ke ae aku nei wau
ma kau noi e kuu Lani, he mea pono nou e komo aku oe me ka’u
milimili; no ka mea, ua ike au i ko’u pomaikai ole no ka’u mea
Juhi ai, ua upu aku hoi ko maua manao me ka mea nana i malama
kau wahine (Laieikawai), o Kekalukaluokewa ke kane a ka’u hanai,
ua pono no, aka, i keia noho aupuni ana, ua lilo ka pomaikai i na
mea e ae, nolaila, ua nele wau. No ka mea hoi, ua haawi ae nei kela
i na moku a pau i ou kaikuahine, koe hoi wau ka mea nana kana
wahine i wahine ai, a nolaila e aho hoi ke ka i ka nele lua, a nau ka
wahine a olua.”

A pau keia mau kamailio a laua ma ke kaawale, hele aku la o
Kapukaihaoa me ke Alii pu a hiki 0 Laielohelohe la.

I aku la, “ E kun Juhi, eia ke kane, nohoia, he lani iluna he honua
ilalo, keehi’a kulana a paa, a nana mai i ka mea nana i luhi.”

Alaila he mea kanalua ole ia ia Laielohelohe; a lawe ae la o
Kaonohiokala ia Laielohelohe, a hui oluolu iho la laua.

Ekolu mau la o laua ma ka laua mau hana, hoi aku la o
Kaonohiokala 1 Kahakaekaea.

A mahope iho oia mau la kaawale, ua aaki paaia ke aloha wela i
juna o Kaonchiokala, a ano e kona mau helehelena.

Ta manawa, hoopuka aku la o Kaonohiokala i-olelo hoopunipuni i
mua o Laieikawai, ola ka ha o na la kaawale o laua, me ka i aku,
“ Haohao hoi keia po o’u, aole wau i moe iki, i ka hoopahupahu
waleia no a ao wale.”

IT aku o Laieikawai, “ Heaha la?”

I aku o Kaonohiokala, “ Ua pono ole paha ka noho ana o lakou
la o lalo.”

“Ae paha,” wahi a Laieikawai, “aole no Ja hoi e iho.”

A no keia hua kena a kana wahine, he mea manawa ole noho ana
i lalo nei o Kaonohiokala, a launa no me Laielohelohe. “Aka, o
Laielohelohe aole i loaa ia ia kona pilikia ma ka manao, heaha la ia
mea i kona manao ana.

Ja laua e hui ana ma ka makemake o ke Alii kane, ia manawa, ua
ike ole o Laielohelohe i kona aloha ia Kaonohiokala, no ka mea, aole

no o ke Alii wahine makemake iki e hana i ka hewa me ke Alii nui
o luna; aa hoi, mamuli o ka onou a kona mea nana i malama wale
no ka hooko ana.

596 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

After perhaps ten days of these evil doings, Kaonohiokala returned
above.

Then Laielohelohe’s love for Kekalukaluokewa waxed and grew be-
sause she had fallen into sin with Kaonohiokala.

One day in the evening Laielohelohe said to Kapukaihaoa, “My
good guard and protector, I am sorry for my sin with Kaonohio-
kala, and love grows within me for Kekalukaluokewa, my husband;
good and happy has been our life together, and I sinned not by my
own wish, but through your wish alone. What harm had you
refused? I referred the matter to you because of your binding me
not to keep companionship with anyone: I thought you would keep
your oath; not so!”

Said Kapukaihaoa, “I allowed you to be another’s because your
husband gave me no gifts; for in my very face your husband’s gifts
were given to others; there I stood, then you were gone. Little he
thought of me from whom he got his wife.”

Said Laielohelohe to her foster father, “If that is why you have
given me over to sin with Kaonohiokala, then you have done very
wrong, for you know the rulers over the islands were not appointed
by Kekalukaluokewa, but by Kaonohiokala ; and therefore to-morrow
I will go on board a double canoe and set sail to seek my husband.”

That very evening she commanded her retainers, those who
guarded the chief’s canoe, to get the canoe ready to set sail to seek
the husband.

And not wishing to meet Kaonohiokala, she hid inside the country
people’s houses where he would not come, lest Kaonohiokala should
come again and sin with her against her wish; so she fled to the
country people’s houses, but he did not come until that night when
she had left and was out at sea.

When she sailed, she came to Oahu and stayed in the country
people’s houses. So she journeyed until her meeting with Kekalu-
kaluokew:

About the time that Laielohelohe was come to Oahu, that next
day Kaonohiokala came again to visit Laielohelohe; but on his
arrival, no Laielohelohe at the chief’s house; he did not question the
guard for fear of his suspecting his sin with Laielohelohe. Now
Laielohelohe had secretly told the guard of the chief’s house why she
was going. And failing in his desires he returned above.

BECKWITH | TEXT AND TRANSLATION 597

Hookahi anahulu paha o ko laua hana ana i ka hewa, hoi aku la
o Kaonohiokala iluna.

Ia manawa, ulu mai la a mahuahua ke aloha o Laielohelohe ia
Kekalukaluokewa no kona haule ana i ka hewa me Kaonohiokala.

I kekahi la ma ke ahiahi, olelo aku la o Laielohelohe ia Kapukai-
haoa, “ E kuu kahu nana i malama maikai, i keia manawa, ua poino
loa ia’u ka manao no Kaonohiokala iloko 0 na manawa o maua
i hana iho nei i ka hewa, a ke hoomahuahua mai nei ke aloha o kuu
kane (IKekalukaluokewa) ia’u, no ka mea, i ka noho iho nei no ka
i ka pono me ke kane, me ko maua maikai, a lalau wale no i ka hewa,
aole no ko’u makemake, no kou makemake wale no. Heaha no la
hoi kou hewa ke hoole aku, i kuhikuhi aku hoi wau i kou ae ole no
kou hoohiki ana, aole au e launa me kekahi mea e ae, kaiona he
hoohiki paa kau, aole ka.”

Taku o Kapukaihaoa, “I ae aku au e lilo oe i ka mea e, no kuu nele
i ka haawina waiwai o ko kane; ne ka mea, ma kuu maka ponoi
nei no ka waiwai a ko kane i haawi ae ai, a owau no ke ku, nolaila,
lilo oe, aole hoi au i manaoia ka mea nana ka wahine i wahine ai oia.”

I aku o Laielohelohe i kona kahu nana i hanai, “Ina o kou kumu
ia o ka haawi ana i kuu kino e hoohaumia me Kaonohiokala, alaila,
ua hewa loa oe; no ka mea, ua ike oe, aole no Kekalukaluokewa i
hoonoho na mea maluna o na aina; aka, na Kaonohiokala no, a
nolaila, apopo e kau wau maluna o na waa a holo aku e imi i kuu
kane.”

I ke ahiahi iho, kena’e la oia 1 na aialo kane ona, na mea malama
waa hoi o ke Alii, e hoomakaukau i na waa no ka holo aku e imi i
ke kane.

A no ke kumu ole o kona manao ia Kaonohiokala, nolaila huna
iho la ola ia ia makolo o na hale kuaaina hiki ole ia ia ke noho, no
kona manao o hiki hou mai o Kaonohiokala, hana hou ia ka hewa
me kona makemake ole, oia kona pee ma na hale kuaaina, aole nae
oia (Kaonohiokala) 1 hiki mai a hiki i kona hala ana i ka moana
ia po iho.

A hala o Laielohelohe 1 ka moana, a hiki mia Oahu, noho iho la
oia ma na hale kuaaina. Pela oia i hele ai a hiki i ko Jaua halawai
ana me Kekalukaluokewa.

Ta Laielohelohe paha i Oahu, a ma kekahi la ae, iho hou mai la
o Kaonohiokala e launa hou me Laielohelohe; aka, i kona hiki ana
mai, aole o Laielohelohe o ka hale Alii, aole no hoi oia i ninau mai
i ka mea nana e malama ka hale Alii, no ka mea, ina e ninau oia,
manaoia e hana ana i ka hewa me Laielohelohe; aka, ua hai malu
aku nae o Laielohelohe i ke kiai hale Alii i ke kumu o kona hele ana.
A no ka nele o ko ke Alii makemake, hoi aku la oia i luna.

598 HAWAIIAN ROMANCE OF LATEIKAWAI [ETH. ANN. 33

The report of his lord’s falling into sin had reached the ears of
the chief through some of his retainers and he had heard also of
Laielohelohe’s displeasure.

Now the vagabond, Aiwohikupua, was one of.the chief’s retainers,
he was the one who heard these things. And when he heard Laie-
lohelohe’s reason for setting sail to seek her husband, then he said
to the palace guard, “If Kaonohiokala returns again, and asks for
Laielohelohe, tell him she is ill, then he will not come back, for she
would pollute Kaonchiokala and our parents; when the uncleanness
is over, then the deeds of Venus may be done.”

When Kaonohiokala came again and questioned the guard then he
was told as Aiwohikupua had said, and he went back up again.

BECKWITH ] : TEXT AND TRANSLATION 599

O keia haula ana nae a na‘lii i ka hewa, ua nakulu aku la keia
lohe 1 ke alo Alii, ma o na aialo wale no nae, a ua lohe puia no hoi
ko Laielohelohe makemake ole.

Ja Aiwohikupa e kuewa ana ma ke alo Alii, oia nae kekahi i lohe
i keia mau mea. A no ka lohe ana o Aiwohikupua i ko Laielohelohe
kumu i holo ai e imi i ke kane; alaila i aku oia i ke kiai hale Alii,
“Ina i hoi hou mai o Kaonohiokala, a i ninau mai ia Laielohelohe,
i aku oe ua mai ia, alaila aole e hoi hou mai; no ka mea, he mea
haumia loa ia ia Kaonohiokala, a me na makua o makou, aia no a
pau ka haumia, alaila hana aku ma ka hana o ka hoku Venuka.”

Ta iho hou ana mai o Kaonohiokala, ninau i ke kiai hale Alii,
alaila haiia aku la e like me ka Aiwohikupua olelo, alaila hoi aku
la oia i luna.

CHAPTER XXXIII

In Chapter XXXII of this story the reason was told why Laie-
lohelohe went in search of her husband.

Now, she followed him from Kauai to Oahu and to Maui; she
came to Lahaina, heard Kekalukaluokewa was in Hana, having re-
turned from Hawaii.

She sailed by canoe and came to Honuaula; there they heard that
Hinaikamalama was Kekalukaluokewa’s wife; the Honuaula people
did not know that this was his wife.

When Laielohelohe heard this news, they hurried forward at once
and came to Kaupo and Kipahulu. There was substantiated the
news they heard first at Honuaula, and there they beached the canoe
at Kapohue, left it, went to Waiohonu and heard that Kekalukaluo-
kewa and Hinaikamalama had gone to Kauwiki, and they came to
Kauwiki; Kekalukaluokewa and his companion had gone on to
Honokalani; many days they had been on the way.

On their arrival at Kauwiki, that afternoon, Laielohelohe asked
a native of the place how much farther it was to Honokalani, where
Kekalukaluokewa and Hinaikamalama were staying.

Said the native, “ You can arrive by sundown.”

They went on, accompanied by the natives, and at dusk reached
Honokalani; there Laielohelohe sent the natives to see where the
chiefs were staying.

The natives went and saw the chiefs drinking awa, and returned
and told them.

Then Laielohelohe sent the natives again to go and see the chiefs,
saying, “ You go and find out where the chiefs sleep, then return
to us.”

And at her command, the natives went and found out where the
chiefs slept, and returned and told Laielohelohe.

Then for the first time she told the natives that she was Kekalu-
kaluokewa’s married wife.

Before Laielohelohe’s meeting with Kekalukaluokewa he had heard
of her falling into sin with Kaonohiokala; he heard it from one of
KKauakahialii’s men, the one who became Aiwohikupua’s chief coun-
sellor; and, because of that man’s hearing about Laielohelohe, he
came there to tell Kekalukaluokewa.

When Laielohelohe and her companions came to the house where
Kekalukaluokewa was staying, lo! they lay sleeping in the same
place under one covering, drunk with awa.

600

MOKUNA XXXIII

Ua oleloia ma ka Mokuna XXXII o keia kaao ke kumu o ko Laie-
lohelohe imi ana i kana kane ia Kekalukaluokewa.

Nolaila, imi aku la oia mai Kauai mai a Oahu, a Maui; i Lahaina
keia, lohe aia o Kekalukaluokewa i Hana, ua hoi mai mai Hawaii mai.

Holo aku la oia ma na waa a pae ma Honuaula, ilaila lohe lakou o
Hinaikamalama ka wahine a Kekalukaluokewa, aole nae 1 ike ko
Honuaula poe o ka Kekalukaluokewa wahine keia.

‘A no ka lohe ana o Laielohelohe i keia mea, lalelale koke aku la
lakou a hiki i Kaupo, a me Kipahulu. Alaila, hoomaopopoia mai la
ka lohe mua o lakou i Honuaula, a mailaila aku lakou a kau na waa
ma Kapohue, haalele lakou i na waa, hele aku la lakou a Waiohonu,
lohe Jakou ua hala o Kekalukaluokewa me Hinaikamalama i Kau-
wiki; a hiki lakou i Kauwiki, ua hala loa aku la o Kekalukaluokewa
ma 1 Honokalani, he nui na la i hala ia lakou ma ia hele ana.

Ta hele ana a lakou a hiki i Kauwiki, ua ahiahi nae, ninau aku la
o Laielohelohe i na kamaaina i ka Joihi o kahi i koe a hiki 1 Honoka-
lani, kahi a Kekalukaluokewa e noho ana me Hinaikamalama.

Olelo mai kamaaina, “ Napoo ka la hiki.”

A hele aku la Jakou me ke kamaaina pu, a molehulehu hiki aku la
lakou i Honokalani; alaila, hoouna aku la o Laielohelohe i ke ka-
maaina e hele aku e nana i ka noho ana o na’lii.

Hele aku la ke kamaaina, a ike aku i na’lii e inu awa ana, hoi mai
la a hai mai Ja ia lakou nei.

Alaila, hoouna hou aku la no o Laielohelohe i ke kamaaina e hele
hou e nana i na’lii, me ka i aku nae, “ E hele oe e nana a ike i na’lii e
hiamoe ana, alaila, hoi mai oe a hele pu aku kakou.”

A no keia olelo a Laielohelohe, alaila, hele aku la ke kamaaina, a
ike aku la, ua hiamoe na’lii, hoi aku la a olelo aku la ia Laielohelohe.

Ta manawa, akahi no a hai aku oia i ke kamaaina, o Kekaluka-
luokewa kana kane mare (hoao).

Mamua aku nae o ko Laielohelohe halawai ana me Kekalukaluo-
kewa, ua lohe mua aku oia i ka haula ana o Laielohelohe i ka hewa
me Kaonohiokala, i lohe no i kahi kahu o Kauakahialii, ka mea i
lilo ai i Kuhina Nui ma ka aoao o Aiwohikupua, a no ka lohe ana o
ua wahi kanaka nei i ka hewa ana o Laielohelohe, oia kana mea i
hele mai ai e hai ia Kekalukaluokewa.

Ia Laielohelohe ma i hiki aku ai ma ka hale a Kekalukaluokewa e
noho ana, aia hoi e hiamoe mai ana laua ma kahi hookahi, ua
hoouhiia i ka aahu hookahi, e moe ana nae i ka ona a ka awa.

601

602 HAWAIIAN ROMANCE OF LAIEIKAWAI [BTH. ANN. 33

Laielohelohe entered and sat down at their heads, kissed him and
wept quietly over him; but the fountain of her tears overflowed when
she saw another woman sleeping by her husband, nor did they know
this; for they were drunk with awa.

Then Laielohelohe did not stay her anger against Hinaikamalama.
so she got between them, pushed Hinaikamalama away, took Kekalu-
kaluokewa and embraced him, and wakened him.

Then Kekalukaluokewa started from his sleep and saw his wife;
just then, Hinaikamalama waked suddenly from sleep and saw this
strange woman with them; she ran away from them in a rage, not
knowing this was Kekalukaluokewa’s wife.

When Kekalukaluokewa saw the anger in Hinaikamalama’s eyes
as she went, then he said, ““O Hinaikamalama, will you run to people
with angry eyes? Do not take this woman for a stranger, she is my
wedded wife.” Then her rage left her and shame and fear took the
place of rage.

When Kekalukaluokewa awoke from his drunken sleep and saw
his wife Laielohelohe, they kissed as strangers meet.

Then he said to his wife, “ Laielohelohe, I have heard about your
falling into sin with our lord, Kaonohiokala, and now this is well
for you and him, and well for me to rule under you two; for from
him this honor comes, and life and death are with him; if I should
object, he would kill me; therefore, whatever our lord wishes it is
best for us to obey; it was not for my pleasure that I gave you up,
but for fear of death.”

Then Laielohelohe said to her husband, “ Where are you, husband
of my childhood? What you have heard is true, and it is true that
T have fallen into sin with the lord of the land, not many times, only
twice have we sinned; but, my husband, it was not I who consented
to defile my body with our lord, but it was my guardian who per-
mitted the sin; for on the day when you went away, that very day
our lord asked me to defile myself; but I did not wish it, therefore I
referred my refusal to him; but on his return from above he asked
Kapukaihaoa, and so we met twice; and because I did not like it, I
hid myself in the country people’s houses, and for the same reason
have I left the seat appointed me, and have sought you; and when I
arrived, I found you with that woman. Therefore we are square; I
have nothing to complain of you, you have nothing to complain of
me; therefore, leave this woman this very night.”

BECKWITH] TEXT AND TRANSLATION 603

A komo aku la o Laielohelohe, a noho iho la ma ke poo o laua
(Kekalukaluokewa ma), honi iho la i ka ihu, a uwe malu iho la iloko
ena; aka, ua hoohaniniia na mapuna waimaka o Laielohelohe no ka
ike ana iho he wahine e ka kana kane, aole nae e hiki ia laua ke
ike ae 1 keia, no ka mea, ua lumilumiia Jaua e ka ona a ka awa.

Oia hoi, aole e hiki ia Laielohelohe ke hoomanawanui i kona ukiuki
ia Hinaikamalama; nolaila, komo aku la ola mawaena o laua, a pale
aku la ia Hinaikamalama, hoohuli mai la ia Kekalukaluokewa, a apo
aku la i kana kane, a hoala aku la.

Ta manawa, puoho ae la o Kekalukaluokewa a ike iho la o kana
wahine; ia wa, hikilele mai la o Hinaikamalama mai ka hiamoe mai,
a ike iho la he wahine e keia me laua, holo aku la oia mai o laua nei
aku, me ka huhu nui, me ka manuo hoi aole keia o ka Kekalukaluo-
kewa wahine.

A ike aku la o Kekalukaluokewa ia Hinaikamalama e hele ana me
ka maka kukona, alaila, i aku la, “ E Hinaikamalama, e holo ana oe i
ke aha, me kou maka inaina, mai kuhi oe 1 keia wahine he wahine e,
o ka’u wahine mare (hoao) no keia.” Ia manawa, hookaawaleia ae
la kona huhu mai ona aku, a paniia iho la ka hilahila a me ka maka’u
ma ka hakahaka o ka huhu.

I ka wa nae i ala ae ai o Kekalukaluokewa mai ka hiamoe ona awa
ae, a ike mai la i ka wahine, ia Laielohelohe, honi iho la ma ke ano
mau o ka hiki malihini ana.

Alaila, i mai la oia i kana wahine, “ E Laielohelohe, ua lohe iho
nei wau nou, ua haule oe i ka hewa me ka Haku o kaua (Kaonohi-
okala), a nolaila, ua pono aku la no oe me ia, a ua pong no hoi wau ke
noho aku malalo o olua, no ka mea, nona mai keia noho hanohano ana
a aia no hoi ja ia ka make a me ke ola; Kamailio aku paha auanei
wau, o ka make mai kai ala; nolaila, ma kahi a ka Haku o kaua e
manao al, pono no ke hooko aku, aole nae no ko’u makemake ka
haawi aku ia oe, aka, no ka maka’u i ka make.”

Alaila, 1 aku la o Laielohelahe i kana kane, “Auhea oe, kuu kane o
ka wa heu ole, ua pololei kou Johe, a he oiaio, ua haule wau i ka hewa
me ua Haku la o ka aina, aole nae i mahuahua, elua wale no a maua
hana ana i ka hewa; aka, e knu kane, aole na’u i ae e haawi ia’u e
hoohaumia i kuu kino me ua Haku la o kaua; aka, na kuu mea nana
i malama ia’u i ae e hana wau i ka hewa; no ka mea, i ka laa oukou
i hele mai ai, oia no ka la a ua Haku la o kaua i noe mai ai ia’u e
hoohaumia ia maua; aka, no ko’u makemake ole, nolaila, ua kuhikuhi
aku wau i ko’u ae ole ia ia; aka, i ka hoi ana iluna a hoi hou mai,
nonoi ae la kela ia Kapukaihaoa, a nolaila, ua launa kino maua elua
manawa, a no ko’u makemake ole, ua huna wau ia’u iho ma na hale
kuaaina, a no ia mea no hoi, ua haalele wau 1 kahi au i hoonoho ai, a
ua imi mai nei wau ia oe; ai ko’u hiki ana mai nei hoi, loaa iho nei
oe ia’u me kela wahine. A nolaila, ua pai wale kaua, aole au-hana
nou, aole hoi a’u hana aku ia oe; nolaila, ma keia po e hookaawale
oe i kela wahine.”

604 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

Now his wife’s words seemed right to her husband; but at Laie-
lohelohe’s last request to separate them from their sinful companion-
ship, then was kindled the fire of Hinaikamalama’s hot love for
Kekalukaluokewa.

Hinaikamalama returned home to Haneoo to live; every day that
Hinaikamalama stayed at her chief-house, she was wont to sit at the
door of the house and turn her face to Kauwiki, for the hot love
that wrapped her about.

One day, as the princess sought to ease the love she bore to Kekalu-
kaluokewa, she climbed Kaiwiopele with her attendants, and sat
there with her face turned toward Kauwiki, facing Kahalaoaka, and
as the clouds rested there right above Honokalani then the heart of
the princess was benumbed with love for her lover; then she chanted
a little song, as follows:

Like a gathering cloud love settles upon me,
Thick darkness wraps my heart.

A stranger perhaps at the door of the house,
My eyes dance.

It may be they weep, alas!

I shall be weeping for you.

As flies the sea spray of Hanualele,

Right over the heights of Honokalani.

My high one! So it is I feel.

After this song she wept, and seeing her weep, her attendants
wept with her.

They sat there until evening, then they returned to the house; her
parents and her attendants commanded her to eat, but she had no
appetite for food because of her love.

Tt was the same with Kekalukaluokewa, for when Hinaikamalama
left Kekalukaluokewa that night, when Laielohelohe came, the chief
was not happy, but he endured it for some days after their separation.

And on the day when Hinaikamalama went up on Kaiwiopele, that
same night, he went to Hinaikamalama without Laielohelohe’s knowl-
edge, for she was asleep.

While Hinaikamalama lay awake, sleepless for love, entered Ke-
kalukaluokewa, without the knowledge of anyone in the chief's
house. |

When Kekalukaluokewa came, he went right to the place where
the princess slept, took the woman by the head and wakened her.

Then Hinaikamalama’s heart leaped with the hope it was her
lover; now when she seized him it was in truth the one she had hoped
for. Then she called out to the attendants to light the lamps, and at
dawn Kekalukaluokewa returned to his true wife, Laielohelohe.

BECK WITH] TEXT AND TRANSLATION 605

A no keia mea, ua pono ka olelo a ka wahine imua o kana kane; aka,
ma keia olelo hope a Laielohelohe, ia manawa, ua ho-aia ke ahi enaena
o ke aloha wela o Hinaikamalama no Kekalukaluokewa, no ka mea,
e kaawale ana laua mai ko lana launa hewa ana.

Hoi aku la o Hinaikamalama i Haneoo, a noho iho la ma kona hale
mau; i kela la keia Ja o Hinaikamalama ma kona Hale Alu, he mea
mau ia ia ka noho ma ka puka o ka hale, a huli ke alo i Kauwiki, no
ka mea, ua hoopuniia oia e ke aloha wela.

I kekahi la, i ke Alii wahine e hoonana ana i kona aloha ia Keka-
lukaluokewa, pii ae la oia a me kona mau kahu iluna o Kaiwiopele, a
noho iho la malaila, huli aku la ke alo 1 Kauwiki, nana aku la ia
Kahalaoaka, a o ke kau mai a ke ao iluna pono o Honokalani, ia
manawa, fie mea e ka maeele o ke Alii wahine i ke aloha no kana ipo;
alaila, oli ae la oia he wahi mele penei:

“Me he ao puapuaa la ke aloha e kau nei,
Ka uhi paapu poele i kuu manawa,
He malihini puka paha ko ka hale,
Ke hulahula nei kuu maka.
He maka uwe paha—e. Oia—e.
E uwe aku ana no wau ia oe,
I ka lele ae a ke ehukai o Hanualele,
Uhi pono ae la iuka o Honokalani.
Kuu Lani—e. Oia—e.”

A pau kana oli ana, uwe iho la oia, a nana 1 uwe, uwe pu me na
kahu ona.

Noho iho la Jakou ma ia la a ahiahi, hoi aku Jai ka hale, kena mai
la na makua a me na kahu e al, aka, aole loaa ia ia ka ono o ka ai,
no ka mea, ua pouli i ke aloha.

A pela no hoi 0 Kekalukaluokewa, no ka mea, ia Hinaikamalama
i haalele aku ai ia Kekalukaluokewa i ka po a Laielohelohe i hiki
mai ai, ua pono ole ka manao o ke Alii kane; a nolaila, ua hoomana-
wanui oia i kekahi mau la-‘mahope mai o ko laua kaawale ana.

A ma kela lai Hinaikamalama i pii ai iluna o Kaiwiopele, a ma ia
po iho, hiki oia i o Hinaikamalama la, me ka ike ole o Laielohelohe,
no ka mea, ua hiamoe oia.

Ia Hinaikamalama no e ala ana, e hiaa ana no kona aloha, puka
ana o Kekalukaluokewa, me ka ike ole oloko o ka Hale Alii ia ianei.

Ta Kekalukaluokewa 1 hiki aku ai, pololei aku Ja no oia a ma
kahi a ke Alii wahine e hiamoe ana, lalau aku Ja i ka wahine ma ke
poo, a hoala aku la.

Ja manawa, ua hooleleia ka oili o Hinaikamalama me ka manao-
lana no o kana ipo; aka, 1 ka lalau ana ae, aia nae o kana mea i
manao ai. Ta manawa, kahea ae la oia ina kahu e ho-a ke kukui, a
ma ka wanaao, hoi aku la o Kekalukaluokewa me kana hanaukama

(Laielohelohe).

606 HAWAIIAN ROMANCE OF LAIBIKAWAI (ETH. ANN. 33

After that, Kekalukaluokewa went to Hinaikamalama every night
without being seen; ten whole days passed that the two did evil
together without the wife knowing it; for in order to carry out her
husband’s desire Laielohelohe’s senses were darkened by the effects of
awa. E

One day one of the native-born women of the place felt pity for
Laielohelohe, therefore the woman went to visit the princess.

While Kekalukaluokewa was in the fiber-combing house with
the men, the woman visited with Laielohelohe, and she said mysteri-
ously, “ How is your husband? Does he not struggle and groan
sometimes for the woman? ” ) i

Said Laielohelohe, “ No; all is well with us.”

Said the woman again, “ It may be he is deceiving you.”

“ Perhaps so,” answered Laielohelohe, “but so far as I see we are
living very happily.” °

Then the woman told her plainly, “ Where are you? Our garden
patch is right on the edge of the road; my husband gets up to dig
in our garden. Ashe was digging, Kekalukaluokewa came along from
Haneoo; my husband thought at once he had been with Hinaika-
malama; my husband returned and told me, but I was not sure.
On the next night, at moonrise, I got wp with my husband, and we
went to fish for red fish in the sea at Haneoo; as we came to the edge
of the gulch, we saw some one appear above the rise we had just
left; then we turned aside and hid; it was Kekalukaluokewa coming;
then we followed his footsteps until we came close to Hinaika-
malama’s house; here Kekalukaluokewa entered. After we had fished
and returned to the place where we met him first, we met him going
back, and we did not speak to him nor he to us; that is all, and this
day Hinaikamalama’s own guard told me—my husband’s sister she
is—ten days the chiefs have been together; that is my secret; and
therefore my husband and I took pity on you and I came to tell you.”

BECKWITH] TEXT AND TRANSLATION 607

Ma ia manawa mai, he mea mau ia Kekalukaluokewa ka hele
pinepine 1 o Hinaikamalama i kela po keia po me kona ike oleia; a
hala he anahulu okoa o ko Kekalukaluokewa hoomau ana e hana
hewa me Hinaikamalama me ka ike ole o kana wahine; no ka mea, ua
uhi paapuia ko Laielohelohe ike e ka ona awa mau, mamuli o ka
makemake o kana kane.

I kekahi la, kupu ka manao aloha i kekahi wahine kamaaina no
Laielohelohe: nealila. hele mai la ua kamaaina wahine nei e launa
me ke Alii wahine.

Ta Kekalukaluokewa me na kanaka ma ka hale kahi-olona, ia
manawa i launa ai ka wahine kamaaina me Laielohelohe, me ka i
aku ma kana olelo hoohuahualau, “ Pehea ko Alii kane? Aole anei
he wilani, a kani uhu maii kekahi manawa no ka wahine?”

I aku la o Laielohelohe, “Aole, he maikai loa maua e noho nei.”

Olelo hou ke kamaaina, “ Malia paha-he hookamani.”

“Ae paha,” wahi a Laielohelohe, “aka, i ka’u ike aku a maua e
noho nei, he oluolu ko maua noho ana.”

Ja manawa, olelo maopopo aku la ke kamaaina me ka i aku, “Auhea
oe? O ka maua mahinaai aia ma kapa alanui ponoi; i ka wanaao,
ala aku la ka’u kane i ka mahiai ma ua mahinaai nei a maua, i kuu
kane nae e mahiai ana, hoi mai ana no o Kekalukaluokewa mai
Haneoo mai, manao koke ae la no kuu kane me Hinaikamalama no,
hoi ae kuu kane a olelo ia’u, aole nae wau i hoomaopopo. A ma ia
po mai, i ka puka’na mahina, ala ae la wau me ka’u kane, a iho aku
la i ka paeaea aweoweo ma ke kai o Haneoo; ia mana e hele ana,
a hikii ke alu kahawai, nana aku Ja maua e hoea mai ana keia mea
maluna o ke ahua i hala hope ia maua; ia manawa, alu ae la maua e
pee ana, aia nae o Kekalukaluokewa keia e hele nei, alaila, ukali
aku Ja maua ma ko iala mau kapuai, a hiki maua ma kahi kokoke i ka
hale o Hinaikamalama, aia nae ua komo aku no o Kekalukaluokewa;
ia maua i ka lawai-a, a hoi mai maua a ma kahi no a makou i halawai
mua al, loaa iho Ja maua ia Kekalukaluokewa e hele ana, aole ana
olelo ia aole hoi a maua olelo ia ia. Pau ia; i keia la hoi, olelo ponoi
mai la ke kahu o Hinaikamalama ia’u, he kaikuahine no kuu kane.
anahulu ae nei ka launa ana o na’lii, na’u nae 1 hoohuahualau akn;
a nolaila, hu mai ko’u aloha me ka’u kane ia oe, hele mai nei wau e
hai aku ia oe.”

CHAPTER XXXIV

And at the woman’s words, the princess’s mind was moved; not
at once did she show her rage; but she waited but to make sure.
She said to the woman, “ No wonder my husband forces me to drink
awa so that when I am asleep under the influence of the awa, he
can go; but to-night I will follow him.”

That night Kekalukaluokewa again gave her the awa, then she
obeyed him, but after she had drunk it all, she went outside the
house immediately and threw it up; and afterwards her husband
did not know of his wife’s guile, and she returned to the house, and
Laielohelohe lay down and pretended to sleep.

When Kekalukaluokewa thought that his wife was fast asleep
under the effects of the awa, then he started to make his usual visit
to Hinaikamalama.

When Laielohelohe saw that he had left her, she arose and fol-
lowed Kekalukaluokewa without being seen.

Thus following, lo! she found her husband with Hinaikamalama.

Then Laielohelohe said to Kekalukaluokewa, when she came to
Hinaikamalama’s house where they were sleeping, “ My husband,
you have deceived me; no wonder you compelled me to drink awa,
you had something to do; now I have found you two, I tell you
it is not right to endure this any longer. We had best return to
Kauai; we must go at once.”

Her husband saw that the princess was right; they arose and
returned to Honokalani and next day the canoes were hastily pre-
pared to fulfill Laielohelohe’s demand, thinking to sail that night;
but they did not, for Kekalukaluokewa pretended to be ill, and they
postponed going that night. The next day he did the same thing
again, so Laielohelohe gave up her love for her husband and re-
turned to Kauai with her canoe, without thinking again of Keka-
lukaluokewa.

The next day after Laielohelohe reached Kauai after leaving her
husband, Kaonohiokala arrived again from Kahakaekaea, and met
with Laielohelohe.

608

MOKUNA XXXIV

A no keia olelo a ka wahine kamaaina, alaila, ua ano e ko ke Alii
wahine manao, aole nae oia 1 wikiwiki i ka huhu; aka, i mea e mao-
popo lea ai ia ia, hoomanawanui no o Laielohelohe. I aku nae oia i
ke kamaaina, “ Malia i hookina ai kun kane ia’u i ka inu awa, ia’u
paha e moe ana i ka-ona awa, hele kela; aka, ma keia po, e ukali ana
wau ia ia.”

Ta po iho, hoomaka hou o Kekalukaluokewa e haawi i ka awa,
alaila, hooko aku la no kana wahine; aka, mahope o ka pau ana o ka
inu awa ana, puka koke aku la o Laielohelohe iwaho o ka hale, a hoo-
Iualuai aku Ja, a pau loa ka awa i ka luaiia, aole nae i ike mai kana
kane 1 keia hana maalea a kana wahine; ai ka hoi ana aku i ka hale,
haawi mua iho la ua o Laielohelohe ia ia i ka hiamoe nui ma kona
ano maalea.

A ike mai la o Kekalukaluokewa, he hiamoe io ko kana wahine
no ka’ ona awa; ia manawa hoomaka hou ke kane i kana hana mau,
a hele aku la i o Hinaikamalama la.

A ike o Laielohelohe, ua hala aku la kela, ala ae la oia, a ukali aku
la ia Kekalukaluokewa me kona ike oleia.

Ta ukali ana o Laielohelohe, aia hoi ua loaa pono aku la kana
kane ia ia e hana ana i ka hewa me Hinaikamalama.

Ta manawa, olelo aku o Laielohelohe ia Kekalukaluokewa, oiai
alia ma ko Hinaikamalama wahi moe laua, “E kuu kane, ua puni
wau la oe, malia oe e hookina nei ia’u i ka awa, he hana ka‘kau, a
nolaila, ua loaa maopopo ae nei olua ia’u, nolaila, ke olelo nei wau ia
oe, aole e pono ia kaua ke hoomanawanui i ka noho ana maanei, e
pono ia kaua ke hoi i Kauai, a nolaila, e hoi kaua ano.”

Ike mai la kana kane i ka maikai o ka manao o ke Alii wahine,
ku ae la laua « hoi aku lai Honokalani. A ma ia ao ana ae, hooma-
kaukau koke na waa no ka hooko i ka olelo a Laielohelohe, me ka
manao ia po iho e holo ai, aole nae i holo, no ka mea, ua hoomaimai
ae la o Kekalukaluokewa, a nolaila, ua hala ia po; a i kekahi po iho,
hana hou no o Kekalukaluokewa i kana hana, a no ia mea, ua haalele
o Laielohelohe i kona aloha i kana kane, a hoi aku la i Kauai ma kona
mau waa, me kona manao hou ole aku ia Kekalukaluokewa.

Ta Laielohelohe ma Kauai mahope iho o kona haalele ana i kana
kane; i kekahi la, hiki hou mai o Kaonohiokala mai Kahakaekaea
mai, a halawai iho la me Laielohelohe.

74936°—19—33 erH——39 609

610 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

Four months passed of their amorous meetings; this long absence
of Kaonohiokala’s seemed strange to Laieikawai, he had been away
four months; and as Laieikawai wondered at the long absence,
Kaonohiokala returned.

Laieikawai asked, “Why were you gone four months? You have
not done so before.”

Said Kaonohiokala, “ Laielohelohe has had trouble with her hus-
band; Kekalukaluokewa has taken a stranger to wife, and this is
why I was so long away.”

Then Laieikawai said to her husband, “Get your wife and bring
her up here and let us live together.”

Therefore, Kaonohiokala left Laieikawai and went away, as Laiei-
kawai thought, to carry out her command. Not so!

On this journey Kaonohiokala stayed away a year; now Laiei-
kawai did not think her husband’s long stay strange, she laid it to
Laielohelohe’s troubles with Kekalukaluokewa.

Then she longed to see how it was with her sister, so Laieikawai
went to her father-in-law and asked, “ How can I see how it is with
my sister, for I have heard from my husband and high one that
Laielohelohe is having trouble with Kekalukaluokewa, and so I have
sent Kaonohiokala to fetch the woman and return hither; but he has
not come back, and it is a year since he went, so give me power to
see to that distant place to know how it is with my relatives.”

Then said Moanalihaikawaokele, her father-in-law, “Go home and
look for your mother-in-law ; if she is asleep, then go into the taboo
temple; if you see a gourd plaited with straw and feathers mounted
’ on the edge of the cover, that is the gourd. Do not be afraid of the
great birds that stand on either side of the gourd, they are not real
birds, only wooden birds; they are plaited with straw and inwrought
with feathers. And when you come to where the gourd is standing
take off the cover, then put your head into the mouth of the gourd
and call out the name of the gourd, ‘ Laukapalili, Trembling Leaf,
give me wisdom.’ Then you shall see your sister and all that is hap-
pening below. Only when you call do not call in a loud voice;
it might resound; your mother-in-law, Laukieleula, might hear, the
one who guards the gourd of wisdom.”

Laukieleula was wont to watch the gourd of wisdom at night, and
by day she slept.

BECKWITH] TEXT AND TRANSLATION 611

A hala eha malama‘o ko laua hui kalohe ana; he mea haohao nae
ia Laieikawai keia hele loihi o Kaonohiokala, no ka mea, eha malama
ka loihi o ka nalo ana. A mahope oia manawa haohao o Laieikawai,
hoi aku la o Kaonohiokala iluna.

Ninau mai la nae o Laieikawai, “ Pehea keia hele loihi ou aha
malama, no ka mea, aole oe pela e hele nei.”

I mai la o Kaonohiokala, “ Ua hewa ko Laielohelohe ma noho ana
me kana kane, ua lilo o Kekalukaluokewa i ka wahine e, a oia ka’u
mea i noho loihi ai.”

A no keia mea, olelo aku o Laieikawai i kana kane, “ FE kii oe i ko
wahine a hoihoi mai e noho pu kakou.”

Ia manawa no a Jaua e kamailio ana no keia mau mea, haalele aku
la o Kaonohiokala ia Laieikawai, a iho mai la, me ka manao o
Laieikawai e kii ana mamuli o kana kauoha, aole ka!

I keia hele ana o Kaonohiokala, hookahi makahiki; ia manawa,
aole o kanamai o ka haohao o Laieikawai no ka hele loihi o kana
kane. Ua manao ae o Laieikawai i ke kumu o keia hele loihi, ua
pono ole la o Laielohelohe me Kekalukaluokewa.

A no keia mea, ake nui ae la oia e ike i ka pono o kona kaikaina,
ia wa, hele aku la o Laieikawai imua o kona makuahonowaikane,
me ka ninau aku, “ Pehea la wau e ike aii ka pono o ko’u kaikaina?
No ka mea, ua olelo mai nei kuu kane Lani, ua hewa ka noho ana o
Laielohelohe me Kekalukaluokewa, a no ia mea, ua hoouna aku nei
wau ia Kaonohiokala e kii aku i ka wahine a hoi mai; aka, i ka hele
ana aku nei, aole 1 hoi mai; o ka pau keia o ka makehiki o ka hele
ana, aole 1 hoi mai, nolaila, e haawi mai oe i ike no’u, i ike hiki ke
ike aku ma kahi mamao, i ike au i ka pono o ko’u hoahanau.”

A no keia mea, olelo mai o Moanalihaikawaokele, kona makua-
honowaikane, “E hoi oe a ma ko olua wahi, e nana aku oe i ko
makuahonowaiwahine, ina ua hiamoe, alaila, e hele aku oe a komo
iloko o ka heiau kapu, ina e ike aku oe i ka ipu ua ulanaia i ke ie, a ua
hakuia ka hulu ma ka lihilihi o ke poi oia ua ipu la. O na manu
nui e ku ana ma na aoao o ua ipu la, mai maka’u oe, aole ia he manu
maoli, he mau manu laau ia, ua ulanaia i ke i-e a hanaia i ka hulu.
A i kou hiki ana i kahi o ua ipu la e ku ana, wehe ae oe i ke poi,
alaila, hookomo iho oe i ko poo i ka waha o ua ipu la, alaila, kahea iho
oe ma ka inoa o ua ipu la, ‘E Laukapalili—e, Homai i he ike.’
Alaila loaa ia oe ka ike, e hiki ia oe ke ike aku i kou kaikaina a me na
mea a pau o lalo, Eia nae,i kou kahea ana, mai kahea oe me ka leo
nui, o kani auanei, lohe mai ko makuahonowaiwahine o Laukieleula,
ka mea nana e malama i ua ipu ike la.”

He mea mau nae ia Laukeileula, ma ka po oia e ala ai e malama i
ua ipu la o ka ike, a ma ke ao, he hiamoe.

612 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Very early next morning, at the time when the sun’s warmth began
to spread over the earth, she went to spy out Laukieleula; she was
just asleep.

When she saw she was asleep Laieikawai did as Moanalihaika-
waokele had directed, and she went as he had instructed her.

When she came to the gourd, the one called “ the gourd of wisdom,”
she lifted the cover from the gourd and bent her head to the mouth of
the gourd, and she called the name of the gourd, then she began to
see all that was happening at a distance.

At noon Laieikawai’s eyes glanced downward, lo! Kaonohiokala
sinned with Laielohelohe.

Then Laieikawai went and told Moanalihaikawaokele about it, say-
ing, “I have employed the power you gave me, but while I was
looking my high lord sinned; he did evil with my sister; for the
first time I understand why his business takes him so long down
below.”

Then Moanalihaikawaokele’s wrath was kindled, and Laukieleula
heard it also, and her parents-in-law went to the gourd—lo! they
plainly saw the sin committed as Laieikawai had said.

That day they all came together, Laieikawai and her parents-in-
law, to see what to do about Kaonohiokala, and they came to their
decision. ;

Then the pathway was let down from Kahakaekaea and dropped
before Kaonohiokala; then Kaonohiokala’s heart beat with fear, be-
cause the road dropped before him; not for long was Kaonohiokala
left to wonder. ,

Then the air was darkened and it was filled with the ery of wailing
spirits and the voice of Jamentation—*‘ The divine one has fallen!
The divine one has fallen!!” And when the darkness was over, lo!
Moanalihaikawaokele and Laukieleula and Laieikawai sat above the
rainbow pathway.

And Moanalihaikawaokele said to Kaonohiokala, “ You have
sinned, O Kaonohiokala, for you have defiled yourself and, there-
fore, you shall no longer have a place to dwell within Kahakaekaea,
and the penalty you shall pay, to become a fearsome thing on the
highway and at the doors of houses, and your name is Lapu, Vanity,
and for your food you shall eat moths; and thus shall you live and
your posterity.”

Then was the pathway taken from him through his father’s super-
natural might. Then they returned to Kahakaekaea.

In this story it is told how Kaonohiokala was the first ghost on
these islands, and from his day to this, the ghosts wander from place
to place, and they resemble evil spirits in their gature.7°

BECKWITH] TEXT AND TRANSLATION 613

I kekahi kakahiaka, i ka wa e hoomaka mai ai ka mehana o ka
La maluna o ka aina, hele aku la oia e makai ia Laukieleula, aia
nae e hiamoe ana. é

A ike iho la kela ua hiamoe, hooko ae la o Laieikawai i ke kauoha
a Moanalihaikawaokele, a hele aku la oia e like me ka mea i aoaoia
mai la ia.

A hiki keia makahi o ka ipu, ka mea i kapaia, “ KareuoKarKe,”
wehe ae la keia i ke poi o ka ipu, a kupou iho la kona poo ma ka waha
0 ua ipu nei, a kahea iho la ma ka inoa 0 ua ipu nei, 1a wa ka hoomaka
ana e ike i na mea a pau i hanaia ma kahi mamao.

Ia awakea, leha ae la na maka o Laieikawai ilalo nei, aia hoi, ua
hana o Kaonohiokala i ka hewa me Laielohelohe.

Tloko o keia manawa, hele aku la o Laieikawai a hai aku la ia
Moanalihaikawaokele, no keia mau mea, me ka olelo aku, “ Ua loaa
ia’u ka ike mai aoe mai. Aka,i kuu nana ana aku nei, aia nae ua
hewa ka Haku Lani o’u, ua hanaia kekahi hewa me kuu kaikaina,
akahi no a maopopo ia’u na kumu a me ke kuleana o kona noho
loihi ana ilalo.”

A no keia mea, he mea e ka inaina o Moanalihaikawaokele, a lohe
pu ae la o Laukieleula, hele aku la kona mau makuahonowai i kahi o
ka ipu ike, aia hoi, ike lea aku la laua e hana ana 1 ka hewa, e like
me ka Laieikawai mau olelo.

I kekahi la ae, akoakoa ae la lakou a pau, o Laieikawai me na
makuahonowai, e hele e ike i ka pono o Kaonohiokala, a hooholo ae
la lakou ia mea.

Ja manawa, kuuia aku la ke alanui mai Kakahaekaea aku a ku
imua o Kaonohiokala, ia wa, ua lele koke kd oili o Kaonohiokala, no
ke alanui i kuuia mai imua ona. Aole nae i liuliu mahope iho o ko
Kaonohiokala haohao ana.

Ta manawa, ua hoopouliia ka lewa, a hoopihaia i na leo wawalo
o ka hanehane, me ka leo uwe, “ Ua haule ka Lani! Ua haule ka
Lani!!” Aika pau ana ae o ka pouli ma ka lewa, aia hoi e kau mai
ana 0 Moanalihaikawaokele me Laukieleula a me Laieikawai, iluna
o ke alanui anuenue.

A olelo mai la o Moanalihaikawaokele imua o Kaonohiokala, “Ua
hewa kau hana, e Kaonohiokala—e, no ka mea, ua haumia loa oe, a
nolaila, aole e loaa hou ia oe he wahi noho iloko o Kahakaekaea, a o
kou uku hoopai, e lilo ana oe i mea e hoomaka’uka’uia’i ma na alanui,
ama ka puka o na hale, a o kou inoa, he Lapu, a o kau mea e ai ai,
o na pulelehua, a malaila kou kuleana a maui kau pua.”

Ta manawa, kailiia aku la ke alanui mai ona aku la, mamuli o ka
mana o kona makuakane. A pau keia mau mea, hoi aku la lakou i
Kahakaekaea.

(Ua oleloia ma keia Kaao, 0 Kaonohiokala ka 7apu mua makeia
mau moku, a ma ona la na /apw e auwana nei i keia mau la, ma ke
hoohalike ana i ke ano o ka dapu, he uhane ino.)

614 HAWAIIAN ROMANCE OF LAIEIKAWATI [ETH. ANN. 35

On the way back after Kaonohiokala’s punishment, they encoun-
tered Kahalaomapuana in Kealohilani, and for the first time discoy-
ered she was there. J

And at this discovery, Kahalaomapuana told the story of her dis-
missal, as we saw in Chapter XXVII of this story, and at the end
Kahalaomapuana was taken to fill Kaonohiokala’s place.

At Kahakaekaea, sometimes Laieikawai longed for Laielohelohe,
but she could do nothing; often she wept for her sister, and her par-
ents-in-law thought it strange to see Laieikawai’s eyes looking as if
she had wept.

Moanalihaikawaokele asked the reason for this; then she told him
she wept for her sister.

Said Moanalihaikawaokele, “ Your sister can not live here with
us, for she is defiled with Kaonohiokala; but if you want your sister,
then you go and fill Kekalukaluokewa’s place.” Now Laieikawai
readily assented to this plan.

And on the day when Laieikawai was let down, Moanalihaika-
waokele said, “ Return to your sister and live virgin until your death,
and from this time forth your name shall be no longer called Laiei-
kawai, but your name shall be ‘The Woman of the Twilight,’ and
by this name shall all your kin bow down to you and you shall be
like a god to them.”

And after this command, Moanalihaikawaokele took her, and both
together mounted upon the pathway and returned below.

Then, Moanalihaikawaokele said all these things told above, and
when he had ended he returned to the heavens and dwelt in the taboo
house on the borders of Tahiti.

Then, The Woman of the Twilight placed the government upon the
seer; so did Laieikawai, the one called The Woman of the Twilight,
and she lived as a god, and to her the seer bowed down and her kin-
dred, according to Moanalihaikawaokele’s word to her. And so
Laieikawai lived until her death.

And from that time to this she is still worshiped as The Woman
of the Twilight.

(THE END)

RECKWITH] TEXT AND TRANSLATION 615

Ja Jakou i hoi ai iluna, mahope iho 0 ka pauana o ko Kaonohiokala
ola, halawai aku la lakou me Kahalaomapuana iloko o Kealohilani,
akahi no a lohe lakou aia oia malaila.

A ma keia halawai ana o lakou, hai aku la o Kahalaomapuana
i ka moolelo o kona hoihotia’na e like me ka kakou ike ana ma ka
Mokuna XXVII o keia kaao, a pau keia mau mea, laweia’ku la o
Kahalaomapuana e pani ma ka hakahaka o Kaonohiokala.

Ja lakou ma Kahakaekaea, 1 kekahi manawa, nui mai la ke aloha o
Laiekawai ia Laielohelohe, aka, aole e hiki ma kona manao, he mea
mau nae 1a Laieikawai ka uwe pinepine no kona kaikaina, a he mea
haohao no hoi i kona mau makuahonowai ka ike aku i ko Laieikawai
mau maka, ua ano maka uwe.

Ninau aku nae o Moanalihaikawaokele i ke kumu o keia mea,
alaila, hai aku la oia, he maka uwe kona no kona kaikaina.

I mai nae o Moanalihaikawaokele, “Aole e aeia kou kaikaina e
noho pu me kakou, no ka mea, ua haumia oia ia Kaonohiokala; aka,
ina he manao kou i ko kaikaina, alaila, e hoi oe a e pani ma ka
hakahaka o Kekalukaluokewa.” Aka, ua ae koke ae la o Laieikawai
j keia mau mea.

A ma ka la o Laieikawai i hookuuia mai ai, olelo mai la o
Moanalihaikawaokele, “ E hoi oe a me kou kaikaina, e noho malu
oe a hiki 1 kou manawa e make ail, a mai keia la aku, aole e kapaia
kou inoa o Laieikawai; aka, o kou inoa mau o KAWAHINEOKALIULA,
a ma la inoa ou e kukuli aku ai kou hanauna ia oe, a o oe no ke akua
o kou mau hanauna.”

A pau keia kauoha, lawe ae la o Moanalihaikawaokele a kau aku
la iluna o ke alanui, a kau pu aku la me Moanalihaikawaokele, a
kuuia mai la ilalo nei.

Ta manawa, hai aku la o Moanalihaikawaokele i na mea a pau e
like me ka mea i oleloia maluna, a pau ia, hoi aku la o Moanali-
haikawaokele iluna, a noho ma ka pea kapu o kukulu o Tahiti.

Ta manawa, hooili aku la o Kawahineokaliula i ke aupunu i ka
Makaula, o Laieikawai hoi ka mea i kapaia o Kawahineokaliula, ua
noho oia ma kona ano akua, a ma ona la i kukuli aku ai ka Makaula,
a me kona hanauna e like me ka olelo a Moanalihaikawaokele ia ia.
A ma ia ano no o Laieikawai i noho ai a hikii kona make ana.

A mai ia manawa mai a hiki i keia mau la, ke hoomanaia nei no e
kekahi poe ma ka inoa o Kawahineokaliula (Laieikawai).

(HOPENA)

NOTES ON THE TEXT
CHAPTER I

*Haleole uses the foreign form for wife, wahine mare, literally “ married
woman,” a relation which in Hawaiian is represented by the verb hoao. A
temporary affair of the kind is expressed in Waka’s advice to her grand-
daughter, “O ke kane ia moeia,” literally, “the man this to be slept with”
(p. 418).

*'The chief's vow, olelo paa, or “ fixed word,” to slay all his daughters, would
not be regarded as savage by a Polynesian audience, among whom infanticide
was commonly practiced. In the early years of the mission on Hawaii, Dibble
estimated that two-thirds of the children born perished at the hands of their
parents. They were at the slightest provocation strangled or burned alive,
often within the house. The powerful Areois society of Tahiti bound its mem-
bers to slay every child born to them. The chief's preference for a son, how-
ever, is not so common, girls being prized as the means to alliances of rank.
It is an interesting fact that in the last census the proportion of male and
female full-blooded Hawaiians was about equal.

*The phrase nalo no hoi na wahi huna, which means literally “ conceal the
secret parts,” has a significance akin to the Hebrew rendering “to cover his
nakedness,” and probably refers to the duty of a favorite to see that no enemy
after death does insult to his patron’s body. So the bodies of ancient chiefs
are sewed into a kind of bag of fine woven coconut work, preserving the shape
of the head and bust, or embalmed and wrapped in many folds of native cloth
and hidden away in natural tombs, the secret of whose entrance is intrusted
to only one or two followers, whose superstitious dread prevents their re-
vealing the secret, even when offered large bribes. These bodies, if worshiped,
may be repossessed by the spirit and act as supernatural guardians of the
house. See page 494, where the Kauai chief sets out on his wedding embassy
with “the embalmed bodies of his ancestors.” Compare, for the service it-
self, Waka’s wish that the Kauaj chief might be the one to hide her bones
(p. 512), the prayer of Aiwohikupua’s seer (p. 3896) that his master might, in
return for his lifelong service, “ bury his bones ”*—e kalua keai mau iwi,” and
his request of Laieikawai (p. 546), that she would “leave this trust to your
descendants unto the last generation.”

*Prenatal infanticide, omilomilo, was practiced in various forms through-
out Polynesia even in such communities as rejected infanticide after birth.
The skeleton of a woman, who evidently died during the operation, is pre-
served in the Bishop Museum to attest the practice, were not testimony of
language and authority conclusive.

°The manini (Tenthis sandvicensis, Street) is a flat-shaped striped fish com-
mon in Hawaiian waters. The spawn, called ohua, float in a jellylike mass
on the surface of the water. It is considered a great delicacy and must
be fished for in the early morning before the sun touches the water and releases
the spawn, which instantly begin to feed and lose their rare transparency.

°The month Ikuwa is variously placed in the calendar year. According to
Malo, on Hawaii it corresponds to our October; on Molokai and Maui, to Janu-
ary; on Oahu, to August; on Kauai, to April.

616

BECKWITH] NOTES ON THE TEXT 617

"The adoption by their grandparents and hiding away of the twins must be
compared with a large number of concealed birth tales in which relatives of
superior supernatural power preserve the hero or heroine at birth and train
and endow their foster children for a life of adyenture. This motive reflects
Polynesian custom. Adoption was by no means uncommon among Polynesians,
and many a man owed his peservation from death to the fancy of some distant
relative who had literally picked him off the rubbish heap to make a pet of.
The secret amours of chiefs, too, led, according to Malo (p. 82), to the theme of
the high chief’s son brought up in disguise, who later proves his rank, a theme
as dear to the Polynesian as to romance lovers of other lands,

CHAPTER II

*The iako of a canoe are the two arched sticks which hold the outrigger.
The kua iako are the points at which they are bound to the canoe, or rest upon
it, aft and abaft of the canoe.

*The verb hookuiia means literally “cause to be pierced” as with a needle
or other sharp instrument. Ai describes the act of piercing. hoo is the
causative prefix, ia the passive particle, which was, in old Hawaiian, com-
monly attached to the verb as a suffix. The Hawaiian speech expresses much
more exactly than our own the delicate distinction between the subject in its
active and passive relation to an action, hence the passive is vastly more
common. Mr. J. S. Emerson points out to me a classic example of the passive
used as an imperative—an old form unknown to-day—in the story of the rock,
Lekia, the “pohaku o Lekia’’ which overlooks the famous Green Lake at
Kapoho, Puna. Lekia, the demigod, was attacked by the magician, Kaleikini,
and when almost overcome, was encouraged by her mother, who ealled out,
“ Pohaku o Lekia, onia a paa”’—‘ be planted firm.’’ This the demigod effected
so successfully as never again to be shaken from her position.

* Hawaiian challenge stories bring out a strongly felt distinction in the
Polynesian mind between these two provinces, maloko a mawaho, “ inside and
outside” of a house. When the boy Kalapana comes to challenge his oppressor
he is told to stay outside; inside is for the chief. ‘“‘ Very well,’ answers the
hero, “I choose the outside; anyone who comes out does so at his peril.” So
he proves that he has the better of the exclusive company.

“In his invocation the man recognizes the two classes of Hawaiian society,

chiefs and common people, and names certain distinctive ranks. The com-
moners are the farming class, hw, makaainu, lopukuakea, lopahoopiliwale refer-
ring to different grades of tenant farmers. Priests and soothsayers are ranked
with chiefs, whose households, aialo, are made up of hangers-on of lower rank—
courtiers as distinguished from the low-ranking countrymen—makaaina—who
remain on the land. Chiefs of the highest rank, niaupio, claim descent within
‘the single family of a high chief, All high-class chiefs must claim parentage
at least of a mother of the highest rank; the low chiefs, kauwkaualii, rise to
rank through marriage (Malo, p. 82). The ohi are perhaps the wohi, high
chiefs who are of the highest rank on the father’s side and but a step lower on
the mother’s.

“With this judgment of beauty should be compared Fornander’s story of
Kepakailiula, where “ mother’s brothers ” search for a woman beautiful enough
to wed their protegé, but find a flaw in each candidate; and the episode of the
match of beauty in the tale of Kalanimanuia.

CuHapter IIL

*The building of a heiau, or temple, was a common means of propitiating a
deity and winning his help for a cause. Ellis records (1825) that on the

618 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 33

journey from Kailua to Kealakekua he passed at least one heiau to every half
mile. The classic instance in Hawaiian history is the building of the great
temple of Puukohala at Kawaihae by Kamehamaha, in order to propitiate his
war god, and the tolling thither of his rival, Keoua, to present as the first
victim upon the altar, a treachery which practically concluded the conquest
of Hawaii. Malo (p. 210) describes the ‘days of consecration of the temple.”

“The nights of Kane and of Lono follow each other on the 27th and 28th
of the month and constitute the days of taboo for the god Kane. Four such
taboo seasons occur during the month, each lasting from two to three days
and dedicated to the gods Ku, Kanaloa, and Kane, and to Hua at the time of
full moon. The night Kukahi names the first night of the taboo for Ku, the
highest god of Hawaii.

* By kahoaka the Hawaiians designate “the spirit or soul of a person still
living,” in distinction from the whane, which may be the spirit of the dead.
Aka means shadow, likeness; akaku, that kind of reflection in the mists which
we call the “specter in the brocken.” Hoakaku means “to have a vision,”
a power which seers possess. Since the spirit may go abroad independently
of the body, such romantic shifts as the vision of a dream lover, so magically
introduced into more sophisticated romance, are attended with no difficul-
ties of plausibility to a Polynesian mind. It is in a dream that Halemano
first sees the beauty of Puna. In a Samoan story (Taylor, I, 98) the sisters
catch the image of their brother in a bottle and throw it upon the princess's
bathing pool. When the youth turns over at home, the image turns in the
water. j

*The feathers of the 00 bird (Moho nobilis), with which the princess’s house
is thatched, are the precious yellow feathers used for the manufacture of
cloaks for chiefs of rank. The mamo (Drepanis pacifica) yields feathers of a
richer color, but so distributed that they can not be plucked from the living
bird. This bird is therefore almost extinct in Hawaiian forests, while
the oo is fast recovering itself under the present strict hunting laws. Among
all the royal capes preserved in the Bishop Museum, only one is made of the
mamo feathers.

“The reference to the temple of Pahauna is one of a number of passages
which concern themselves with antiquarian interest. In these and the transi-
tion passages the hand of the writer is directly visible.

% The whole treatment of the Kauakahialii episode suggests an inthrust.
The flute, whose playing won for the chief his first bride, plays no part at all
in the wooing of Laieikawai and hence is inconsistently emphasized (p. 492).
Given a widely sung hero like Kauakahialii, whose flute playing is so popu-
larly connected with his love making, and a celebrated heroine like the beauty
who dwelt among the birds of-Paliuli, and the story-tellers are almost certain
to couple their names in a tale, confused as regards the flute, to be sure, but
whose classic character is perhaps attested by the grace of the description.
The Hebraic form in which the story of the approach of the divine beauty is
couched (p. 370) can not escape the reader, and may be compared with the
advent of the Sun god later in the story (p. 578). There is nothing in the
content of this story to justify the idea that the chief had lost his first wife,
Kailiokalauokekoa, unless it be the fact that he is searching Hawaii for
another beauty. Perhaps, like the heroine of Halemano, the truant wife re-
turns to her husband through jealousy of her rival’s attractions. A special

BECKWITH] NOTES ON THE TEXT 619

relation seems to exist in Hawaiian story between Kauai and the distant Puna
on Hawaii, at the two extremes of the island group: it is here that Halemano
from Kauai weds the beauty of his dream, and it is a Kauai boy who runs the
sled race with Pele in the famous myth of Kalewalo. With the Kauakahialii tale
(found in Hawaiian Annual, 1907, and Paradise of the Pacific, 1911) compare
Grey’s New Zealand story (p. 235) of Tu Tanekai and Tiki playing the horn
and the pipe to attract Hinemoa, the maiden of Rotorua. In Malo, p. 117, one
of the popular stories of this chief is recorded, a tale that resembles Gill’s of
the spirit meeting of Watea and Papa.

* These are all wood birds, in which form Gill tells us (Myths and Songs,
p. 35) the gods spoke to man in former times. Henshaw tells us that the 00
(Moho nobilis) has ‘a long shaking note with ventriloquial powers.” The alala
is the Hawaiian crow (Corvus hawaiiensis), whose note is higher than in our
species. If, as Henshaw says, its range is limited to the dry Kona and Kau
sections, the chief could hardly hear its note in the rainy uplands of Puna.
Rut among the forest trees of Puna the crimson apapane (Himatione sanguinea)
still sounds its “sweet monotonous note; the bright vermillion iiwipolena
(Vectiaria coccinea) hunts insects and trills its ‘sweet continual song;’ the
“four liquid notes” of the little rufous-patched elepaio (Hopsaltria sandvi-
censis), beloved of the canoe builder, is commonly to be heard. Of the birds
described in the Laielohelohe series (p. 530) the cluck of the alae (Gallinula
sandvicensis) I have heard only in low marshes by the sea, and the ewaewaiki
J am unable to identify. Andrews calls it the cry of a spirit.

” Moaulanuiakea means literally “ Great-broad-red-cock,” and is the name of
Moikeka’s house in Tahiti, where he built the temple Lanikeha near a mountain
Kapaahu. His son Kila journeys thither to fetch his older brother, and finds it
“ crand, majestic, lofty, thatched with the feathers of birds, battened with bird
bones, timbered with kawila wood.” (See Fornander’s Kila.)

”

CHAPTER IV

** Compare Gill’s story of the first god, Watea, who dreams of a lovely
woman and finds that she is Papa, of the underworld, who visits him in dreams
to win him as her lover. (Myths and Songs, p. 8.)

™Tn the song the girl is likened to the lovely lehua blossom, so common to
the Puna forests, and the lover’s longing to the fiery crater, Kilauea, that lies
upon their edge. The wind is the carrier of the vision as it blows over the
blossoming forest and scorches its wing across the flaming pit. In the Hale-
mano story the chief describes his vision as follows: “She is very beautiful.
Her eyes and form are perfect. She has long, straight, black hair and she seems
to be of high rank, like a princess. Her garment seems scented with the pele
and mahuna of Kauai, her skirt is made of some very light material dyed red.
She wears a hala wreath on her head and a lehua wreath around her neck.”

* No other intoxicating liquor save awa was known to the early Hawaiians,
and this was sacred to the use of chiefs. So high is the percentage of free
alcohol in this root that it has become an article of export to Germany for use
in drug making. Vancouver, describing the famous Maui chief, Kahekili, says:
“His age I suppose must have exceeded 60. He was greatly debilitated and
emaciated, and from the coler of his skin I judged his feebleness to have been
brought on by excessive use of awa.”

*Tn the Hawaiian form of checkers, called konane, the board, papamu, is
a flat surface of stone or wood, of irregular shape, marked with depressions
if of stone, often by bone set in if of wood; these depressions of no definite
number, but arranged ordinarily at right angles. The pieces are beach pebbles,

620 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

coral for white, lava for black. The smallest board in the museum collection
holds 96, the largest, of wood, 180 men: The board is set up, leaving one space
empty, and the game is played by jumping, the color remaining longest on the
board winning the game. AKonane was considered a pastime for chiefs and was
accompanied by reckless betting. An old native conducting me up a valley in
Kau district, Hawaii, pointed out a series of such evenly set depressions on the
flat rock floor of the valley and assured me that this must once have been
a chief’s dwelling place. :

*The malo is a loin cloth 3 or 4 yards long and a foot wide, one end of
which passes between the legs and fastens in front. The red malo is the chief’s
badge, and his bodyguard, says Malo, wear the girdle higher than common and
belted tight as if ready for instant service. Aiwohikupua evidently travels in
disguise as the mere follower of a chief.

*Tn Hawaiian warfare, the biggest boaster was the best man, and to shame
an antagonist by taunts was to score success. In the ceremonial. boxing con-
test at the Makahiki festivities for Lono, god of the boxers, as described by
Malo, the “ reviling recitative”’ is part of the program. In the story of Kawelo,
when his antagonist, punning on his grandfather’s name of “ cock,” calls him
a “mere chicken that scratches after roaches,” Kawelo’s sense of disgrace is
so keen that he rolls down the hill for shame, but luckily bethinking himself
that the cock roosts higher than the chief (compare the Arab etiquette that
allows none higher than the king), and that out of its feathers, brushes are
made which sweep the chief’s back, he returns to the charge with a handsome
retort which sends his antagonist in ignominious retreat. In the story of Lono,
when the nephews of the rival chiefs meet, a sparring contest of wit is set up,
depending on the fact that one is short and fat, the other long and lanky,
“A little shelf for the rats,” jeers the tall one. ‘ Little like the smooth quoit
that runs the full course,” responds the short one, and retorts “ Long and
lanky, he will go down in the gale like a banana tree.” “ Like the ea banana
that takes long to ripen,” is the quick reply. Compare also the derisive chants
with which Kuapakaa drives home the chiefs of the six districts of Hawaii
who haye got his father out of favor, and Lono’s taunts against the revolting
chiefs of Hawaii.

* The idiomatic passages “aohe puko momona o Kohala,” ete., and (on page
387) “e huna oukou i ko oukou mau maka i ke aouli” are of doubtful interpre-
tation.

* This boast of downing an antagonist with a single blow is illustrated in
the story of Kawelo. His adversary, Kahapaloa, has struck him down and is
leaving him for dead. “Strike again, he may revive,’ urge his supporters.
Kahapaloa’s refusal is couched in these words:

“He is dead; for it is a blow from the young,
The young must. kill with a blow

Else will the fellow go down to Milu

And say Kahapaloa struck him twice,

Thus was the fighter slain.”

All Hawaiian stories of demigods emphasize the ease of achievement as a
sign of divine rather than human capacity.

CHAPTER V

* Shaking hands was of foreign introduction and marks one of the several
inconsistencies in Haleole’s local coloring, of which “the deeds of Venus” is
the most glaring. He not only uses such foreign coined words as wati,

BECKWITH] NOTES ON THE TEXT 621

“watch,” and mare, “marry,” but terms which are late Hawaiian, such as the
triple canoe, pukolu, and provision boat, pelehu, said to have been introduced
in the reign of Kaméhaméha I.

"Famous Hawaiian boxing teachers kept master strokes in reserve for the
pupils, upon whose success depended their own reputation. These strokes were
known by name. Compare Kawelo, who before setting out to recapture Kauai
sends his wife to secure from his father-in-law the stroke called wahieloa. The
phrase “Ka ai a ke kumu i ao oleia ia oukow” has been translated with a
double-punning meaning, literal and figurative, according to the interpretation of
the words. Cold-nose’s faith in his girdle parodies the far-fetched dependence
upon name signs common to this punning race. The snapping of the end of his
loin cloth is a good omen for the success of a stroke named “ End-that-
sounds”! Even his supporters jeer at him.

* Hew similes are used in the story. This figure of the “blood of a lamb,”
the “blow like the whiz of the wind,’ the moo ploughing the earth
with his jaw “like a shovel,” a picture of the surf rider—‘‘ foam rose on each
side of his neck like a boar’s tusks,” and the appearance of the
Sun god’s skin, “like a furnace where iron is melted,” will, perhaps, cover
them all. In each the figure is exact, but ornamental, evidently used to
heighten the effect.. Images are occasionally elaborated with exact realization
of the bodily sensation produced. The rainbow “trembling in the hot rays of
the sun” is an example, and those passages which convey the lover’s sensations
—“‘his heart fainted with love,” “thick pressed with thunders of love,’ or
such an image as “the burden of his mind was lifted.” Sometimes the image
carries the comparison into another field, as in ‘“‘ the windings and twistings of
his journey ”"—a habit of mind well illustrated in the occasional proverbs, and
in the highly figurative songs.

=The Polynesians, like the ancient Hebrews, practiced circumcision with
strict ceremonial observances.

“The gods invoked by Aiwohikupua are not translated with certainty, but
they evidently represent such forces of the elements as we see later belong
among the family deities of the Aiwohikupua household. Prayer as an invo-
cation to the gods who are called upon for help is one of the most character-
istic features of native ritual, and the termination a@mama, generally accom-
panied by the finishing phrases ua noa, “it is finished,’ and lele wale
aku la, “flown away,” is genuine Polynesian. Literally mama means “to
chew,” but not for the purpose of swallowing like food, but to spit out of the
mouth, as in the preparation of awa. The term may therefore, authorities say,
be connected with the ceremonial chewing of awa in the ritualistic invocations
to the gods. A similar prayer quoted by Gill (Myths and Songs, 120) he
ascribes to the antiquity of the story.

“The laau palau, literally “ wood-that-cuts,’ which Wise translates “war
club,” has not been identified on Hawaii in the Bishop Museum, but is de-
scribed from other groups. Gill, from the Hervey Islands, calls it a sharpened
digging stick, used also as a weapon. The gigantic dimensions of these sticks
and their appellations are emphasized in the hero tales.

*The Hawaiian cloak or kihei is a large square, 2 yards in size, made of
bark cloth worn over the shoulders and joined by two corners on one side in
a knot.

* The meaning of the idiomatic boast he lala kamahecle no ka laau ku i ka
pali is uncertain. I take it to be a punning reference to the Pali family from

622 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 33

whom the chief sprang, but it may simply be a way of saying ‘I am a very high
chief.” Kamahele is a term applied to a favorite and petted child, as, in later
religious apostrophe, to Christ himself. ;

CHAPTER VI

“The puloulow is said to have been introduced by Paao some five hundred
years ago, together with the ceremonial taboo of which it is the symbol. Since
for a person of low rank to approach a sacred place or person was death to the
intruder, it was necessary to guard against accidental offences by the use
of a sign. The puloulow consisted of a ball-shaped bundle of white bark cloth
attached to the end of a staff. This symbol is to be seen represented upon the
Hawaiian coat of arms; and Kalakaua’s puloulou, a gilded wooden ball on
the end of a long staff, is preserved in the Bishop Museum.

* Long life was the Polynesian idea of divine blessing. Of Kualii the chanter
boasts that he ‘lived to be carried to battle in a net.” The word is kaikoko,
“to carry on the back in a net,” as in the case of old and feeble persons. Poly-
nesian dialects contain a full vocabulary of age terms from infancy to old age.

*® Chickens were a valuable part of a chief’s wealth, since from their feathers
were formed the beautiful fly brushes, kahili, used to wave over chiefs of rank
and carried in ceremonial processions. The entrance to the rock cave is still
shown, at the mouth of Kaliuwaa valley, where Kamapuaa’s grandmother
shut up her chickens at night, and it was for robbing his uncle’s henroost ‘that
this rascally pig-god was chased away from Oahu. This reference is therefore
one of many indications that the Laieikawai tale belongs with those of the
ancient demigods.

“Mr. Meheula suggested to me this translation of the idiomatic allusions
to the canoe and the coral reef.

CHapter VIII

“A peculiarly close fsmily relation between brother and sister is reflected in
Polynesian tales, as in those of Celtic, Finnish, and Scandinavian countries.
Each serves as messenger or go-between for the other in matters of love or
revenge, and guards the other’s safety by magic arts. Such a condition repre-
sents a society in which the family group is closely bound together. For such
illustrations compare the Fornander stories of Halemano, Hinaikamalama,
Kalanimanuia, Nihoalaki, Kaulanapokii, Pamano. The character of accom-
plished sorceress belongs especially to the helpful sister, a woman of
the Malio or Kahalaomapuana type, whose art depends upon a life
of solitary virginity. She knows spells, she can see what is going on at
a distance, and she can restore the dead to life. In the older stories
she generally appears in bird form. In more human tales she wins her
brother’s wishes by strategy. This is particularly true of the characters in this
story, who win their way by wit rather than magic. In this respect the
youngest sister of Aiwohikupua should be compared with her prototype, Kaula-
napokii, who weaves spells over plants and brings her slain brothers back to life.
Kahalaomapuana never performs any such tasks, but she is pictured as invin-
cible in persuasion; she never fails in sagacity, and is always right and always
successful. She is, in fact, the most attractive character in the story. It is
rather odd, since modern folk belief is firmly convinced of the power of love
spells, that none appear in the recorded stories. All is accomplished by
strategy.

BECKWITH] NOTES ON THE TEXT 623

“For the translation of this dialogue I am indebted to the late Dr. Alex-
ander, to whose abstract of the story I was fortunate enough to have access.

CHAPTER X

“To express the interrelation between brothers and sisters two pairs of
kinship terms are used, depending upon the age and sex. Sisters speak of
brothers as kaikunane, and brothers of sisters as kaikuahine, but within the
same sex kaikuaana for the clder and kaikaina for the younger is used. So
on page 431 Aiwohikupua deserts his sisters—iaikuahine—and the girls lament
for their younger sister—kaikaina. After their reunion her older sisters—
kaikuaana—ask her counsel. Notice, too, that when, on page 423, the brother
bids his youngest sister—kaikuahine opiopio—stay with “her sisters” he
uses the word kaikuaana, because he is thinking of her relation to them, not of
his own. The word pokii—*‘ little sister ’’—is an endearing term used to good
effect where the younger sister sings—

“T am going back to your little sisters (me o’u pokii)
To my older sisters (kaikuaana) I return.”

“The line translated “Fed upon the fruit of sin” contains one of those
» poetic plays upon words so frequent in Polynesian song, so difficult to repro-
duce in translation. Literally it might read “ Sheltering under the great hala
tree.” But hala also means “sin.” This meaning is therefore caught up and
employed in the next line—‘ is constancy then a sin?”—a repetition which is
lost in translation. Malu, shade, is a doubtful word, which may, according to
Andrews, mean “ protected,’ or may stand for ‘wet and uncomfortable,” a
doubt evidently depending upon the nature of the case, which adds to the
riddling character of the message. In their songs the sisters call up the
natural scenery, place names, and childhood experiences of their native home on
Kauai. The images used attempt actual description. The slant of the rain, the
actual ladder of wood which helps scale the steep footpath up Nualolo Valley
(compare Song of Kualii, line 269, Lyons’ version), the rugged cliffs which
are more easily rounded by sea— swimming ’round the steeps ’’—picture
actual conditions on the island. Notice especially how the song of the youngest
sister reiterates the constant theme of the “follow your leader” relation be-
tween the brother and his younger sisters. Thus far they have unhesitatingly
followed his lead; how, then, can he leave them leaderless? is the plea: first,
in their sports at home; next, in this adventure over sea and through the
forest; last, in that divine mystery of birth when he first opened the roadway
and they, his little sisters, followed after.

CHapter XI

“This ti-leaf trumpet is constructed from the thin, dry, lilylike leaf of the
wild ti much as children make whistles out of grass. It must be recalled that
musical instruments were attributed to gods and awakened wonder and awe in
Polynesian minds.

Cuaptrer XII

“In the story of Kapuaokaoheloai we read that the daughter of the king
of Kuaihelani, the younger brother of Hina, has a daughter who lives apart
under a sacred taboo, with a bathing pool in which only virgins can safely bathe,
and “ministered to by birds.’ Samoan accounts say that the chiefs kept

624 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

tame birds in their houses as pets, which fluttered freely about the rafters. A
stranger unaccustomed to such a sight might find in it something wonderful
and hence supernatural.

CHAPTER XIII

* A strict taboo between man and woman forbade eating together on ordi-
nary occasions. Such were the taboo restrictions that a well-regulated house-
hold must set up at least six separate houses: a temple for the household gods,
heiau; an eating house for the men, hale mua, which was taboo to the women;
and four houses especially for the women—the living house, hale noa, which the
husband might enter; the eating house, hale aina; the house of retirement at
certain periods, which was taboo for the husband, hale pea; and the kua, where
she beat out tapa. The food also must be cooked in two separate ovens and
prepared separately in different food vessels.

“The place of surf riding in Hawaiian song and story reflects its popularity
as a sport. It inspires chants to charm the sea into good surfing—an end also
attained by lashing the water with the convolvulus vine of the sea beach; forms
the background for many an amorous or competitive adventure; and leaves a
number of words in the language descriptive of the surfing technique or of the
surf itself at particular localities famous for the sport, as, for example, the .
“Makaiwa crest” in Moikeha’s chant, or the “ Huia” of this story. Three
kinds of surfing are indulged in—riding the crest in a canoe, called pa ka waa;
standing or lying flat upon a board, which is cut long, rounded at the front end
and square at the back, with slightly convex surfaces, and highly polished ;
and, most difficult feat of all, riding the wave without support, body submerged
and head and shoulders erect. The sport begins out where the high waves
form. The foundation of the wave, honuwa, the crest side, muku, and the rear,
lala, are all distinguished. The art of the surfer lies in catching the crest by
active paddling and then allowing it to bear him in swift as a race horse to the
hua, where the wave breaks near the beach. All swimmers know that three
or four high waves follow in succession. As the first of these, called the
kulana, is generally ‘a high crest which rolls in from end to end of the beach
and falls over bodily,” the surfer seldom takes it, but waits for the ohwu or opuu,
which is “low, smooth and strong.” For other details, see the article by a
Hawaiian from Kona, published in the Hawaiian Annual, 1896, page 106.

CHAPTER XIV

” Honi, to kiss, means to “ touch” or “smell,” and describes the Polynesian
embrace, which is performed by rubbing noses. Williams (I, 152) describes
it as “one smelling the other with a strong sniff.”

CHAPTER XV

° The abrupt entrance of the great moo, as of its disappearance later in the
story, is evidently due to the humanized and patched-together form in which we
get the old romance. The moo is the animal form which the god takes who
serves Aiwohikupua’s sisters, and represents the helpful beast of Polyne-
sian folk tale, whose appearance is a natural result of the transforma-
tion power ascribed to the true demigod, or kupua, in the wilder mythical tales.
The myths of the coming of the moo to Hawaii in the days of the gods, and of
their subjection by Hiiaka, sister of Pele, are recounted in Westervelt’s ‘‘ Legends
of Honolulu” and in Emerson’s “ Pele and Hiiaka.”’ Malo (p. 114) places
Waka also among the lizard gods. These gods seem to have been connected

BECKWITH | NOTES ON THE TEXT 625

with the coming of the Pali family to Hawaii as recounted in Liliuokalani’s
“Song of Creation” and in Malo, page 20. The ritual of the god Lono, whose
priests are inferior to those of Ku, is called that of “ Paliku’” (Malo, 210), a
name also applied to the northern part of Hilo district on Hawaii with which
this story deals. The name means “ vertical precipice,” according to Emerson,
and refers to the rending by earthquakes. In fact, the description in this story
of the approach of the great lizard, as well as his name—the word kia refer-
ring to the writhing convulsions of the body preparatory to sneezing—identify
the monster with the earthquakes so common to the Puna and Hilo districts of
Hawaii, which border upon the active volcano, Kilauea. Natives say that a
great lizard is the guardian spirit or awmakua of this section. At Kalapana is
a pool of brackish water in which, they assert, lies the tail of a moo whose
head is to be seen at the bottom of a pool a mile and a half distant, at
Punaluu; and bathers in this latter place always dive and touch the head in
order to avert harm. As the lizard guardians of folk tale are to be found “ at
the bottom of a pit” (see Fornander’s story of Auwkele), so the little gecko of
Hawaii make their homes in cracks along cuts in the pali, and the natives fear
to harm their eggs lest they “ fall off a precipice”? according to popular belief.
When we consider the ready contractility of Polynesian demigods, the size of
the monster dragons of the fabulous tales is no difficulty in the way of their
identification with these tiny creatures, the largest of which found on Hawaii
is 144 millimeters. By a plausible analogy, then, the earthquake which rends
the earth is attributed to the god who clothes himself in the form of a lizard;
still further, such a convulsion of nature may have been used to figure the
arrival of some warlike band who peopled Hawaii, perhaps settling in this very
Hilo region and forcing their cult upon the older form of worship.

CHAprER XVI

‘i The ieie vine and the sweet-scented fern are, like the maile vine, common in
the Olaa forests, and are considered sacred plants dedicated to ceremonial
purposes.

= The fight between two kupud, one in lizard form, the other in the form of a
dog, occurs in Hawaiian story. Again, when Wahanui goes to Tahiti he touches
a land where men are gathering coral for the food of the dead. This island
takes the form of a dog to frighten travelers, and is named Kanehunamoku.

The season for the bird catcher, kanaka kia manu, lay between March and
May, when the lehua flowers were in bloom in the upland forest, where the birds

‘of bright plumage congregated, especially the honey eaters, with their long-
curved bill, shaped like an insect’s proboscis. He armed himself with gum,
snares of twisted fiber, and tough wooden spears shaped like long fishing poles,
which were the kia manu. Having laid his snare and spread it with gum, he
tolled the birds to it by decorating it with honey flowers or even transplanting
a strange tree to attract their curiosity ; he imitated the exact note of the bird
he wished to trap or used a tamed bird in a cage as a decoy. All these practical
devices must be accompanied by prayer. Emerson translates the following
bird charm:

Na aumakua i ka Po, Spirits of darkness primeval.
Na aumakua i ka Ao, Spirits of light.

Ia Kane i ka Po, To Kane the eternal.

Ia Kanaloa i ka Po, To Kanaloa the eternal.

Ia Hoomeha i ka Po, To Hoomeha the eternal.

I ko’u mau kapuna a pau loa i ka Po, To all my ancestors from eternity.
74936°—_19—33 rrH——40

626 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

Ta Ku-huluhulumanu i ka Po, To Kubuluhulumanu, the eternal.

Ia pale i ka Po, That you may banish the darkness.

A puka i ke Ao, That we may enter the light.

Owau, o Eleele, ka mea iaia ka mana, ‘To me, Eleele, give divine power.

Homai he iki, Give intelligence.

Homai he loaa nui, Give great success.

Pii oukou a ke kuahiwi, Climb to the wooded mountains.

A ke kualono, To the mountain ridges.

Iio’a mai oukou i ka manu a pau, Gather all the birds.

Hooili oukou iluna o ke kepau kahi e 3ring them to my gum to be held fast.
pili ai, :

Amama! Ua noa, Amen. it is finished.

CHapter XVII

™ Por the cloud sign compare the story of Kualii’s battles and in Westervyelt’s
Lepeamoa (Legends of Honolulu, p. 217), the fight with the water monster.

Of Hawaiians at prayer Dibble says: “The people were in the habit
of praying every morning to the gods, clapping their hands as they muttered a
set form of words in a singsong voice.”

CuartTer XVIII

The three mountain domes of Hawaii rise from 13,000 to 8,000 feet above
the sea, and the two highest are in the wintertime often capped with snow.

"The games of kilw and wme, which furnished the popular evening enter-
tainment of chiefs, were in form much like our “Spin the plate” and ‘“ For-
feits.”’ Kilu was played with ‘a funnel-shaped toy fashioned from the upper
portion of a drinking gourd, adorned with the pawehe ornamentation charac-
teristic of Niihau calabashes.” The player must spin the gourd in such a way
as to hit the stake set up for his side. Bach hit counted 5, 40 scoring a game.
Each player sang a song before trying his hand, and the forfeit of a hula
dance was exacted for a miss, the successful spinner claiming for his forfeit
the favor of one of the women on the other side. Unie was merely a method
of choosing partners by the master of ceremonies touching with a wand, called
the mile, the couple selected for the forfeit, while he sang a jesting song,
The sudden personal turn at the close of many of the oli may perhaps be
accounted for by their composition for this game. The kaeke dance is that
form of hula in which the beat is made on a kaekeeke instrument, a hollow
bamboo cylinder struck upon the ground with a clear hollow sound, said to have
been introduced by Laamaikahiki, the son of Moikeha, from Tahiti.

CHAPTER XIX

In the story of Kauakahialii, his home at Pihanakalani is located in the
mountains of Kauai back of the ridge Kuamoo, where, in spite of its inland
position, he possesses a fish-pond well stocked with fish.

©The Hawaiian custom of group marriages between brothers or sisters is
clearly brought out in this and other passages in the story. ‘‘Guard our
wife’”—Ka wahine a kawa—says the Kauai chief to his comrade, “she be-
longs to us two”—ia ia kaua. The sisters of Aiwohikupua call their mis-
tress’s husband ‘our husband ”—ha kakou kane. So Laieikawai’s younger
sister is called the “ young wife ”’—iwahine opio—of Laieikawai’s husband, and
her husband is called his punalwa, which is a term used between friends who
have wives in common, or women who have common husbands.

BECKWITH] NOTES ON THE TEXT 627

”The Hawaiian flute is believed to be of ancient origin. It is made of a
bamboo joint pierced with holes and blown through the nose while the right
hand plays the stops. The range is said to comprise five notes. The name
Kanikawi means “ changing sound” and is the same as that given to Kaponohu’s
supernatural spear.

CuaPTteR XX

* At the accession of a new chief in Hawaii the land is redistributed among
his followers.

=The names of Malio and Halaaniani are still to be found in Puna. Ellis
(1825) notes the name Malio as one of three hills (evidently transformed
demigods), which, according to tradition, joined at the base to block an immense
flow of lava at Pualaa, Puna. Off the coast between Kalapana and Kahawalea
lies a rock shaped like a headless human form and called Halaaniani, although
its legend retains no trace of the Puna rascal.

CHAPTER XXI

©The huia is a specially high wave formed by the meeting of two crests, and
is said to be characteristic of the surf at Kaipalaoa, Hawaii.

* Kumukahi is a bold cape of black lava on the extreme easterly point of the
group. Beyond this cape stretches the limitless, landless Pacific. Against its
fissured sides seethes and booms the swell from the ocean, in a dash of foaming
spray. Piles of rocks mark the visits of chiefs to this sacred spot, and tombs
of the dead abut upon its level heights. A visitor to this spot sees a magnificent
horizon circling the wide heavens, hears the constant boom of the tides pulling
across the measureless waters. It is one of the noteworthy places of Puna,
often sung in ancient lays.

CHarPTeR XXII

® The name of Laieikawai occurs in no old chants with which I am familiar.
But in the story of Umi, the mother of his wife, Piikea, is called Laielohelohe.
She is wife of Piilani and has four children who “ have possession on the edge
of the tabu,” of whom Piikea is the first-born, and the famous rival chiefs of
Maui, Lonopili, and Kihapiilani, are the next two; the last is Kalanilonoakea,
who is described in the chant quoted by Fornander as white-skinned and
wearing a white loin cloth. Umi’s wife is traditionally descended from the
Spaniards wrecked on the coast of Hawaii (see Lesson). The “Song of
Creation”? repeats the same genealogy and calls Laielohelohe the daughter of
Keleanuinohoonaapiapi. In the “ninth era” of the same song Lohelohe is
“the last one born of Lailai” and is ‘a woman of dark skin,” -who lived in
Nuumealani.

To preserve the umbilical cord in order to lengthen the life of a child was
one of the first duties of a guardian. J. S. Emerson says that the piko was
saved in a bottle or salted and wrapped in tapa until a suitable time came
to deposit it in some sacred place. Such a depository was to be found on
Oahu, according to Westervelt, in two rocks in the Nuuanu valley, the trans-
formed moo women, Hauola and Haupuu. In Hawaii, in Puna district, on
the north and. south boundaries of Apuki, lie two smooth lava mounds whose
surfaces are marked with cup hollows curiously ringed. Pictographs cover
other surfaces. These are named Puuloa and Puumanawalea, or “ Hill of long
life” and ‘‘ Hill that brings together with rejoicing,’ and the natives tell me
that within their own lifetime pilgrimages have been made to this spot to deposit
the piko within some hollow, cover it with a stone, and thus insure long life
to the newborn infant.

628 HAWAIIAN ROMANCE OF LAIEIKAWAT [ETH. ANN. 22
CHAPTER XXIV

* More than 470 species of land snails of a single genus, Achatinella, are to
be found in the mountains of Hawaii, a fact of marked interest to science in
observing environmental effect upon the differentiation of species One of
these the natives call pupu kani oi or “shrill voiced snail,” averring that a
certain cricketlike chirp that rings through the stillness of the almost insect-
less valleys is the voice of this particular species. Emerson says that the name
kahuli is applied to the land snail to describe the peculiar tilting motion as the
snail crawls first to one side and then to the other of the leaf. He quotes a
little song that runs:

Kahuli aku, kahuli mai, Tilting this way and that.
Kahuli lei ula, lei akolea, Tilts the red fern-plume.
Kolea, kolea, e kii ka wai, Plover, plover, bring me dew.
Wai akolea. Dew from the fern-plume.

“This incident is unsatisfactorily treated. We never know how Waka cir-
cumvented Malio and restored her grandchild to the husband designed for her.
The whole thing sounds like a dramatic innovation with farcical import, which
appeared in the tale without motivation for the reason that it had none in its
inception. The oral narrator is rather an actor than a composer; he may have
introduced this episode as a surprise, and its success as farce perpetuated it as
romance,

CHAPTER XXVI

"This episode of the storm is another inconsistency in the story. The storm
signs belong to the gods of Aiwohikupua and his brother, the Sun god, not to
Laieikawai, and were certainly not hers when Waka deserted her. If they
were given her for protection by Kahalaomapuana or through the influence
of the seer with the Kauai family, the story-teller does not inform us of the fact.

"The pa-u is a woman’s main garment, and consists of five thicknesses of
bark cloth 4 yards long and 3 or 4 feet wide, the outer printed in colors, and
worn wrapped about the loins, reaching the knees.

CuHartrer XXVIII

%In mythical quest stories the hero or heroine seeks, by proving his rela-
tionship, generally on the mother’s side, to gain the favor of the supernatural
guardian of whatever treasure he seeks. By breaking down the taboo he
proclaims his rank, and by forcing the attention of the relative before the
angry god (or chief) has a chance to kill him (compare the story of AKalania-
manuia where the father recognizes too late the son whom he has slain), he
gains time to reveal himself. In this episode the father’s beard is, like the
locks of Dionysus in Huripides’ line, dedicated to the god, hence to seize it
was a supreme act of lawlessness

@ According to the old Polynesian system of age groups, the ‘“ mother’s
brother ” bears the relation to the child of makua equally with his real parents.
Kahalaomapuana says to her father:

“T am your child (kama),
The child of Laukieleula,
The child of Mokukelekabiki,
The child of Kaeloikamalama.”

BECKWITH] NOTES ON THE TEXT 629

thus claiming rank from all four sources. Owing to inbreeding and this multi-
ple method of inheriting title, Polynesian children may be of higher rank than
either parent. The form of colloquy which follows each encounter (compare
Kila’s journey to Tahiti) is merely the customary salutation in’ meeting a
stranger, according to Hawaiian etiquette.

®The name Laukieleula means “ Red-kiele-leaf.” The kiele, Andrews says,
is “a sweet-scented flower growing in the forest,” and is identified by some
natives with the gardenia, of which there are two varieties native in Hawaii;
but the form does not occur in any chants with which I am familiar. It is
probably selected to express the idea of fragrance, which seems to be the
kupua property of the mother’s side of the family. It is the rareness of
fragrant plants indigenous to the islands, coupled with sensuous delight in
odor, which gives to perfume the attributes of deity, and to those few varieties
which possess distinct scent like the maile and hala, a conspicuous place in
religious ceremonial.

The name of Moanalihaikawaokele, on the other hand, appears in the
“Song of Creation,” in the eighth era where the generations of Uli are sung. In
the time of calm is born the woman Lailai, and after her the gods Kii, Kane,
and Kanaloa, and it is day. Then

“The drums are born,
Called Moanaliha,
Kawaomaaukele came next,
The last was Kupololiilialiimuaoloipo,
A man of long life and very high rank.”

There follow 34 pages devoted to the history and generations of this family
before the death of this last chief is recorded. Now it is clear that out of the
first two names, Moanaliha and Kawao(maau)kele, is compounded that of the
storm god. This would place him in the era of the gods as the father of Ku
and ancestor of the Uli line.

CHAPTER XXVIII

™The story of the slaying of Halulu in thé legend of Aukelenuiaiku is a close
parallel to the Indian account of the adventure with the thunder bird. (See
Matthews’s ‘“‘ Navajo legends.”) The thunder bird is often mentioned in
Hawaiian chants. In the “ Song of Creation” the last stanza of the third or
bird era points out

“__ the leaping point of the bird Halulu,
Of Kiwaa, the bird of many notes,
And of those birds that fly close together and shade the sun.”

*™The divine approach marked by thunder and lightning, shaken by earth-
quake and storm, indicates the kupwa bodies in which the Sun god travels
in his descent to earth. There are many parallels to be found in the folk
stories. When the sister of Halemano sets out to woo the beauty of Puna
she says: “When the lightning flashes, I am at Maui; when it thunders I
am at Kohala; when the earth quakes, at Hamakua; when freshets stain
the streams red, I am at Puna.” When Hoamakeikekula, the beauty of
Kohala, weds, “thunder was heard, lightning flashed, rain came down in tor- °
rents, hills were covered with fog; for ten days mist covered the earth.” When
Uweuwelekehau, son of Ku and Huia, is born “thunder, lightning, earth-
quake, water, floods and rain” attend his birth. In Aukelenuiaiku, when the

630 HAWAIIAN ROMANCE OF LATEIKAWAI [ETH. ANN. 23

wife of Makalii comes out of her house her beauty overshadows the rays of
the sun, “ darkness covered the land, the red rain, fog, and fine rain followed
each other, then freshets flowed and lightning played in the heavens; after
this the form of the woman was seen coming along over the tips of the fingers
of her servants, in all her beauty, the sun shone at her back and the rainbow
was as though it were her footstool.” In the prayer to the god Lono, quoted
by Fornander, II, 352, we read:

“These are the sacred signs of the assembly ;
Bursting forth is the voice of the thunder ;
Striking are the rays of the lightning;

Shaking the earth is the earthquake;

Coming is the dark cloud and the rainbow;

Wildly comes the rain and the wind;

Whirlwinds sweep over the earth;

Rolling down are the rocks of the ravines;

The red mountain streams are rushing to the sea;
Here the waterspouts ;

Tumbled about are the clustering clouds of heaven;
Gushing forth are the springs of the mountains.”

CHAPTER XXXIV

® Kaonohiokala, Mr. Emerson tells: me, is the name of one of the evil spirits
invoked by the priest in the art of po’iuhane or “soul-eatching.” The spirit
is sent by the priest to entice the soul of an enemy while its owner sleeps, in
order that he may catch it in a coconut gourd and crush it to death between
his hands. “ Lapu lapwwale” is the Hawaiian rendering of Solomon’s ejacu-
lation ‘ Vanity of vanities!”

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APPENDIX

HAWAIIAN STORIES

ABSTRACTS FROM THE TALES COLLECTED BY
FORNANDER AND EDITED BY THOMAS G. THRUM.
THE BISHOP MUSEUM, HONOLULU

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1 H ‘ wo ve PT, so \ i 1 iett ‘
his i ; Als vet it : OY.
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A. ’ iy oD )
Ras i)
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a » A
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i gf :
re ‘
iy ad WELD ee Ay ti
aa i rat AS
ae : 7 ’ i f ‘hia ole
UM {i 4 TTTCRD | AP oi? Tt STOAIUTTAR
te male r 7 si‘ tread,
- } 7 7 ‘ ey yg Ae !
ois Li'l AIO Tet Cl ( } VL ASO
ij i os , *
i. Ea, LOO “OT a ‘ i
. -
’
a |
' ; .
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i -
- apy +
| : Ms
i A :
P i
7 '
i] . ry it
| ‘ :
! ; a
jy Pay ‘“ ~ Con
a
v i : ¥ ] i
i 7 :
j : sy
: : ; ' a “ et pry sf Sia
7 i = b T
miei 2 a ee oP

HAWAIIAN STORIES

I. Sone oF CREATION, as trans-

lated by Liliuokalani__—_

II. CHANTS RELATING THE

ORIGIN OF THE GROUP:

From the Fornander
manuscript:

A. Kahakuikamoana —___---~

iB Seek e—e

C:' Kamahualele___-_________

Dy 'Opukahonwal! 5252 se

Ha ikoikatlanie sss 2 eS

EO pKSU ali its See Be SO Pe ey

III, Hawawan Forxrares, Ro-

MANCES, OR MOOLELO:

From the Fornander
manuscript :

A. Hero tales primarily of

Oahu and Kauai—

. Aukelenuiaiku ——-_——___

. Hinaaikamalama —_____

PINUS ee eee

eikoiakaalela 2S
ISL Wie] Opens ee ee
FeO SLT Seema om See eee
10. Opelemoemoe__________
11. Kalelealuaka _______=__
B. Hero tales primarily of
Hawaii—
ps Veal ea il nee a
RaliGvaa yo vey = os oe
SP SAT ees EEE ES
Asapunohn wees sees Fee
. Kepakailiula 2 =~ __
Ske Mh or MENo 2 ee E
ie Moikehs) = Se er Ee

CaANAaTrFwoONeH
eS
if
p
t=

SHMAAKAP whe

10. Kihapiilani (of Maui) __
11. Pakaa and Kuapakaa __
12. Kalaepunit = ~—---=-
13. ikalaehing ==

15. Keaweikekahialii (an
iNCLOeCH eee ee

Page

634

III. Hawattan Fork trates—Con.
B. Hero tales—Con.
16. Kekuhaupio
Gent} )pi= ett Shee ee
C. Love stories—
VElalemano so = aes
. Uweuwelekehau _______
. Laukiamanuikahiki—___
. Hoamakeikekula__.____
. Kapuaokaoheloai ______
D. Ghost stories and tales of
men brought to life—
1. Oahu stories—
Kahalaopuna —_______
Kalanimanuia _______

Bm whe

Ol

ean 0 = eens ene ee
3. Hawaii stories—
Kaulanapokii________
Pupuhuluena —___-__—-
Hiku and Kawelu____
E. Trickster stories—
1. Thefts—
Jy gi Be eels a Ee ee
Maniniholokuaua —___
Pupualenalena—______
2. Contests with spirits—
Kaululaau (see El-

3. Stories of modern cun-
ning—

Kiglepet t_..- sia. Ue

Kawaunuiaola_______

M aia uhaalenalenau-

Waawaaikinaaupo and

Waawaaikinaanao _
Kauemoge ===

633

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634 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

I. Sone or Creation (HeEKuUMULIPO)

The “account of the creation of the world according to Hawaiian
tradition” is said to celebrate Lonoikamakahiki, also called Kaii-
mamao, who was the father of Kalaniopuu, king of Hawaii at
the time of Cook’s visit. ‘The song was “composed by Keaulumoku
in 1700” and handed down by the chanters of the royal line since that
day. It was translated by “ Liliuokalani of Hawaii” in 1895-1897,
and published in Boston, 1897.

From the Sea-bottom (?). (the male) and Darkness (the fe-
male) are born the coral insect, the starfish, sea urchin, and the
shellfish. Next seaweed and grasses are born. Meanwhile land has
arisen, and in the next era fishes of the sea and plants of the for-
est appear. Next are born the generations of insects and birds;
after these the reptiles—all the “rolling, clinging” creatures.
In the fifth era is born a creature half pig, half man; the races of
men also appear (7). In the sixth come the rats; in the seventh,
dogs and bats; in the eighth is born the woman Lailai (calmness),
the man Kii, and the gods Kane and “the great octopus” Kanaloa.
Lailai flies to heaven, rests upon “the boughs of the aoa tree in
Nuumealani,” and bears the earth. She weds Kii and begets a gen-
eration of gods and demigods.

In the course of these appear Wakea and his three wives, Haumea,
Papa, and Hoohokukalani. Wakea, becoming unfaithful to Papa,
changes the feast days and establishes the taboo. Later the stars
are hung in the heavens. Wakea seeks in the sea for “seeds from
Hina,” with which to strew the heavens. Hina floats up from the
bottom of the sea and bears sea creatures and volcanic rocks. Hau-
mea, a stranger of high rank from Kuaihelani at Paliuli, marries her
own sons and grandsons. To her line belong Waolena and his wife
Mafuie, whose grandchild, Maui, is born in the shape of a fowl.
The brothers of his mother, Hina, are angry and fight Maui, but are
thrown. They send him to fetch a branch from the sacred awa
bush; this, too, he achieves. He desires to learn the art of fishing.
and his mother gives him a hook and line with which he catches “ the
royal fish Pimoe.” He “scratches the eight eyes” of the bat who
abducts Hina. He nooses the sun and so wins summer. He con-
quers (?) Hawaii, Maui, Kauai, and Oahu. From him descends“ the
only high chief of the island.”

II. Cuants Revatine THE ORIGIN OF THE GROUP
A, KAHAKUIKAMOANA
This famous priest chants the history of “the row of islands from

Nuumea; the group of islands from the entrance to Kahiki.” First
Hawaii is born, “ out of darkness,” then Maui, then Molokai “of

BECKWITH] APPENDIX 635

royal lineage.” Lanai is a foster child, Kahoolawe a foundling, of
whose afterbirth is formed the rock island Molokini. Oahu and
Kauai have the same mother but different fathers. Another pair
bear the triplets, the islets Niihau, Kaulu, and Nihoa.

B. PAKUI

According to this high priest and historian of Kamehameha I,
from Wakea and Papa are born Kahikiku, Kahikimoe (‘the founda-
tion stones,” “the stones of heaven”), Hawaii, and Maui. While
Papa is on a visit to Kahiki, Wakea takes another wife and begets
Lanai, then takes Hina to wife and begets Molokai. The plover tells
Papa on her return, and she in revenge bears to Lua the child Oahu.
After this she returns to Wakea and bears Kauai and its neighboring
islets.

C. KAMAHUALELE

The foster son of Moikeha accompanies this chief on the journey to
Hawaii and Kauai. On sighting land at Hawaii he chants a song
in honor of his chief in which he calls Hawaii a “man,” “ child of
Kahili,” and “ royal offspring from Kapaahu.”

D. OPUKAHONUA

This man with his two brothers and a woman peopled Hawaii 95
generations before Kaméhaméha. According to his chant, the islands
are fished up from Kapaahu by Kapuheeuanui, who brings up one
piece of coral after another, and, offering sacrifices and prayers to
each, throws it back into the ocean, so creating in succession Hawaii,
Maui, Kauai, and the rest of the islands of the group.

E. KUKAILANI

A powerful priest, 75 generations from Opukahonua, on the occa-
sion of the sacrifice in the temple of the rebel Iwikauikana by Kena-
loakuaana, king of Maui, chants the genealogies, dividing them into
the time from the migration from Kahiki to Pili, Pili to Wakea,
Wakea to Waia, and Waia to Liloa.

-F, KUALIL
The song of Kualii was composed about 1700 to celebrate the royal

conqueror of Oahu. It opens with an obscure allusion to the fishing
up by Maui from the hill Kauwiki, of the island of Hawaii, out of the

636 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

bottom of the sea, and the fetching of the gods Kane and Kanaloa,
Kauakahi and Maliu, to these islands.

Til. Hawanan Fork Tates, Romances, or Moorieno

A, HERO TALES PRIMARILY OF OAHU AND KAUAT

1. AUKELENUIAIKU*

The eleventh child of Iku and Kapapaiakea in Kuaihelani is his
father’s favorite, and to him Iku wills his rank and his kingdom.
The brothers are jealous and seck to kill him. They go through the
Hawaiian group to compete in boxing and wrestling, defeat Kealohi-
kikaupea, the strong man of Kauai; Kaikipaananea, Kupukupuke-
haikalani, and Kupukupukehaiaiku, three strong men of Oahu, and
King Kakaalaneo of Maui; but are afraid when they hear of Kepa-
kailiula, the strong man of Hawaii, and return to Kuaihelani.

Aukelenuiaiku has grown straight and faultless. ‘“ His skin is
like the ripe banana and his eyeballs like the blood of the banana as
it first appears.” He wants to join his brothers in a wrestling match,
but is forbidden by the father, who fears their jealousy. He steals
away and shoots an arrow into their midst; it is a twisted arrow,
theirs are jointed. The brothers are angry, but when one of them
strikes the lad, his own arm is broken. The younger brother takes,
up each one in turn and throws him into the sea. The brothers pre-
tend friendship and invite him into the house, but only to throw
him into the pit Kamooinanea, where lives the lizard grandmother
who devours men. She saves her grandchild and instructs him how
to reach the queen, Namakaokahai. For the journey she furnishes
him with a box for his god, Lonoikoualii; a leaf, Jawkahi, to satisfy
his hunger; an ax and a knife; her own tail, in which lies the
strength of her body; and her feather skirt and kahili, by shaking
which he can reduce his enemies to ashes.

When his brothers see him return safe from the pit they determine
to flee to foreign lands. They make one more attempt to kill him by
shutting him into a water hole, but one soft-hearted brother lets him
out. The hero then persuades the brothers to let him accompany
them. On the way he feeds them with “food and meat” from his
club, Kaiwakaapu. They sail eight months, touch at Holaniku,
where they get awa, sugar cane, bananas, and coconuts, and arrive in
four months more at Lalakeenuiakane, the land of Queen Namakao-
kahai. The queen is guarded by four brothers in bird form, Kane-
moe, Kaneapua, Leapua, and Kahaumana, by two maid servants in
animal form, and by a dog, Moela. The whole party is reduced to

1Compare Westervelt’s Gods and Ghosts, p. 66.

BECKWITH] APPENDIX 637

ashes at the shaking of the queen’s skirt, except the hero, who escapes
and by his good looks and quick wit wins the friendship of the queen’s
maids and her brothers. When he approaches the queen he must
encounter certain tests. The dog he turns into ashes; to befriend
him the maids run away and the bird brothers transform themselves
into a rock, a log, a coral rock, and a hard blue rock, in order to hide
themselves. He escapes poisoned food set before him. Then he
worships each one by name, and they are astounded at his knowl-
edge. The queen therefore takes him as her husband. She is part
human, part divine; the moon is her grandfather, the thunder-and-
lightning-bolt is her uncle. Aukelanuiaiku must know her taboos,
eat where she bids him, not come to her unless she leads him in.

The bird Halulu with feathers on her forehead, called Hinawai-
kolii, who is the queen’s cousin, carries the hero away to her nest
in the cliff, but he kills her with his ax, and her mate, Kiwaha, lets
him down on a rainbow.

The two live happily. Their first child is to be called Kauwila-
nuimakehaikalani, “the lightning seen in a rainstorm,” and for him
sugar cane, potato, banana and taro are tabooed. The queen can
return to life if cut to pieces; can turn herself into a cliff, a roaring
fire, and a great ocean; and has the power of flight. All her tricks
the queen and her brothers teach to the hero. Then she sends him
with her brothers to meet her relatives. He goes ahead of his
guides, encounters Kuwahailo, who sends against him two bolts of
fire, Kukuena and Mahuia, and two thunder rocks, Ikuwa and
Welehu, all of which he wards off like a puff of wind. Next they
meet Makali and his wife, the beautiful Malanaikuaheahea.

The next adventure is after the water of life with which to re-
store the brothers to life. The first trip is unsuccessful. Instead
of flying in a straight line between the sky (lewa) and space
(nenelu—literally, mud) the hero falls into space and is obliged
to cling to the moon for support. Meanwhile his wife thinks him
dead and has summoned Night, Day, Sun, Stars, Thunder, Rainbow,
Lightning, Water-spout, Fog, Fine rain, ete., to mourn for him.
Then, through her supernatural knowledge she hears him declare
to the moon, her grandfather, Kaukihikamalama, his birth and an-
cestry, and learns for the first time that they are related. On the
next trip he reaches a deep pit, at the bottom of which is the well
of everlasting life, the property of Kamohoalii. It is guarded by
two maternal uncles of the hero, Kanenaiau and Hawewe, and a
maternal aunt, Luahinekaikapu, the sister of the lizard grand-
mother, who is blind. The hero steals the bananas she is roasting,
dodges her anger, and restores her sight. She paints up his hands
to look like Kamohoalii’s and the guards at the well hand him the

638 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 83

gourd Huawaiakaula with its string network called Paleaikaahala-
nalana. The rustling of the Jama trees, the loulow palms and the
bamboo, as Aukelenuiaiku retreats, wakens Kamohoalii, who pur-
sues; but with a start of one year and six months, the hero can not
be overtaken.

The brothers are restored to life and the hero hands over to them
his wife and kingdom and lives humbly. When he woos Pele and
Hiiaka, his wife drives them over seas until they come to Maunaloa,
Hawaii. Then the brothers leave for Kuaihelani, and Aukelenuiaiku
desires also to see his native land again. There he finds the lizard
grandmother overgrown with coral and his parents gone to Kauai.

2. HINAAIKAMALAMA

Kaiuli and Kaikea are gods who change into Paoo fish and live in
the bottom of the sea in Kahikihonuakele. They have two children,
the girl Hinaluaixoa and the boy Kukeapua. These two have 10
children, Hinaakeahi, Hinaaimalama, Hinapaleaoana, Hinaluaimoa,
all girls, Iheihe, a boy, Moahelehaku, Kiimaluhaku, and Kanikaea,
girls, and the boys Kipapalaula and Luaehu. As Hinaaikamalama is
the most beautiful she is placed under strict taboo under guard of her
brother Kipapalaula. He is banished for neglect of duty, crawls
through a crack at Kawaluna at the edge of the great ocean. The
king treats him kindly, hence he returns and gets his sister to be the
king’s wife. In her calabash, called Kipapalaulu, she carries the
moon for food and the stars for fish.

King Konikonia and Hinaaikamalama have 10 children, the young-
est of whom, the boy Maikoha, is found to be guilty of sacrilege and
banished. He goes to Kaupo and changes into the wauke plant. His
sisters coming in search of him, land at Oahu and turn into fish
ponds—Kaihuopalaai into Kapapaapuhi pond at Ewa; Kaihukoa
into Kaena at Waianae; Kawailoa into Ihukoko at Waialua, and
Thukuuna into Laniloa at Laie. Kaneaukai, their brother, comes to
look for them in the form of a log. It drifts ashore at Kealia,
Waialua, changes into a man, and becomes fish god for two old men at

Kapaeloa.?
3. KauLu

Kukaohialaka and Hinauluohia live in Kailua, Oahu, with their
two sons, Kaeha and Kamano. A third, Kaulu, remains five years
unborn because he has heard Kamano threaten to kill him. Then he
is born in the shape of a rope, and Kaeho puts him on an upper

17The rock called Kaneaukai, ‘* Man-floating-on-the-sea,”” on the shore below Waimea,
Oabu, is still worshiped with offerings. ‘The local story tells how two old men fish up
the same rock three times. Then they say, ‘It is a god,’ and, in spite of the weight
of the rock, carry it inshore and place it where it now stands and make it their fish god.
Thrum tells this story, p. 250.

BECKWITH] APPENDIX 639

shelf until he grows into a boy. Meanwhile Kaeha is carried away
by spirits to Lewanuu and Lewalani where Kane and Kanaloa live,
and Kaulu goes in search of him. On the way he defeats and breaks
into bits the opposing surfs and the dog Kuililoloa, hence surf and
dogs remain small. In the spirit land he fools the spirits, then visits
the land where their food is raised, Monowaikeoo, guarded by
Uweleki and Uweleka, Maaleka, and Maalaki. He fools these guards
into promising him all he can eat, and devours everything, even ob-
scuring the rays of the sun. In revenge the shark Kukamaulunuiakea
swallows his brother. Kaulu drinks the sea dry in search for him,
catches a thunder rock on his pot finger, and forces Makalii to tell
him where Kaeho is. Then he spits out the sea and this is why
the sea is salt. The dead shark becomes the milky way. The brothers
return to Oahu, and Kaulu kills Haumea, a female spirit, at Niuhele-
wal, by catching her in a net got from Makalii. Next he kills Lono-
kaeho, also called Piokeanuenue, king of Koolau, by singing an in-
cantation which makes his forehead fast to the ground on the hill
of Olomana.t’ After Kaeha’s death, Kaulu marries Kekele, but they

have no children.
4, PALILa

Palila, son of Kaluapalena, chief over one-half of Kauai, and of
Mahinui the daughter of Hina, is born at Kamooloa, Koloa, Kauai,
in the form of a cord and cast out upon the rubbish heap whence he
is rescued by Hina and brought up in the temple of Alanapo among
the spirits, where he is fed upon nothing but bananas. The other
chief of Kauai, Namakaokalani, is at war with his father. Hina
sends Palila to offer his services. With his war club he fells forests
as he travels and makes hollows in the ground. When he arrives
before his father, all fall on their faces until Hina rolls over their
bodies to make Palila laugh and thus remove the taboo. As he
stands on a rise of ground, Maunakalika, with his robe Hakaula, and
his mat Ikuwa, she circumcises Palila and returns with him to
Alanapo. When Palila leaves home to fight monsters, he travels
by throwing his club and hanging to one end. The first throw is to
Uualolo cliff on Kamaile, the next to Kaena Point, Oahu, thence to
Kalena, to Pohakea, Maunauna, Kanehoa, Keahumoa, and finally
to Waikele. The king of Oahu, Ahuapau, offers the rule of Oahu
to anyone who can slay the shark man, Kamaikaakui. After effect-
ing this, Palila (who has inherited the nature of a spirit from his
mother), is carried to the temple and made all human, in order to
wed the king’s daughter. He slays Olomana, the greatest warrior
on Oahu, goes fishing successfully with Kahului, with war club

1See Kamapuaa, where the same feat is described.

640 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 33

for paddle and fishhook, then, with his club to aid him, springs to
Molokai, Lanai, Maui, and thence to Kaula, Hawaii. Hina’s sister
Lupea becomes his attendant. She is a haw tree, and where Palila’s
malo is hung no haw tree grows to this day, through the power of
Ku, Palila’s god. The kings of Hilo and Hamakua districts,
Kulukulua and Wanua, are at war. Palila fights secretly, known
only by a voice which at each victim calls “slain by me, Palila,
by the offspring of Walewale, by the word of Lupea, by the
oo bird that sings in the forest, by the mighty god Ku.” Finally he
makes himself known and kills Moananuikalehua, whose war club,
Koholalele, takes 700 men to carry; Kumunuiaiake, whose spear of
mamane wood from Kawaihae can be thrown farther than one
ahupuaa; and Puupuukaamai, whose spear of hard hoaie wood can
kill 1,200 at a stroke. The jaw bones of these heroes he hangs on the
tree Kahakaauhae. Kulukulua is made ruler; finally Palila becomes
king of Hilo.

5, AIAI

Kuula and Hina live at Niolopa, Nuuanu. They possess a pearl
fish hook called Kanoi, guarded by the bird Kamanuwai, who lives
upon the aku fish caught by the magic hook. When Kipapalaulu,
king of Honolulu, steals the hook, the bird sleeps from hunger, hence
the name of the locality, Kaumakapili, “ perching with closed eyes.”
Hina bears an abortive child which she throws into the water. It
drifts to a rock below the Hoolilimanu bridge and floats there. This
child is Aiai. The king’s daughter discovers it, brings up the child,
and when he becomes a handsome youth, she marries him. One day
she craves the aku fish. Her husband, Aiai, persuades her to beg the
stolen hook of her father. Thus he secures the hook and returns it
to its bird guardian.?

6. PUNIAIKI

The handsome son of Nuupia and of Halekou of Kaneohe, Oahu,
who nurses Uhumakaikai, the parent of all the fishes, is furnished
with whatever fish he wants. He marries Kaalaea, a handsome and
well-behaved woman of the district, who brings him no dowry, but
to whom he and his father make gifts according to custom. With
his mother’s permission he goes to live in her home, but the aunt
insults him because he does nothing but sleep. The family offer to
Ixill her, but he broods over his wrong, leaves for Kauai, and, on a
wager, bids his mother use her influence to send the fish thither.

-

1Compare the fishhook Pahuhu in WNihoalaki; the leho shells in Jwa, and the
pearl fishhook of Kona in Kaulanapokii. In Thrum’s story from Moke Manu (p. 230)
Aiai is the son of the fish god, Kuula, and, like his father, acts as a culture hero who
locates the fishing grounds and teaches the art of making fish nets for various kinds of
fishes. The hero of this story is Aiai’s son, Puniaiki.

BECKWITH] APPENDIX 641

They come just in time to save his life and to win for him the island
of Kauai. But his pet fish laments his unfaithfulness to his home,
he takes it up and kisses it and returns to Oahu.

7. PIKOIAKAALALA

Raven is the father, Koukou the mother, Rat and Bat the
sisters, and Pikoiakaalala the brother of the rat family of Wailua,
Kauai, who change into human beings. The sisters marry men of
note. Pikoiakaalala wins in his first attempt to float the sozeze
board, then follows it down the rapids and swims to Oahu. Here
he beats Mainele, the champion rat shooter, by summoning the rats
in a chant and then shooting ten rats and one bat at once. Then he
defeats him in a riddling contest in which the play turns upon the
word rat. On Hawaii the king, Keawenuiaumi, wants the birds
shot because they deceive his canoe builders and prevent any trees
from being felled. Pikoiakaalala succeeds in shooting them by
watching their reflection in a basin of water.

8. IXKAWELO

When Kawelo is born to Maihuna and Malaiakalani in Hana-
maulu, Kauai, the fourth of five children, the maternal grandparents
foresee that he is to be a wonder, and they offer to bring him up
at Wailua, where Aikanaka, the king’s son, and Kauahoa of Hanalei
are his companions. Later the parents take him to Oahu, where
Kakuhewa is king, and live at Waikiki, where Kawelo marries
Kanewahineikiaoha, daughter of a famous warrior, Kalonaika-
hailaau, from whom he learns the art of war. Fishing he learns
from Maakuakeke. On his parents’ return to Kauai they are abused
of their property, and summon Kawelo to redress their wrongs. He
sends his wife to fetch the stroke Wahieloa from his father-in-law,
who heaps abuse upon the son-in-law, not aware that Kawelo hears
all his derisive comments through his god Kalanikilo. A fight
‘follows in which the son-in-law knocks out the old man and proves
his competence as a pupil. The Oahu king furnishes a canoe in
which Kawelo sets out for Kauai with his wife, his brother, Kama-
lama, and other followers, of whom Kalaumeki and Kaeleha are
chief. On Kauai he and his brother defeat all the champions of
Aikanaka, with their followers, one after the other, finally slaying
his old playmate Kauahoa, this with the aid of his wife, who tangles
her pikoi ball in the end of his opponent’s war club.

In the division of land that follows this victory Kona falls to
his brother and Koolau and Puna to his two chief warriors. But
Kaelehu visits Aikanaka at Hanapepe, falls in love with his daugh-
ter, and persuades himself that he could do better by taking up the

74936°—_19—33 rrH——41

642 HAWAIIAN ROMANCE OF LAIEIKAWAI [BTH. ANN. 83

cause of the defeated chief. Knowing that Kawelo has never learned
the art of dodging stones, they bury him in a shower of rocks, beat
him with a club, and leave him for dead. He revives when carried to
the temple for sacrifice, rises, and slays them all; not one escapes.

9. ICUALIL

Kualii’s first battle happens before he is a man, when he and his
father dedicate the temple on Kawaluna, Oahu, as an act of rebellion.
The chiefs of Oahu come against him with three armies, but Kuali,
with his warriors, Maheleana and Malanaihaehae, and his war club,
Manaiakalani, slays the enemy chiefs and beats back 12,000 men at
Kalena. Later he conducts a successful campaign in Hawaii, estab-
lishes Paepae against the rebel faction of Molokai, and pacifies
Haloalena, who is rebelling against the king of Maui. In this cam-
paign he secures the bold and mischievous Kauhi as his follower,
who is in time his chief warrior. As Kuali grows stronger, he
goes in disguise to battle, kills the bravest chief, secures his feather
cloak, and runs home with it. A lad who sees him pass each day
runs after and cuts a finger from the dead enemy, after the battle
of Kalakoa, and reveals the true hero of the day.t. The chant to
Kuali is composed by two brothers, Kapaahulani and Kamakaau-
lani, who are in search of a new lord. On the day of battle at
Kaahumoa one joins each army; one brother leads Kualii’s forces to
an appointed spot and the other attempts to pacify the chief with the
prearranged chant, in which he is successful; the brothers are raised
to honor and peace is declared. Kuali lives to old age, when he is
“carried to battle in a net of strings.” His genealogical tree carries
his ancestry back to Kane, and Kualii himself has the knowledge and
attributes of a god.

10, OPELEMOEMOE

A man of Kalauao, Ewa, Oahu, has a habit of falling into a super-
natural sleep for a month at a time. In such a sleep he is taken to be
sacrificed at the temple of Polomauna, Kauai, but waking at the
sound of thunder, he goes to Waimea, where he marries, and culti-
vates land. When the time comes for his sleep, he warns his wife, but
she and her brothers and servants decide to drop him into the sea. -
When the month is up, it thunders, he wakens, finds himself tied in
the bottom of the sea, breaks loose and comes back to his wife. Be-
fore their son is born he leaves her and returns to Oahu. The child
is born, is abused by his stepfather, and finding he has a different
father, follows Opelemoemoe to Oahu. The rest of his story is told
under Kalelealuaka.

1 Compare Kalelealuaka.

BECKWITH] APPENDIX 643
11. KALELEALUAKA

Kakuhihewa, king of Ewa, on Oahu, and Pueonui, king from Mo-
analua to Makapuu, are at war with each other. Kalelealuaka, son of
Opelemoemoe, the sleeper, lives with his companion, Keinohoomana-
wanul, at Oahunui. He is a dreamer; that is, a man who wants
everything without working for it. One night the two chant their
wishes. His companion desires a good meal and success in his daily
avocations, but Kalelealuaka wishes for the king’s food served by
the king himself, and the king’s daughter for his wife. Now Kaku-
hihewa has night after night seen the men’s light and wondered who
it might be. This night he comes to the hut, overhears the wish, and
making himself known to the daring man, fulfills his wish to the
letter. Thus Kalelealuaka becomes the king’s son-in-law. When the
battle is on with the rival king, Kalelealuaka’s companion goes off
to war, but Kalelealuaka remains at home. When all are gone, he
runs off like the wind, slays Pueo’s best captain and brings home his
feather. cloak, while his friend gets the praise for the deed. Finally
he is discovered, he brings out the feather cloaks and is made king
of Oahu, Kakuhihewa serving under him.

B. HERO TALES PRIMARILY OF HAWAII

1. WAHANUI

Wahanui, king of Hawaii, makes a vow to “trample the breasts
of Kane and Kanaloa.”? He takes his prophet, Kilohi, and starts for
Kahiki. Kane and Kanaloa have left their younger brother, Kariea-
pua, on Lanai, because he made their spring water filthy. He forces
himself upon Wahanui, and saves him from the dangers of the way—
from the land of Kanehunamoku, which takes the shape of Hina’s
dog; from the two demigod hills, Paliuli and Palikea, sent against
them by Kane and Kanaloa; and from a 10 days’ storm loosened
from the calabash of Laamaomao, which they escape by making: their
boat fast to the intestines of Kamapuaa’s grandmother under the sea.
When Wahanui has fulfilled his quest and sets out to return, Kanea-
pua gives him his double-bodied god, Pilikua, and warns him not to
show it until he gets to Hawaii. He displays it at Kauai, and the
Kauai people kill him in order to get the god. The Hawaii people
hear of it, invite the Kauai people to see them, and slaughter them
in revenge.

1 This means literally “to travel over land and sea.” (See Malo, p. 316.) The song
runs:
“Wahilani, king of Oahu,
Who sailed away to Kahiki,
To the islands of Moananuiakea,
To trample the breasts of Kane and Kanaloa.”

644 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33
2. KAMAPUAA

This demigod, half man, half hog, lives in Kaliuwaa valley, Oahu,
in the reign of Olopana.' His father is Kahikiula, his mother, Hina,
his brother, Kahikihonuakele. He robs Olopana’s chicken roosts, is
captured, swung on a stick, and carried in triumph until his grand-
mother sings a chant which gives him supernatural strength to slay
his enemies. Four times he is captured and four times escapes.
killing all of Olopana’s men but Makalii. Then he flees up the val-
ley Kaliuwaa and lets his followers climb up over his back to the top
of the cliff, except his grandmother, who insists upon climbing up
his front. He flees to Wahiawa, loses his strength by eating food
spelled with the letters Jaw, but eventually becomes lord of Oahu.
In Kahiki, his father-in-law, Kowea, has a rival, Lonokaeho, who in
his supernatural form has eight foreheads as sharp as an ax. Kam-
apuaa chants to his gods, and the weeds Puaakukui, Puaauhaloa, and
Puaamaumau grow over the foreheads. Thus snared, Lonokaeho
is Slain. Kamapuaa also defeats Kuilioloa, who has the form of a
dog.

The story next describes the struggle between Pele and the pig
god. Kamapuaa goes to Kilauea on Hawaii and stands on a point
of land overlooking the pit called Akanikolea. Below sit Pele and
her sisters stringing wreaths. Kamapuaa derides Pele’s red eyes and
she in revenge tells him he is a hog, his nose pierced with a cord, his
face turned to the ground and a tail that wags behind. When he
retaliates she is so angry that she calls out to her brothers to start
the fires. Kamapuaa’s love-making god, Lonoikiaweawealoha, de-
coys the brothers to the lowlands. Then Pele bids her sisters and
uncles to keep up the fire, but Kamapuaa’s sister, Keliiomakahanaloa,
protects him with cloud and rain. Kamapuaa takes his hog form,
and hogs overrun the place; Pele is almost dead. Then the love-
making god restores her, she fills up the pit again with fire; but
Kamapuaa calls for the same plants as before, which are his super-
natural bodies, to choke out the flames. At length peace is declared
and Pele takes Puna, Kau, and Kona districts, while Kamapuaa
takes Hilo, Hamakua, and Kohala. (Hence the former districts are
overrun with lava flows; the latter escape.)

Next Kamapuaa gets Kahikikolo for a war club. Makalii, king
of Kauai, is fighting Kaneiki. After Kamapuaa has killed two war-
riors and driven away two spear throwers, he reveals himself to
Makalii, who prostrates himself. Kamapuaa recounts the names of
over fifty heroes whom he has slain and boasts of his amours. He
spares Makalii on condition that he chant the name song in his
honor, and spares his own father, brother, and mother. Later he

1 This is not the Olopana of Hawaii.

BECKWITH] APPENDIX 645

pays a visit to his parents at Kalalau, but has to chant his name song
to gain recognition. This angers him so much that he can be pacified
only when Hina, his mother, chants all the songs in honor of his
name. By and by he goes away to Kahiki with Kowea.*

3. Kana

The firstborn of Hakalanileo and Hina is born in the form of a
rope at Hamakualoa, Maui, in the house Halauoloolo, and brought
up by his grandmother, Uli, at Piihonua, Hilo. He grows so long
that the house has to be lengthened from mountain to sea to hold
him. When the bold Kapepeekauila, who lives on the strong fortress
of Haupu, Molokai, carries away Hina on his floating hill, Haka-
lanileo seeks first his younger son, Niheu, the trickster, then his ter-
rible son Kana, to beseech their aid in recovering her. From Uli,
Kana secures the canoe Kaumaielieli, which is buried at Paliuli, and
the expedition sets forth, bearing Kana stretched in the canoe lke
a long package to conceal his presence, Niheu with his war club
Wawaikalani, and the father Hakalanileo, with their equipment of
paddlers. The Molokai chief has been warned by his priest Moi’s
dream of defeat, but, refusing to believe him, sends Kolea and Ulili-
to act as scouts. As the canoe approaches, he sends the scoutfish
Keauleinakahi to stop it, but Niheu kills the warrior with his club.
When a rock is rolled down the cliff to swamp it, Kana stops it with
his hand and slips a small stone under to hold it up. Niheu mean-
while climbs the cliff, enters the house Halehuki, seizes Hina and
makes off with her. But Hina has told her new lover that Niheu’s
strength lies in his hair, so Kolea and Ulili fly after and lay hold
of the intruder’s hair. Niheu releases Hina and returns unsuccess-
ful. Kana next tries his skill. He stretches upward, but the hill
rises also until he is spun out into a mere cobweb and is famishing
with hunger. Niheu advises him to lean over to Hawaii that his
grandmother may feed him. After three days, this advice reaches
his ear and he bends over Haleakala mountain on Maui, where the
groove remains to this day, and puts his head in at the door of his
grandmother’s house in Hawaii, where he is fed until he is fat again.
Niheu, left behind in the boat, sees his brother’s feet growing fat, and
finally cuts off one to remind Kana of the business in hand. Now the
hill Haupu is really a turtle. Uli tells Kana that if he breaks the
turtle’s flippers it can no longer grow higher. Thus Kana succeeds
in destroying the hill Haupu and winning Hina back to his father.’

17This is only a fragment of the very popular story of the pig god. For Pele, see
Ellis, IV. For both Pele and Kamapuaa, Emerson, Unwritten Literature, pp. 25, 85, 186,
228; and Pele and iiiaka; Thrum, pp. 36, 193; and Daggett, who places the beginning of
the Pele worship in the twelfth century.

2 Rey. A. O. Forbes’s version of this story is printed in Thrum, p. 63. See also Dag-
gett. They differ only in minor detail. Uli’s chant of the canoe is used by sorcerers to ;
exorcise the spirits, and Uli is the special god of the priests who use sorcery.

646 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33
4. KAPUNOHU

Kukuipahu and Niulii are chiefs of Kohala when Kapunohu, the
great warrior, is born in Kukuipahu. WKanikaa is his god, and Kani-
kawi his spear. Insulted by Kukuipahu, he goes to the uplands to
test his strength, and sends his spear through 800 wiéli-wili trees at
once. Two men he meets on the way are offered as much land as
they can run over in a certain time; thus the upland districts of
Pioholowai and Kukuikiikii are formed. Kapunohu makes a con-
quest of a number of women, before joining Niulii against Kukui-
pahu. In the battle that follows at Kapaau 3,200 men are killed and
trophies taken, and Kukuipahu falls. Kapunohu, armed with
Kanikawi, kills Paopele at Lamakee, whose huge war club 4,000
men carry. After this feat he goes to Oahu, where his sister has
married Olopana, who is at war with Kakuhihewa. Kapunohu pulls
eight patches of taro at one time for food, then joins his brother-
in-law and slays Kakuhihewa. Next he wins against Kemano, chief
of Kauai, in a throwing contest, spear against sling stone, and be-
comes ruler over Kauai. His skill in riddles brings him wealth in
a tour about Hawaii, but two young men of Kau finally outdo him
in a contest of wit.

5. KEPAKATLIULA

When this son of Ku and Hina is born in Keaau, Puna, in the
form of an egg, the maternal uncles, Kiinoho and Kiikele, who are
chiefs of high rank, steal him away and carry him to live in Paliuli,
where in 10 days’ time he becomes a beautiful child; in 40 days he
has eyes and skin as red as the feather cape in which he is wrapped,
and eats nothing but bananas, a bunch at a meal. The foster parents
travel about Hawaii to find a bride of matchless beauty for their
favorite, and finally choose Makolea, the daughter of Keauhou and
Kahaluu, who live in Kona. Thither they take the boy, leaving
Paliuli forever, and this place has never since been seen by man.
The girl is, however, betrothed to Kakaalaneo, king of Maui, and
when her parents discover her amour with Kepakailiula they send
her off to her husband, who is a famous spearsman. Kepakailiula
now moves to Kohala and marries the pretty daughter of its king.
Two successive nights he slips over to Maui, fools the drunken
king, and enjoys his bride. Then he persuades his father-in-law,
Kukuipahu, to send a friendly expedition to Maui, which he turns
into a war venture, and slays the chief Kakaalaneo and so many men
that his father-in-law is obliged to put a stop to the slaughter by
running in front of him with his wife in his arms. He then makes
Kukuipahu king over Maui and goes on to Oahu, where Kakuhihewa
hastens to make peace. One day when Makolea is out surf riding,

BECKWITH] APPENDIX 647

messengers of the king of Kauai, Kaikipaananea, steal her away
and she becomes this king’s wife. Kepakailiula follows her to Kauai
and defeats the king in boxing. One more contest is prepared; the
king has two riddles, the failure to answer which will mean death.
Only one man knows the answers, Kukaea, the public crier, and he
is an outcast who has lived on nothing but filth all his life. Kepa-
kailiula invites him in, feeds, and clothes him. For this attention,
the man reveals the riddles, Kepakailiula answers them correctly,
and bakes the king in his own oven. The riddles are:

1. “ Plaited all around, plaited to the bottom, leaving an opening.
Answer: A house, thatched all around and leaving a door.”

2. “'The men that stand, the men that le down, the men that are
folded. Answer: A house, the timbers that stand, the battens laid
down, the grass and cords folded.”

6. IKATPALAOA

The boy skilled in the art of disputation, or hoopapa, lives in
Waiakea, Hilo, Hawaii. In the days of Pueonuiokona, king of
Kauai, his father, Halepaki, has been killed in a riddling contest
with Kalanialiiloa, the taboo chief of Kauai, whose house is almost
surrounded by a fence of human bones from the victims he has de-
feated in this art. Kaipalaoa’s mother teaches him all she knows,
then his aunt, Kalenaihaleauau, wife of Kukuipahu, trains him until
he is an expert. He meets Kalanialiiloa, riddles against all his
champions, and defeats them. They are killed, cooked in the oven,
and the flesh stripped from their bones. Thus Kaipalaoa avenges
his father’s death.

7. MorkeHa.

Olopana and his wife Luukia, during the flood at Waipio, are
swept out to sea, and sail, or swim, to Tahiti, where Moikeha is king.
Olopana becomes chief counsellor, and Luukia becomes Moikeha’s
mistress. Mua, who also loves Luukia, sows discord by reporting to
her that Moikeha is boasting in public of her favors. She repulses
Moikeha and he, out of grief, sails away to Hawaii. The lashing
used for water bottles and for the binding of canoes is called the
pauoluukia (“skirt of Luukia”) because she thus bound herself
against the chief’s approaches.

Moikeha touches at various points on the islands. At Hilo,
Hawaii, he leaves his younger brothers Kumukahi and Haehae; at
Kohala, his priests Mookini and Kaluawilinae; at Maui, a follower,
Honuaula; at Oahu his sisters Makapuu and Makaaoa. With the
rest—his foster son Kamahualele, his paddlers Kapahi and Moanai-
kaiaiwe, Kipunuiaiakamau and his fellow, and two spies, Kaukauka-

648 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

munolea and his fellow—he reaches Wailua, Kauai, at the beach
Kamakaiwa. He has dark reddish hair and a commanding figure,
and the king of Kauai’s two daughters fall in love with and marry
him. He becomes king of Kauai and by them has five sons, Umalehu,
Kaialea, Kila, Kekaihawewe, Laukapalala. How his bones are
buried first in the cliff of Haena and later removed to Tahiti is told
in the story of Kila.?
8. Kima

Moikeha, wishing to send a messenger to fetch his oldest son from
Tahiti, summons his five sons and tests them to know by a sign
which boy to send. The lot falls upon Kila, the youngest. On his
journey Kila encounters dangers and calls upon his supernatural rela-
tives. The monsters Keaumiki and Keauka draw him down to the
coral beds, but Kakakauhanui saves him. His rat aunt, Kanepohihi,
befriends him, and when he goes to his uncle Makalii,? who has all
‘the food fastened up in his net, she nibbles the net and the food falls
out. At Tahiti he first kills Mua, who caused his father’s exile.
Then his warriors are matched with the Tahiti champions and he
himself faces Makalii, whose club is Naulukohelewalewa. Kila,
with the club Kahikikolo stuns his uncle “long enough to cook two
ovens of food.” The spirits of Moikeha’s slain followers appear and
join their praises to those of the crowd assembled, together with ants,
birds, pebbles, shells, grass, smoke, and thunder. Kila goes to his
father’s house, Moaulanuiakea, thatched with birds’ feathers, and
built of kauwila wood. All is desolate. The man whom he seeks,
Laamaikahiki, is hidden in the temple of Kapaahu. On a strict
taboo night Kila conceals himself and, when the brother comes to
beat the drum, delivers his message. Kila succeeds in bringing his
brother to Hawaii, who later returns to Kahiki from Kahoolawe,
hence the name “The road to Tahiti” for the ocean west of that
island. When Laamaikahiki revisits Hawaii to get the bones of his
father, he brings the hula drum and kaeke flute. Meanwhile Kila
has become king, after his father’s death. The jealous brothers en-
tice him to Waipio, Hawaii, where they abandon him to slavery.
The priest of the temple adopts him. He gains influence and in-
troduces the tenant system of working a number of days for the
landlord, and is ‘beloved for his industry. At the time of famine in
the days of Hua,’ one of his brothers comes to Waipo to get food.
Kila has him thrown into prison, but each time he is taken out to be

1 See Daggett’s account, who places Moikeha’s rule in the eleventh century.

2Kaulu meets the wizard Makalii in rat form and kills him by carrying him up in
the air and letting him drop. Makalii means “little eyes’? and refers to a certain mesh
of fish net. One form of cat’s cradle has this name. It also names the six summer
months, the Pleiades, and the trees of plenty planted in Paliuli. ‘Plenty of fish’’ seems
to be the root idea of the symbol.

3 Daggett tells the story of Hua, priest of Maui.

BECKWITH } APPENDIX 649

Killed, Kila imitates the call of a mud hen and the sacrifice is post-
poned. Finally the mother and other brothers are summoned, Kila
makes himself known, and the mother demands the brothers’ death.
Kila offers himself as the first to be killed, and reconciliation follows.
Later he goes with Laamaikahiki back to Tahiti to carry their
father’s bones.

9. UMI

The great chief of Hawaii, Liloa, hasa son by Piena, named Hakau.
On a journey to dedicate the temple of Manini at Kohalalele, Liloa
sees Akahiakuleana bathing in the Hoea stream at Kaawikiwiki and
falls in love with her. Some authorities claim she was of low birth,
others make her a relative of Liloa. He leaves with her the custom-
ary tokens by which to recognize his child. When their boy Umi
is grown, having quarreled with his supposed father, he takes the
tokens and, by his mother’s direction, goes to seek Liloa in Waipio
valley. Two boys, Omaokamao and Piimaiwaa, whom he meets on
the way, accompany him. Umi enters the sacred inclosure of the
chief and sits in his father’s lap, who, recognizing the trophies,
pardons the sacrilege and sending for his gods, performs certain
ceremonies. At his death he wills his lands and men to Hakau, but
his gods and temples to Umi.

Hakau is of a cruel and jealous disposition. Umi is obliged to
leave him and go to farming with his two companions and a third,
Koi, whom he meets on the way. He marries two girls, but their
parents complain that he is lazy and gets no fish. Racing with
Paiea at Laupahoehoe, he gets crowded against the rocks. This is a
breach of etiquette and he nurses his revenge. Finally, by a rainbow
sign and by the fact that a pig offered in sacrifice walks toward Umi,
his chiefly blood is proved to the priest Kaoleioku. The priest con-
siders how Umi may win the kingdom away from the unpopular
Hakau. Umi studies animal raising and farming. He builds four
large houses, holding 160 men each, and these are filled in no time
with men training in the arts of war. A couple of disaffected old
men, Nunu and Kakohe, are won over to Umi’s cause, and they ad-
vise Hakau to prepare for war with Umi. While all the king’s men
are gone to the forests to get feathers for the war god, Umi and his
followers start, on the day of Olekulna, and on the day of Lono
they surprise and kill Hakau and his few attendants, who thought
they were men from the outdistricts come with their taxes. So Umi
becomes king. Kaoleioku is chief priest, and Nunu and Kakohe are
high in authority. The land he divides among his followers, giving
Kau to Omaokamau, Hilo to Kaoleioku, Hamakua to Piimaiwaa,
Kahala to Koi, Kona to Ehu, and Puna to another friend. To
prove how long Umi will hold his kingdom, he is placed 8 fathoms

650 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33

away from a warrior who hurls his spear at the king’s middle, using
the thrust known as Wahie. Umi wards it off, catches it by the
handle and holds it. This is a sign that he will hold his kingdom
successfully—* your son, your grandson, your issue, your offspring
until the very last of your blood.”

Umi now makes a tour of the island for two years. He slays
Paiea. He sends Omaokamau to Piilani of Maui to arrange a mar-
riage with Piikea. After'20 days, Piikea sets sail for Hawaii with
a fleet of 400 canoes, and a rainbow “like a feather helmet ” stands
out at sea signaling her approach. The rest of the story has to do
with the adventures of Umi’s three warriors, Omaokamau who is
right-handed, Koi who is left-handed, and Piimaiwae, who is ambi-
dextrous, during the campaign on Maui, undertaken at Pikea’s
plea to gain for her brother, Kihapiilani, the rule over Maui. The
son and successor of Umi is Keawenuiaumi, father of Lonoikamaka-
hiki.

10. KTHAPITLANI

Lonoapii, king of Maui, has two sisters, Piikea, the wife of Umi,
and Kihawahine, named for the lizard god, and a younger brother,
Kihapiilani, with whom he quarrels. Kihapiilani nurses his revenge
as he plants potatoes in Kula. Later he escapes to Umi in Hawaii,
and his sister Piikea persuades her husband to aid his cause with a
fleet of war canoes that make a bridge from Kohala to Kauwiki.
Hoolae defends the fort at Kauwiki. Umi’s greatest warriors,
Piimaiwae, Omaokamau, and Koi, attack in vain by day. At night
a giant appears and frightens away intruders. One night Piimaiwaa
discoyers that the giant is only a wooden image called Kawalakii,
and knocks it over with his club. Lonoapii is slain and Kihapilani
becomes king. He builds a paved road from Kawaipapa to Kahala-
oaka and a shell road on Molokai.

11. PAKAA AND KUAPAKAA*

Pakaa, the favorite of Keawenuiaumi, king of Hawaii, regulates
the distribution of land, has charge of the king’s household,
keeps his personal effects, and is sailing master for his double
canoe. The king gives him land in the six districts of Hawaii. He
owns the paddle, Lapakahoe, and the wooden calabash with netted
cover in which are the bones of his mother, Laamaomao, whose voice
the winds obey. ;

Two men, Hookeleiholo and Hookeleipuna, ruin him with the king.
So, taking the king’s effects, his paddle and calabash, he sails away

1 This story Fornander calls ‘‘the most famous in Hawaiian history.”

BECKWITH] APPENDIX 651

to Molokai where he marries a high chiefess and has a son, Kua-
pakaa, named after the king’s cracked skin from drinking awa. He
plants fields in the uplands marked out like the districts of Hawaii,
and trains his son in all the lore of Hawaii.

The king dreams that Pakaa reveals to him his residence in
Kaula. His love for the man returns and he sets out with a great
retinue to seek him. Pakaa foresees the king’s arrival and goes to
meet him and bring him to land. He conceals his own face under the
pretense of fishing, and leaves the son to question the expedition.
First pass the six canoes of the district chiefs of Hawaii, and Kua-
palaa sings a derisive chant for each, calling him by name. Then he
inquires their destination and sings a prophecy of storm. The king’s
sailing masters, priests, and prophets deny the danger, but the boy
again and again repeats the warning. He names the winds of all the
islands in turn, then calls the names of the king’s paddlers. Finally
he uncovers the calabash, and the canoes are swamped and the whole
party is obliged to come ashore. Pakaa brings the king the loin cloth
and scented tapa he has had in keeping, prepares his food in the old
way, and makes him so comfortable that the king regrets his old
servant. The party is weather-bound four months. As they proceed,
they carry the boy Kuapakaa with them. He blows up a storm in
which the two sailing masters are drowned, and carries the rest of
the party safe back to Kawaihae, Kohala. Here the boy is forgotten,
but by a great racing feat, in which he wins against his contestants
by riding in near shore in the eddy caused by their flying canoes, thus
coming to the last stretch unwearied, he gets the lives of his father’s
last enemies. Then he makes known to the king his parentage, and
Pakaa is returned to all his former honors.

12. KALAEPUNI

The older brother of Kalaehina and son of Kalanipo and Kamele-
kapu, is born and raised in Holualoa, Kona, in the reign of Kea-
wenuiaumi. He is mischievous and without fear. At 6 he can outdo
all his playmates, at 20 he is fully developed, kills sharks with his .
hands and pulls up a kow tree as if it were a blade of grass. The
king hides himself, and Kalaepuni rules Hawaii. The priest Moku-
pane plots his death. He has a pit dug on Kahoolawe, presided over
by two old people who are told to look out for a very large man
with long hair like bunches of o/ona fiber. Once Kalaepuni goes out
shark killing and drifts to this island. The old people give him fish
to eat, but send him to the pit to get water; then throw down stones
on his head until he dies, at the place called Keanapou.

652 HAWAIIAN ROMANCE OF LAIEIKAWAI [BTH. ANN. 88

13. KALAEHINA

The younger brother of Kalaepuni can throw a canoe into the
sea as if it were a spear, and split wood with his head. He proves
his worth by getting six canoes for his brother out of a place where
they were stuck, in the uplands of Kapua, South Kona, Hawaii. He
makes a conquest of the island of Maui; its king, Kamalalawalu,
flees and hides himself when Kalaehina defies his taboo. There he
rules until Kapakohana, the strong usurper of Kauai, wrestles with
him and pushes him over the cliff Kaihalulu and kills him.t

14. LoNoIkKAMAKAHIKE

Lonoikamakahike was king of Hawaii after Keawenuiaumi, his
father, 64 generations from Wakea. According to the story, he is
born and brought up at Napoopo, Hawaii, by the priests Loli and
Hauna. He learns spear throwing from Kanaloakuaana; at the test
he dodges 3 times 40 spears at one time. He discards sports, but
becomes expert in the use of the spear and the sling, in wrestling,
and in the art of riddling disputation, the hoopapa. He also pro-
motes the worship of the gods. While yet a boy he marries his cousin
Kaikilani, a woman of high rank who has been Kanaloakuaana’s
wife, and gives her rule over the island until he comes of age. Then
they rule together, and so wisely that everything prospers.

Kaikilani has a lover, Heakekoa, who follows them as they set
out on a tour of the islands. While detained on Molokai by the
weather, Lonoikamakahike and his wife are playing checkers when
the lover sings a chant from the cliff above Kalaupapa. Lonoika-
makahike suspects treachery and strikes his wife to the ground with
the board. Fearful of the revenge of her friends he travels on to
Kailua on Oahu to Kekuhihewa’s court, which he visits incognito.
Reproached because he has no name song, he secures from a visiting
chiefess of Kauai the chant called “The Mirage of Mana.” In the
series of bets which follow, Lonoikamakahike wins from Kakuhihewa
all Oahu and is about to win his daughter for a wife when Kaikilani
arrives, and a reconciliation follows. The betting continues, con-
cluded by a riddling match, in all of which Lonoikamakahike is
successful.

1Qne of the most popular heroes of the Puna, Kau, and Kona coast of Hawaii to-day
is the kupua or ‘‘ magician,’ Kalaekini. His power, mana, works through a rod of
kauila wood, and his object seems to be to change the established order of things, some
say for good, others for the worse. The stories tell of his efforts to overturn the rock
called Pohaku o Lekia (rock of Lekia), of the bubbling spring of Punaluu, whose
flow he stops, and the blowhole called Kapuhiokalaekini, which he chokes with
cross-sticks of kauila wood. The double character of this magician, whom one native
paints as a benevolent god, another, not 10 miles distant, as a boaster and mischief-
maker, is an instructive example of the effect of local coloring upon the interpretation
of folklore. Daggett describes this hero. He seems to be identical with the Kalaehina
of Fornander.

BECKWITH] APPENDIX 653

But his wife brings word that the chiefs of Hawaii, enraged by
his insult to her person, have rebelled against him, only the district
of Kau remaining faithful. In a series of battles at Puuanahulu,
called Kaheawai; at Kaunooa; at Puupea; at Puukohola, called
Kawaluna because undertaken at night and achieved by the strategy
of lighting torches to make the appearance of numbers; at Kahua,
called Kaiopae; at Halelua, called Kaiopihi from a warrior slain in
the battle; finally at Puumaneo, his success is complete, and Hawaii
becomes his.

Lonoikamakahike sails to Maui with his younger brother and
chief counsellor, Pupuakea, to visit King Kamalalawalu, whose
younger brother is Makakuikalani. In the contest of wit, Lonoi-
kamakahike is successful. The king of Maui wishes to make war on
Hawaii and sends his son to spy out the land, who gains false intel-
ligence. At the same time Lonoikamakahike sends to the king two
chiefs who pretend disaffection and egg him on to ruin. In spite of
Lanikaula’s prophecy of disaster, Kamalalawalu sails to Hawaii
with a fleet that reaches from Hamoa, Hana, to Puakea, Kohala; he
and his brother are killed at Puuoaoaka, and their bodies offered in
sacrifice.

Lonoikamakahike, desiring to view “the trunkless tree Kahihi-
kolo,” puts his kingdom in charge of his wife and sails for Kauai.
Such are the hardships of the journey that his followers desert him,
only one stranger, Kapaihiahilani, accompanying him and serving
him in his wanderings. This man therefore on his return is made
chief counsellor and favorite. But he becomes the queen’s lover, and
after an absence on Kauai, finds himself disgraced at court. Stand-
ing without the king’s door, he chants a song recalling their wander-
ings together; the king relents, the informers are put to death, and
he remains the first man in the kingdom until his death. Nor are
there any further wars on Hawaii until the days of Keoua.

15. IKEAWEIKEKAHIALIT

This chief, born in Kailua, Kona, has a faithful servant, Mao, who
studies how his master may usurp the chiefship of Hawaii. One day
while Keaweikekahialii plays at checkers with King Keliiokaloa, Mao
approaches, and while speaking apparently about the moves of the
game, conveys to him the intelligence that now is the time to strike.
Mao kills the king by a blow on the neck, and they further slay all
the 800 chiefs of Hawaii save Kalapanakuioiomoa, whose daughter
Keaweikekahialii marries, thus handing down the high chief blood
of Hawaii to this day.

1 Mr. Stokes found on the rocks at Kahaluu, near the heiaw of Keeku, a petroglyph
which the natives point to as the beheaded figure of Kamalalawalu.

654 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 33
16. KEKUHAUPIO

One of the most famous warriors and chiefs in the days of Kala-
niopuu and of Kaméhaméha, kings of Hawaii, was Kekuhaupio, who
taught the latter the art of war. He could face a whole army of men
and ward off 400 to 4,000 spears at once. In the battle at Waikapu
between Kalaniopuu of Hawaii and Kahekili of Maui, the Hawaii
men are put to flight. As they flee over Kamoamoa, Kekuhaupio
faces the Maui warriors alone. Weapons lie about him in heaps, still
he is not wounded. The Maui hero, Oulu, encounters him with his
sling; the first stone misses, the god Lono in answer to prayer averts
the next. Kekuhaupio then demands with the third a hand-to-hand
conflict, in which he kills Oulu.

C. LOVE STORIES
1. HALEMANO

The son of Wahiawa and Kukaniloko is born in Halemano,
Waianae, and brought up in Kaau by his grandmother, Kaukaalii,
Dreaming one day of Kamalalawalu, the beauty of Puna, he dies
for love of her, but his sister Laenihi, who has supernatural power,
restores him to life and wins the beauty for her brother. First she
goes to visit her and fetches back her wreath and skirt to Halemano.
Then she shows him how to toll the girl on board his red canoe by
means of wooden idols, kites, and other toys made to please her
favorite brother.

The king of Oahu, Aikanaka, desires Halemano’s death in order
to enjoy the beauty of Puna. They flee and live as castaways, first on
Molokai, then Maui, then Hawaii, at Waiakea, Hilo. Here the two
are estranged. The chief of Puna seduces her, then, after a recon-
ciliation, the Kohala’ chief, Kumoho, wins her affection. Halemano
dies of grief, and his spirit appears to his sister as she is surfing in
the Makaiwi surf at Wailua, Kauai. She restores him to life with a
chant.

In order to win back his bride, Halemano makes himself an adept
in the art of singing and dancing (the hula). His fame travels
about Kohala and the young chiefess Kikekaala falls in love with
him. Meanwhile the seduced wife has overheard his wonderful
singing and her love is restored. When his new mistress gives a kilu
singing match, she is present, and when Halemano, after singing
eight chants commemorating their life of love together, goes off with
the new enchantress, she tries in vain to win him back by chanting
songs which in turn deride the girl and recall herself to her lover.
He soon wearies of the girl and escapes from her to Kauai, where his
old love follows him. But they do not agree. Kamalalawalu leaves

BECKWITH] APPENDIX 655

for Oahu, where she becomes wife to Waiahole at Kualoa. Two
Hawaii chiefs, Huaa and Kuhukulua, come with a fleet of 8,000
canoes, make great slaughter at Waiahole, and win the beauty of
Puna for their own.

2. UWEUWELEKEHAU

Olopana, king of Kauai, has decreed that his daughter, Luukia,
shall marry none but Uweuwelekehau, the son of Ku and Hina in
Hilo, and that he shall be known when he comes by his chiefly
equipment, red canoe, red sails, ete. Thunder, lightning, and floods
have heralded this child’s birth, and he is kept under the chiefly
taboo. One day he goes to the Kalopulepule River to sail a boat;
floods wash him out to sea; and in the form of a fish he swims to
Kauai, is brought to Luukia and, changing into a man, becomes her
lover. When Olopana hears this, he banishes the two to Mana,
where only the gods dwell. These supply their needs, however, and
the country becomes so fertile that the two steal the hearts of the
people with kindness, and all go to live at Mana. Finally Olopana
recognizes his son-in-law and they become king and queen of Kauai,
plant the coconut grove at Kaunalewa, and build the temple of
Lolomauna.

3. LAUKIAMANUIKAHIKI

Makiioeoe, king of Kuaihelani, has an amour with Hina on Kauai
and, returning home, leaves with Hina his whale-tooth necklace and
feather cloak to recognize the child by, and bids that his daughter be
sent to him with the full equipment of a chief. Meanwhile he pre-
pares a bathing pool, plants a garden, and toboos both for his
daughter’s arrival. Laukiamanuikahiki is abused by her supposed
father, and, discovering the truth, starts out under her mother’s di-
rection to find her real father. With the help of her grandmother
she reaches Kuaihelani. Here she bathes in the taboo pool and plucks
the taboo flowers. She is about to be slain for this act when her
aunt, in the form of an owl, proclaims her name, and the chief recog-
nizes his daughter. Her beauty shines like a light. Kahikiula, her
half brother, on a visit to his father, becomes her lover. When he
returns to his wife, Kahalaokolepuupuu in Kahikiku, she follows in
the shape of an old woman called Lupewale. Although her lover
recognizes her, she is treated like a servant. In revenge she calls
upon the gods to set fire to the dance house, and burns all inside.
Kahikiula now begs her to stay, but she leaves him and returns to
Kuaihelani.

4, HOAMAKEIKEKULA

‘“‘ Companion-in-suffering-on-the-plain” is a beautiful woman of
Kohala, Hawaii, born at Oioiapaiho, of parents of high rank, Hoole-

656 HAWAIIAN ROMANCE OF LAIEIKAWAI [ PTH. ANN. 83

ipalaoa and Pili. As she is in the form of an ala stone, she is cast
out upon the trash; but her aunt has a dream, rescues her through a
rainbow which guides her to the place, and wraps her in red tapa
cloth. In 20 days she is a beautiful child. Until she is 20 she lives
under a strict taboo; then, as she strings /ehwa blossoms in the woods,
the elepaio bird comes in the form of a handsome man and carries
her away in a fog to be the bride of Kalamaula, chief’s son of Kawai-
hae. She asks for 30 days to consider it, and dreams each night of
a handsome man, with whom she falls in love. She runs away and,
accompanied by a rainbow, wanders in the uplands of Pahulumoa
until Puuhue finds her and carries her home to his lord, the king of
Kohala, Puuonale, who turns out to be the man of her dream. Her
first child is the image Alelekinakina.

5, KAPUAOKAOHELOAL

When Ku and Hina are living at Waiakea, Hilo, they have two
children, a boy called Hookaakaaikapakaakaua and a lovely girl
named Kapuaokaoheloai. They are brought up apart and virgin,
without being permitted to see each other, until one day the sister
discovers the brother by the bright light that shines from his house,
and outwits the attendants. The two are discovered and banished.
Attendants of the king of Kuaihelani find the girl and, because she
is so beautiful, carry her back with them to be the king’s wife. Her
virginity is tested and she slips on the platform, is wounded in the
virgin’s bathing pool, and slips on the bank getting out. Her guilt
thus proved, she is about to be slain when a soothsayer reveals her
high rank as the child of Hina, older sister to the king, and the king
forgives and marries her. His daughter, Kapuaokaohelo, who is
ministered to by birds, hearing Kapuaokaoheloai tell of her brother
on Hawaii, falls in love with him and determines to go in search of
him. When she reaches Punahoa harbor at Kumukahi, Hawaii,
where she has been directed, she finds no handsome youth, for the boy
has grown ill pining for his sister. In two days, however, he regains
his youth and good looks, and the two are married.

D. GHOST STORIES AND TALES OF MEN BROUGHT TO LIFE

1. OAHU STORIES
KAHALAOPUNA

During the days of Kakuhihewa, king of Oahu, there is born in
Manoa, Oahu, a beautiful girl named Kahalaomapuana. Kauakua-
hine is her father, Kahioamano her mother. Her house stands at
Kahoiwai. Kauhi, her husband, hears her slandered, and believing
her guilty, takes her to Pohakea on the Kaala mountain, and, in

BECKWITH] APPENDIX 657

spite of her chant of innocence, beats her to death under a great
lehua tree, covers the body with leaves, and returns. Her spirit flies
to the top of the tree and chants the news of her death. Thus she is
found and restored to life, but she will have nothing more to do
with Kauhi.?

KALANIMANUIA

The son of Ku, king of Lihue, through a secret amour with Kau-
noa, is brought up at Kukaniloko, where he incurs the anger of his
supposed father by giving food away recklessly. He therefore runs
away to his real father, carrying the king’s spear and malo; but Ku,
not recognizing them, throws him into the sea at Kualoa point. The
spirit comes night after night to the temple, where the priests wor-
ship it until it becomes strong enough to appear in human form. In
this shape Ku recognizes his son and snares the spirit in a net. At
first it takes the shape of a rat, then almost assumes human form.
Kalanimanuia’s sister, Ihiawaawa, has three lovers, Hala, Kumu-
niaiake, and Aholenuimakaukai. Kalanimanuia singsa derisive chant,
and they determine upon a test of beauty. A cord is arranged to
fall of itself at the appearance of the most handsome contestant. The
night before the match, Kalanimanuia hears a knocking at the door
and there enter his soles, knees, thighs, hair, and eyes. Now he is a
handsome fellow. Wind, rain, thunder, and lightning attend his ad-
vent, and the cord falls of itself.

PUMAIA

King Kualii of Oahu demands from the hog raiser, Pumaia, of
Pukoula, one hog after another in sacrifice. At last Pumaia has but
one favorite hog left. This he refuses to give up, since he has vowed
it shall die a natural death, and he kills all Kualii’s men, sparing only
the king and his god. The king prays to his god, and Pumaia is
caught, bound, and sacrificed in the temple Kapua. Pumaia’s spirit
directs his wife to collect the bones out of the bone pit in the temple
and flee with her daughter to a cave overlooking Nuuanu pali. Here
the spirit brings them food and riches robbed from Kualii’s men.
In order to stop these deprivations, Kualii is advised by his priest
to build three houses at Waikiki, one for the wife, one for the daugh-
ter, and one for the bones of Pumaia. (In one version, Pumaia is
then brought -back to life.)

NIHOALAKTI

Nihoalaki is this man’s spirit name. He is born at Keauhou, Kona,
Hawaii, and goes to Waianae, Oahu, where he marries and becomes

1This story is much amplified by Mrs. Nakuina in Thrum, p. 118. Here mythical
details are added to the girl’s parentage, and the ghost fabric related in full, in connection
with her restoration to life and revenge upon Kauhi. The Fornander. version is, on the
whole, very bare. See also Daggett.

74936°—19—33 rrH—42

658 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH. ANN. 38

chief, under the name of Kaehaikiaholeha, because of his famous
aku-catching hook called Pahuhu (see Aiai). He goes on to
Waimea, Kauai, and becomes ruler of that island, dies, and his body
is brought back to Waianae. The parents place the body in a small
house built of poles in the shape of a pyramid and worship it until
it is strong enough to become a man again. Then he goes back to
Waimea under the new name of Nihoalaki. Here his supernatural
sister, in the shape of a small black bird, Noio, has guarded the
fishhook. When Nihoalaki is reproached for his indolence, he takes
the hook and his old canoe and, going out, secures an enormous haul
of aku fish. As all eat, the “person with dropsy living at Waia-
hulu,” Kamapuaa, who is a friend of Nihoalaki’s, comes to have his
share and the two go off together, diving under the sea to Waianae.
A Katai chief, who follows them, is turned into the rock Poha-
kuokauai outside Waianae. Nihoalaki goes into his burial house at
Waianae and disappears. Kamapuaa marries the sister.

2. Maur STORIES
ELEIO

Eleio runs so swiftly that he can make three circuits of Maui in
a day. When King Kakaalaneo of Lahaina is almost ready for a
meal, Eleio sets out for Hana to fetch fish for the king, and always
returns before the king sits down to eat. Three times a spirit chases
him for the fish, so he takes a new route. Passing Kaupo, he sees a
beautiful spirit, brings her to life, and finds that she is a woman
of rank from another island, named Kanikaniaula. She gives him
a feather cape, until then unknown on Maui. The king, angry at
his runner’s delay, has prepared an oven to cook him in at his _re-
turn, but at sight of the feather cape he is mollified, and marries
the restored chiefess. Their child is Kaululaau. (See under Trick-
ster stories.)

PAMANO

In Kahikinui, Maui, in the village of Kaipolohua, in the days of
King Kaiuli, is born Pamano, child of Lono and Kenia. His uncle
is Waipu, his sisters are spirits named Nakinowailua and Hokiolele.
Pamano studies the art of the hula, and becomes a famous dancer,
then comes to the uplands of Mokulau in Kaupo, where the king
adopts him, but places a taboo between him and his daughter, Keaka.
Keaka, however, entices Pamano into her house. Now Pamano and
his friend, Hoolau, have ugreed not to make love to Keaka without
the other’s consent. Koolau, not knowing it is the girl’s doing, re-

BECKWITH] APPENDIX 659

ports his friend to the king, and he and his wife decide that Pamano
must die. They entice him in from surf riding, get him drunk with
awa in spite of his spirit sisters’ warnings, and chop him to pieces.
The sisters restore him to life. Ata XiJu game given by Keaka and
Koolau. Pamano reveals himself in a chant and orders his three
enemies slain before he will return to Keaka.

3. Hawai STORIES

KAULANAPOKII

Kaumalumalu and Lanihau of Holualoa, Kona, Hawaii, have five
sons and five daughters. The boys are Mumu, Wawa, Ahewahewa,
Lulukaina and Kalino; their sisters are Mailelaulii, Mailekaluhea,
Mailepakaha, Mailehaiwale, and Kaulanapokii, who is endowed
with gifts of magic. The girls go sightseeing along the coast of
Kohala, and Mailelaulii weds the king of Kohala, Hikapoloa. He
gets them to send for the supernatural pearl fishhook with which
their brothers catch aku fish, but the hook sent proves a sham, and
the angry chief determines to induce the brothers thither on a visit
and then kill them in revenge. When the five arrive with a boatload
of aku, the sisters are shut up in the woman’s house composing a
name song for the firstborn. Each brother in turn comes up to the
king’s house and thrusts his head in at the door, only to have it
chopped off and the body burnt in a special kind of wood fire, opiko,
aaka, mamane, pua and alani. The youngest sister, however, is
aware of the event, and the sisters determine to slay Hikapoloa.
When he comes in to see his child, Kaulanapokii sings an incantation
to the rains and seas, the ze and maile vines, to block the house. Thus
the chief is killed. Then Kaulanapokii sings an incantation to the
various fires burning her brothers’ flesh, to tell her where their bones
are concealed. With the bones she brings her brothers to life, and
they all return to Kona, abandoning “the proud land of Kohala and
its favorite wind, the Aeloa.”

PUPUHULUENA

The spirits have potatoes, yam, and taro at Kalae Point, Kau, but
the Kohala people have none. Pupthuluena goes fishing from Ko-
hala off Makaukiu, and the fishes collect under his canoe. As he sails
he leaves certain kinds of fish as he goes until he comes just below
Kalae. Here Ieiea and Poopulu, the fishermen of Makalii, have a
dragnet. By oiling the water with chewed kukui nut, he calms it
enough to see the fishes entering their net, and this art pleases the
fishermen. By giving them the nut he wins their friendship, hence

660 HAWAIIAN ROMANCE OF LAIEIKAWAI (ETH. ANN. 33

when he goes ashore, one prompts him with the names of the food
plants which are new to him. Then he stands the spirits on their
heads, so shaming them that they give him the plants to take to

Kohala.
HIKU AND KAWELU 1

The son of Keaauolu and Lanihau, who live in Kaumalumalu,
Kona, once sends his arrow, called Puane, into the hut of Kawelu,
a chiefess of Kona. She falls violently in love with the stranger
who follows to seek it, and will not let him depart. He escapes, and
she dies of grief for him, her spirit descending to Milu. Hiku, hear-
ing of her death, determines to fetch her thence. He goes out into
mid-ocean, lets down a koali vine, smears himself with rancid
kukui oil to cover the smell of a live person, and lowers himself on
another vine. Arrived in the lower world, he tempts the spirits to
swing on his vines. At last he catches Kawelu, signals to his friends
above, and brings her back with him to the upper world. Arrived at
the house where the body lies, he crowds the spirit in from the feet
up. After some days the spirit gets clear in. Kawelu crows like a
rooster and is taken up, warmed, and restored.

E. TRICKSTER STORIES
1. THEFTS
IWA

At Keaau. Puna, lives Keaau, who catches squid by means of two
famous eho shells, Kalokuna, which the squid follow into the canoe.
Umi, the king, hears about them and demands them. Keaau, mourn-
ing their loss, seeks some one clever enough to steal them back from
Umi. He is directed to a grove of kukui trees between Mokapu
Point and Bird Island, on Oahu, where lives Kukui and his thieving
son Iwa. This child, “while yet in his mother’s womb used to go
out stealing.” He was the greatest thief of his day. Keaau engages
his services and they start out. With one dip of Iwa’s paddle,
Kapahi, they are at the next island. So they go until they find Umi
fishing off Kailua, Hawaii. Iwa swims 3 miles under water, steals
the shells, and fastens the hooks to the coral at the bottom of the
sea 400 fathoms below. Later, Iwa steals back the shells from Keaau
for Umi.

Twa’s next feat is the stealing of Umi’s ax, Waipu, which is kept
under strict taboo in the temple of Pakaalana, in Waipio, on Hawaii.
It hangs on a rope whose ends are fastened to the necks of two old
women. A crier runs back and forth without the temple to proclaim
the taboo. Twa takes the place of the crier, persuades the old women
to let him touch the ax, and escapes with it.

1See Thrum, p. 43.

BECKWITH] APPENDIX 661

Umi arranges a contest to prove who is the champion thief. Iwa
is pitted against the six champions from each of the six districts of
Hawaii. The test is to see which can fill a house fullest in a single
night. The six thieves go to work, but Iwa sleeps until cockcrow,
when he rises and steals all the things out of the other thieves’ house.
He also steals sleeping men, women, and children from the king’s
own house to fill his own. The championship is his, and the other
six thieves are killed.

MANINIHOLOKUAUA

This skillful thief lives at Kaunakahakai on Molokai, where he is
noted for strength and fleetness. In a cave at Kalamaula, in the
uplands, his lizard guardian keeps all the valuables that he steals from
strangers who land on his shore. This cave opens and shuts at his
call. Maniniholokuaua steals the canoe of the famous Oahu runner,
Keliimalolo, who can make three circuits of Oahu in a day, and this
man secures the help of two supernatural runners from Nihau,
Kamaakauluohia (or Kaneulohia), and Kamaakamikioi (or Kan-
eikamikioi), sons of Halulu, who can make ten circuits of Kauai in
a day. In spite of his grandmother’s warning, Maniniholokuaua
steals from them also, and they pursue him to his cave, where he is
caught between the jaws in his haste.

PUPUALENALENA

This marvelous dog named Pupualenalena fetches awa from Ha-
kau’s food patches in Waipio, Hawaii, to his master in Puako.
Hakau has the dog tracked, and is about to kill both dog and master
when he bethinks himself. He has been troubled by the blowing
of a conch shell, Kuana, by the spirits above Waipio, and he now
promises life if the dog will bring him the shell. This the dog
effects in the night, though breaking a piece in his flight, and the
king, delighted, rewards the master with land in Waipio.

2. ConTESTS WITH SPrRiIts
KAULULAAU

The son of Kakaalaneo, king of Maui and Kanikaniaula, uproots
all the breadfruit trees of Lahaina to get the fruit that is out of
reach, and does so much mischief with the other children born on the
same day with him, who are brought to court for his companions,
that they are sent home, and he is abandoned on the island of Lanai
to be eaten by the spirits. His god shows him a secret cave to hide in.
Each night the spirits run about trying to find him, but every time
he tricks them until they get so overworked that all die except

662 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH ANN. 83

Pahulu and a few others. Finally his parents, seeing his ight still
burning, send a double canoe to fetch him home with honor. This is
how Lanai was cleared of spirits.

LEPE

A trickster named Lepe lives at Hilo, Hawaii, calls up the spirits
by means of an incantation, and then fools them in every possible
way.

HANAAU MOE

Halalii is the king of the spirits on Oahu. The ghost of Hawaii is
Kanikaa; that of Maui, Kaahualii; of Lanai, Pahulu; of Molokai,
Kahiole. The great flatterer of the ghosts, Hanaaumoe, persuades
the Kauai chief, Kahaookamoku, and his men to land with the
promise of lodging, food, and wives. When they are well asleep,
the ghost come and eat them up—* they made but one smack and the
men disappeared.” But one man, Kaneopa, has suspected mischief
and hidden under the doorsill where the king of the spirits sat, so
no one found him. He returns and tells the Kauai king, who makes
wooden images, brings them with him to Oahu, puts them in place of
his men in the house, while they hide without, and while the ghosts
are trying to eat these fresh victims, burns down the house and con-
sumes all but the flatterer, who manages to escape.

PUNIA

The artful son of Hina in Kohala goes to the cave of lobsters and
by lying speech tricks the shark who guard it under their king,
Kaialeale. He pretends to dive, throws in a stone, and dives in
another place. Then he accuses one shark after another as his accom-
plice, and its companions kill it, until only the king is left. The king
is tricked into swallowing him whole instead of cutting him into bits.
There he remains until he is bald—* serves him right, the rascal ! ”"—
but finally he persuades the shark to bring him to land, and the shark
is caught and Punia escapes. Next he kills a parcel of ghosts by pre-
tending that this is an old fishing ground of his and enticing them
out to sea two by two, when he puts them to death, all but one.

WAKAINA

A cunning ghost of Waiapuka, North Kohala, disguises himself as
a dancer and approaches a party of people. He shows off his skill,
then calls for feather cloak, helmet, bamboo flute, skirt, and various
other valuable things with which to display his art. When he has
them secure, he flies off with them, and the audience never see him or
their property again.”

1Daggett tells this story.
2Gill tells this same story from the Hervey group. Myths and Songs, p. 88.

BECKWITH] ; APPENDIX 663

oy

3. StoRTES OF MoprerN CUNNING
KULEPE

A cunning man and great thinker lives on Oahu in the days of
Peleioholani. He travels to Kalaupapa, Molokai, is hungry, and, see-
ing some people bent over their food, chants a song that deceives
them into believing him a soldier and man of the court. They
become friendly at once and invite him to eat.

KAWAUNUIAOLA

A woman of Kula, Maui, whose husband deserts her for another
woman, makes herself taboo, returns to her house, and offers prayers
and invents conversations as if she had a new husband. The news
quickly spreads, and Hoeu starts at once for home. In this cunning
manner she regains her husband.

MAIAUHAALENALENAUPENA

The upland peddlers bring sugar cane, bananas, gourds, etc., to
sea to peddle for fish. Maiauhaalenalenaupena pretends to be a
fisherman. He spreads out his net as if just driven in from sea by
the rough weather. The peddlers trust him with their goods until
he has better luck; but he really is no fisherman and never gives them
anything.

WAAWAAIKINAAUPO AND WAAWAATKINAANAO

One day these two brothers’ go out snaring birds. The older
brother suggests that they divide the spoils thus: He will take all
those with holes on each side of the beak. The unobservant younger
brother consents, thinking this number will be few, and the older
wins the whole catch.

KUAUAMOA

At Kawaihae, Kohala, lives the great trickster, Kuauamoa. He
Inows Davis and Young after they are made prisoners by the
natives, and thus learns some English words. On the plains of
Alawawai he meets some men going to sell rope to the whites and
they ask him to instruct them what to say. He teaches them to swear
at the whites. When the white men are about to beat the peddlers,
they drop the rope and run away.

INDEX TO REFERENCES

ALEXANDER, W. D. Short synopsis of the most essential points of Hawaiian
Grammar. By William DeWitt Alexander, LL.D. (Yale), Honolulu, 1908.
Brief History of the Hawaiian People (school edition), Honolulu, 1908.
Hawaiian Geographic Names. Compiled by W. D. Alexander. Report of
Coast and Geodetic Survey for 1902. Appendix No. 7, Washington, 1903.

AnprEWs, L. Dictionary of the Hawaiian Language. By Lorrin Andrews,
Honolulu, 1865. Haui ka Lani, a prophetic song foretelling the deeds
of Kaméhaméha I, chanted by Keaulumoku eight years before the defeat
of Keoua. Translated by Judge Lorrin Andrews and revised by Sanford
B. Dole, Islander, Honolulu, 1875.

Bagsster, A. Siidsee-Bilder. By Arthur Baessler, Berlin, 1895. Neue Siidsee-
Bilder, Berlin, 1900.

3AsTIAN, A. Die heilige Sage der Polynesier: Kosmogonie und Theogonie. By
Adolf Bastian. Leipzig, 1881. Zur Kenntniss Hawaii's. Berlin, 1883.
FBiniges iiber Samoa und andere Inseln des Siidsee, 1889. Inselgriippen
in Oceanien. 1889. Die Samoanische Schépfungssage. Berlin, 1894.

BricgHam, W. T. Contributions of a Venerable Savage to the Ancient History
of the Hawaiian Islands, translated from the French of Jules Remy by
William Tufts Brigham, LL.D. (Columbia). Boston, 1868.

In publications of the Bishop Museum, Honolulu, Hawaii:

Hawaiian Feather Work, 1899. Additional Notes, 1908. Index to the
Islands of the Pacific, 1900. Stone Implements and Stone Work of the
Ancient Hawaiians, 1902. Mat and Basket Weaving of the Ancient
Hawaiians, 1906. Old Hawaiian Carving, 1906. Ancient Hawaiian
House, 1908. Ka Hana Kapa: Making of Bark Cloth in Hawaii, 1911.

Biitow, W. von. Samoanische Sagen. By Wilhelm von Biilow. Globus, 1895,
1896, 1897. Internationales Archiy fiir Ethnographie, 1898, 1899, 1908.

Coprineton, R. H. The Melanesians: Studies in their anthropology and folk-
lore. By Robert Henry Codrington. Oxford, 1891.

CoLteNso, W. Historical Incidents and Traditions of the Olden Times. Trans-
lated from the Maori. By W. Colenso, F. L. 8. Transactions of the New
Zealand Institute, Vol. XIII (1880), XIV (1881).

Coox, J. A New Voyage Round the World in the years 1768, 1769, 1770, 1771,
performed by Capt. James Cook in the ship Endeavor, drawn from his
own journals and from the papers of Joseph Banks, by John Hawkes-
worth. 2 volumes. New York, 1774. A Voyage Towards the South Pole
and Round the World, Performed in His Majesty’s ships the Resolution
and Adventure in the years 1772, 1778, 1774, and 1775 by Capt. James
Cook. In which is included Capt. Furneaux’s narrative of his proceed-
ings in the Adventure during the separation of the ships. 2 volumes.
Plates. London, 1777. Voyage to the Pacific Ocean. . . in His Majesty’s
ships the Resolution and Discovery, in the years 1776, 1777, 1778, 1779,
and 1780. 3 volumes. Vols. I and II by Capt. James Cook, F. R. S.
Vol. III by Capt. James King, LL.D., F. R. 8S. London, 1784.

Daccetr. Legends and Myths of Hawaii. Fables and Folktales of a Strange
People. Collected by Kalakaua, edited by Daggett. New York, 1888.

Diseie, 8S. A History of the Sandwich Islands. By Sheldon Dibble. Lahaina-
luna, 1843; Honolulu, 1909.

Dixon, R. B. Oceanic mythology. By Roland B. Dixon. In Mythology of
All Races. Vol. IX. Boston, 1916.

664

BECKWITH] INDEX TO REFERENCES 665

* ELLIS, W. Journal of a Tour Round Hawaii. By the Rey. William Ellis.
Boston, 1825; London, 1827. Polynesian Researches during a residence
of nearly eight years in the Society and Sandwich Islands. 4 volumes
(2d edition). London, 1842. ,

Emerson, N. B. Unwritten Literature of Hawaii: The Sacred Songs of the
Hula. By Nathaniel Bright Emerson, A. M., M. D. Bureau of American
Ethnology, Bulletin 38. Washington, 1909. Pele and Hiiaka, a myth
from Hawaii. Honolulu, 1915. MIawaiian Antiquities of David Malo.
Translated and edited. Honolulu, 1898.

Erpianp, P. A. Die Marshail-insulaner. Leben und Sitte, Sinn und Religion
eines Stidsee-Volkes. By P. August Erdland, M. 8. C. Anthropos, Ethno-
logische Bibliothek II, 1914.

Fison, L. Tales from Old Fiji. _By Lorimer Fison. London, 1904.

Fornanper, A. The Polynesian Race, an account of its origin and migrations
and the Ancient History of the Hawaiian People to the time of Kamé-
haméha I. By Abraham Fornander. 3 volumes. London, 1878. For-
nander Collection of Hawaiian Antiquities and Folk-lore. Memoirs of
the Bernice Pauahi Bishop Museum. Edited by Thomas G. Thrum.
Honolulu, 1916-.

Fraser, J. Iolksongs and Myths from Samoa. By John Fraser (with Powell
and Pratt), Royal Society of New South Wales, 1890, 1891, 1892, 1895.
Journal of the Polynesian Society, 1895, 1896, 1898.

GILL, W. W. Myths and Songs from the South Pacijic. By the Rey. William
Wyatt Gill. London, 1876. Sowth Pacific and New Guinea, past and
present, with notes on the Hervey Group, an illustrative song and various
myths. Sydney, 1892.

GirscHNER, M. Die Karolineninsel Namoluk und ihre Bewohner. By Max
Girschner. Baessler Archiv. Vol. II, 123. Berlin, 1912.

Gracia, M. Lettres sur les Iles Marquiscs. By Pére Mathias Gracia (priest
of the Sacred Heart). Paris, 1845.

Grey, G. Polynesian Mythology and Ancient Traditional Mythology of the
New Zealand Race. By Sir George Grey (Governor in chief of New
Zealand). London, 1855.

JARVES, J. J. History of the Hawaiian Islands. By James Jackson Jarves
(4th edition). Honolulu, 1872.

KorzesvuE, O. yon. Hntdeckungs-Reise in die Siid-See und nach der Berings
Strasse zur erforschung ciner nordéstlichen durchfahrt, unternommen
in den jahren 1815, 1816, 1817, wnd 1818. By Otto von Kotzebue. Wei-

mar, 1821.
Kramer, A. Die Samoa Inseln; Verfassung stammbiiume und tiberlieferungen.

Entwurf einer Monographie. By Dr. Augustin Kriimer. Vol. I. Stutt-
gart, 1902. Hawaii, Ostmikronesien und Samoa, meine zweite Siid-
seereise (1897-1899) zum studium der atolle und ihrer bewohner.
Stuttgart, 1906.

Lesson, P. A. Les Polynesiens; leur Origine, leurs Migrations, leur Langage.
By Pierre Adolph Lesson. Edited by Ludovie Martinet. 4 volumes.
Paris, 1880.

LInIvoKALAant. An account of the Creation of the World according to Hawaiian
Tradition. Composed by Keaulumoku in 1700 and translated from manu-
scripts preserved exclusively in her majesty’s family. By Liliuokalani
of Hawaii. Boston, 1897.

Lyons, C. J. Song of Kualit Tawaii chanted by Kupaahulani and Kama-
kaaulani. Translated by Gurtis J. Lyons. Journal of Polynesian Society
II, 160, and Islander, Honolulu, 1875. Land Matters in Hawaii, Islander.
Honolulu, 1875.

666 HAWAIIAN ROMANCE OF LAIEIKAWAI [ETH, ANN. 83

Mato, D. Moolelo Hawaii (Wawaiian Antiquities of David Malo and others)
gathered at Lahainaluna, 1835-36. Revised and published by Dibble,
1838. Translated into English by Rey. R. Tinker in Hawaiian Spectator
II, 1889. Compiled in Hawaiian by Rev. J. F. Pogue (Pokele), 1858.
Translated into French by M. Jules Remy. Paris, 1862. Hawaiian
Antiquities of David Malo, translated and edited with further material
by N. B. Emerson, with introduction and notes by W. D. Alexander.
Honolulu, 1898. "

Mariner, W. Account of the Natives of the Tonga Islands. By William
Mariner. Edited by John Martin. 2 volumes. Edinburgh, 1827.

MorrenHovt, J. A. Voyages aux iles du Grand Ocean. By J. A. Moerenhout.
2 volumes. Paris, 1837.

Powe, T. A Samoan Tradition of Creation and the Deluge. By Rev. T. Pow-
ell, F. L. S., Victoria Institute of Great Britain. Vol. XX.

Rivers, W. H. The History of Melanesian Society. By William Halse Rivers.
2 volumes. Illustrated. Cambridge, 1914.

Smirn, S. P. Hawaiki, the original home of the Maori; with a sketch of
Polynesian History. By 8S. Perey Smith, F. R. G. 8. (8rd edition.)
London, 1904.

Srair, J. B. Old Samoa, or Floatsam and Jetsam from the Pacific Ocean. By
Rey. John B. Stair. Religious Tract Society. London, 1897.

Stokes, J. F. G. Hawaiian Petroglyphs. By John F. G. Stokes. Occasional-
papers iv 4, Bishop Museum, Honolulu. Jndex to Forander’s Polynesian
Race. Honolulu, 1909.

Sréper, A. Samoanische Texte. By Alfons Stiibel, KGniglichen Museum fiir
Volkerkunde. Vol. IV, 1896.

THomson, B. The Fijians: A study of the decay of custom. By Basil Thomson,
London, 1908.

Turum, T. G. Hawaiian Folktales. A collection of Native Legends. By
Thomas G. Thrum. Chicago, 1907. The Hawaiian Annual; the refer-
ence book of information and statistics relating to the Hawaiian Islands,
Edited by Thomas G. Thrum. Honolulu, 1874- Ancient Hawaiian
Mythology. To appear.

TreGEAR, E. The Maori-Polynesiam Comparative Dictionary. By Edward Tre-
gear, F. R. G.S. Wellington, 1891. Polynesian Folk-lore. WHina’s Voyage
and Origin of Fire. Transactions of the New Zealand Institute, XIX
(1886) ; XX (1887).

Turner, G. Nineteen Years in Polynesia. By Rey. George Turner, LL. D.
London, 1861. Samoa a Hundred Years Ago. London, 1884.

WESTERVELT, W. D. Legends of Maui, a demigod of Polynesia, and his mother
Hina. By Rey. William D. Westervelt. Honolulu, 1910; Melbourne,
1913. Legends of Old Honolulu. Boston and London, 1915. Legends of
Gods and Ghosts. Boston and London, 1915. Hawaiian Legends of Vol-
canoes. Boston, 1916. :

Wuirte, J. Ancient History of the Maori, his mythology and traditions. By
John White. 6 volumes. New Zealand, 1887.

Wiuuams, T. Fiji and the Fijians. By Thomas Williams and James Calvert,
edited by George Rowe. 2 volumes. London, 1858.

Wouters, J. F. H. Mythology and Traditions of the Maori in New Zealand.
By the Rey. J. F. H. Wohlers. Transactions of the New Zealand Insti-
tute, Vol. VII. 1874.

Page

ACER NEGUNDO=oe) 2 oe o-oo! 61, 101 | AScLEPTAS
AGERMSACCHARINUM==.==2-" 5! 22s 100 | ASCLEPIAS
ACERASACCHARUM, UL a Sse sae 100 | ASCLEPTIAS
YACERE GHIAG patie Sa E e e BL OOH ANS rr Preeti de ee ROTA
ACHILLEA -MILLEFOLIUM__________ 134 mystic
ACOBUS" CALAMUS! 22s See 69) || HAISTER -SP===- 52 Ree en Be

human transportation of____ 60 | ASTRAGALUS CAROLINIANA
ACUAN ILLINOENSIS ~~ ~_----.--__ 89 | AUKELENUIAIKU_________ 625, 629, 636
AGARIGAGEAE) /s2se=5 == 3=—5 aS se G14 || Alyy keh ees See 3 eS 619, 651, 661
AGASTACHE ANETHIODORA —____--~ 113 | Bapvcers, destruction of mounds
AGE AND RELATIONSHIP TERMS__~_~ 622, 1D Ye ee ee ee ee 185, 188

Batiovu, Pror. Howarp M., search

JMU ea ee ee for titles for List of Works Re-
ALISMACEAE lating to Hawaii____
ALLIONIA NYCTAGINEA (BAT SANTINA CHAI eles - 1-1) Shia eees
AGEEUME MUDABIGN 2-2 ~——= =~ o=25=— BAPTISIA BRACTEATA_——__________
AMBROSTASEUATIOR 2222-222 = y BATHS, VAPor, cedar used in
AMELANCHIER ALNIFOLIA —_----_- 87/5 (BEAN GARDENS a = See 2 ees
PASKORIRT GAGN aR) ee ee 75 probable place of origin
AMORPHA CANESCENS ____-_______ 93") - BEAN GEOUNDSe=s 22s eee
AMORPHA FRUTICOSA__--_---_____ 93) | (BEANS seeSseeoo ee abe aa fe
AINA GARD IUA CRAB gee rae ee 99), | (BREARBERR Yes 22S = Dw 108
ANDROPOGON FURCATUS___-__-____ 68) ||| BEARD)-SACRED===2=—==— == == 309, 628
SATE MONE gee mete Ae 8 82 | Breauty—
ANEMONE CANADENSIS____— —-____ 82 appreciation of______ 321, 328, 617,
ANEMONE CYLINDRICA_____ _____~_ 82. 619, 630, 646
ANGUE-SUE My 22 eee oe Soe 132 LES e (9) Ropers ayes eee tee 657
ANT SE WEED ee eee te 130 BEAVER ROOTS a= =a. = es eee 107
APIAGHAE) S2=seeee te ee Se 107 | BeckwitH, Miss MarTHA WARREN,
AQUILEGIA CANADENSIS_____ _____ 82 note on accompanying paper of_ 40

human transportation of____ 59 | BEDSTRAW, FRAGRANT ~___________ 115
TATRA CHUAN eters setae eae Sy te ee 69) | BERBERIDACHAT === === 2a 83
(ARIAT AD A CIGAI eerste eee Make TOGS| PE ERGAMOL Ly iED me eee es aul
ARCHITECTURE, affected by flora. 57 | Bessry, Dr. CHaArtEsS E., sugges-
AROTHUM? (MINUS H as == ee oe 135 tions and encouragement given

of recent introduction_______ 59 Dee ae ee eee et eee 46
ARISAEMA TRIPHYLLUM____ ______ 69) | BET UGACK AR sos eae nen Sele TA
ARROW ape ees oe eee 660 | BETULA PAPYRIFERA______________ 75
PSR ROW TAU ete es ed be AEE 65 | Birp -caTtcHING-—_.-----=-___ 625, 663
ARTEMISIA DRACUNCULOIDES ______ 134 Ronestorl see 625
ARTEMISEA FRIGIDASS 22-70 32 134 | Brrp cops______301, 334, 619, 623, 636,
ARTEMISIA GNAPHALODES_________ 134 640, 655, 661
ASCEEPTADACKAR) 225022022) pe 109 | Bros, impersonation of, in dances_ 274

667

668

BITiee-SVEel. =
BLACK saw === — 3 ee
BLAckK RATTLEPOD_

BLACKS WARN Ui = ae eer
BLAZING) STARS 222 3) eee 13838
BLOODROOT 255 2 S645 5 83
IBUE COHOSH.=="— 328". 22 == = 83
BLUR BLAG?- > 3 2S ee 72
Boas, Dr. Franz—
editorial work:by_ 2-2 == 33
linguistic research by__------ 29
IBOEBERA™.PAPPOSASS === eee 132
Bocoras, WALDEMAR, Chukchee
grammar by —- =» $29
Bors) p) \Ake*=52—- ee eee ee 76
IBORAGINA GHAR. 325-25 = 111
IBOVISTA] PEUMBEA- == sss 24 ee 62
IBOXHEDER 222 = Se ee oe 101
BoxiNnG == 620, 621, 686, 641, 647
BRACKET RUNGIS=2———5 = 62
Brapsury, JOHN, botanical explor-
er} quoted22224. 2s ae eee 54
BROOM-WEED 2220s 2-- 22 ee Se 1383
BUNFALO-BEBBY=— ===> = ee 106
BUFFALO HUNT, ceremonial cleans-
ing before: —. 22a ee eee 132
BUFFALO PRAS <2 2-26 8 ee 91
BuiLpinGs, storage, Spring Can-
(0) | ee a 165
BULRUSH 69

of recent introduction_______ 59
IBURTAT HOUSE = === ee =e 658
IBURNING BRUS Hee. =o eee 102

BusHNELL, D. I., op., revision of
Catalogue of Prehistoric Works

east of the Rocky Mountains___ 32
BULTERET Yon WEED === ee ee ae 109
GACTACEAR = 22 Ss eee ee 104
CAESALPINIACEAE 89
CATAMUSS- = ee eee 69
CALLIRRHOE INVOLUCRATA_____+___ 103
CALVATIA CYATHAFORMIS _________ 62

Page
CEDAR —s-->-2% 2 ee 63
mystic characterso1=— === 57
symbolism of
CEEASTRACKAR == === =e =a eee
CELASTRUS SCANDENS____________ 102
CELTIS OCCIDENTALIS_—___________ 76
CERAMIC DECORATION, relation to
history 243225 Ae see wes 216
CEREMONY OF THE PEYOTE CULT___ 105
@HAETOPHORA ~~ 2-2 =2 => Se ee 61
CHAMAESYCE SERPYLLIFOLIA______ 99
CHENOPODIACEAE _______ Pet i 2 te 78
CHENOPODIUM ALBUM —____---____ 78
CHEROKEE, EAst, investigations
@MOn G2 2 == 23 ot ee ee ee Aut
CHIEFEAGLE, Orro, assistance ren-
dered by 22 === ee ee 46
CHINE BERRY ==352 Sees Sates 98
CHOKECHERRY = == Sasa awe eae 88

CuHorera, ASIATIC, cedar used as
remedy for=.—-=5- === === 64

CrrEULEUSICIIRULEUS=———

CLAN, woman determines, among

Pueblo-==-=-=— = See 219
CLans—

Asa, mentioned__ 266, 267, 273, 279

Badger, mentioned___________ 266,

267, 273, 279

Bear, earliest settlers of
Wial pis see.) eee 264
Bear, Flute, Snake ______ 216, 265
Bear, mentioned________-____ 265
Buli (Poli), mentioned_______ 273
Butterfly, mentioned_____ 267, 273
Flute, mentioned_______-____ 265
Bano; mentioned 22 266
Hor) mentioned! === 2 = 265
Kachina, mentioned_ 266, 267, 279

Kokop, or Firewood, supposed

founders of Sikyatki______ 218
Snake, mentioned________ 265, 266
Tanoan, influence on third

ceramic epoch=- —=- === s= 217
Tanoan, mentioned__________ 266
Tobacco, mentioned______ 270, 271

GrOovTHING=$2255=-25—-— == 620, 621, 628
CLOVER—
purple: prairie) eee. 94
white prairies2. ===" sre 94
COGSWELLIA DAUCIFOLIA__-—~=—--__ 107
COLOR] RED=—=—=— 822, 324, 646, 654, 655
COMB, SPLANT =2-="3 3 eee 131

INDEX 669

Page Page
CoMMELINACEAE______-__________ 70 | Densmorr, Miss FRANcEs, system-

COMPASS (PLANT [22S 2550252 >= 132 atiesresedrchy hy. —. =e 30

@OMPOSTTAR Se) == 5 5-5 5-55-5525 130 | DicHRoPHYLLUM MARGINATUM___ 99

Composition, characterization of_ 330
CoNE FLOWER, narrow-leaved pur-

j 0) A ee ee ee ee 13!
CONTRERS) 224 222 ee 63
CONVOLVULACEAE___~--------— 110, 111
CORALS BERRY2 soe == = ew SS 116
Corn—

charred, found in ruins__ 191, 196
found in Ruin No.*6________- 172
probable place of origin_____ 59
varieties grown by Indians__- 67
CORNSA MD Rte = 2 = eS oe ee 62
CoRNACEAE
Corncoss found in small build-

ings aa eee Rae a ee = Se 165
Cornus) AMOMUM-=_=—_==-=-=_ = 107
CoRNUS ASPERIFOLIA_—-—-—_------ 108
CoRNUS STOLONIFERA__—--_-______ 108
CoRYLUS AMERICANA-___--___-_-_ 74
CWOSMOLOGN5 Se oes to es 299
Corton, substitute for ____ 65
Corron woop ==- = ae 72

mystie character of__________ 57
COwaPARSNEP== === = <= = 107
CRAB SMP PTR aoa eee 86
CRATAEGUS CHRYSOCARPA_ ________ 87
CrEATION—

SOR PHOT = 296, 313, 317,

625, 627, 629, 634

SLOG Ol k= ean ae 300, 302
“ CRoATAN ” INDIANS—

Mixture of Indian, negro, and

wrbite: blood == se ilr¢

name repudiated by Indians— 17
CROTON MTEXENSIS= 22 - te 99
CUGIIMIRMR SWI = se 129
CUCGURBITAGHAR 6-2 2. 2-4 22 116

probable place of origin-___ 59
CUCURBITA FICIFOLIA_____________
CUCURBITA LAGENARIA
Cup-PLANT
CURRANT WILD BLACK. = 84
CUSCUTA PARADOKA]-- = 25 110
CYPERACEAE ________ 69
DAGGER WEED Tl

DANDELION, of recent introduction. 59
DASYSTEPHANA PUBERULA________ 109
DEFLECTORS, description of_______ 172

Dippock, Mrs. Watrer T., assist-
ancey rendered by 22— 232-22) seee 46
DIPPER GOURD SS Se. ae 117
DISPUTATION (HOOPAPA)_ 312, 316, 319,
327, 620, 647, 652

DODDERY et SNe vi - TD. Se ae 110
Dogwoopv—
TOGES © Angi ie tee he oes At. 107
ROUSn, —= ee Sa ae 108

DREAMS____ 334, 356, 374, 376, 456, 500,
502, 522, 618, 651, 654, 656
DYEING AND STAINING, plants used
for—

blood root; =2 = tee ee Bein 83
cottonwood buds__--- Wee te
dodderuma eee AS ee ae ee 110
Kentucky coffee tree_______ 90
lambismquarten’= == - sess ss 78
Licheris et. fes ea) Pk shae a 638
pokenberny2s==2 2. ee 19
SOltamapless.<) = sip Ae Ae el 107
SuUMaC > Siete eee eee 100
Wallnty See ey - te es 74
EacLte Nest Housr—
description of === saan 166
description of room-1________ 168
GOOT yaya ine eee eee TF7()
masonry“ of-ss == eee 170
MARTEL PARADIGE === sass same ee 303
ECHINACEA ANGUSTIFOLA_________ 131
HW GATAGNACHAMUS= 22 == = = ane eman ee 106
LDBRBERRY) =o S222 115
GRIO; aoe e ea ee ae 658
(EM NCAR! 2 ee er eee 61
HOUISETA CHAR = — ose Aa eas 63.
MQ UISETUING S25 Se ee ee 63
WRICAGHAR A eee eee ee 108
ERYTHRONIUM ALBIDUM____ ______ 71
ERYTHRONIUM MESOCHOREUM_____ 71
EVONYMUS ATROPURPUREA________ 102
HUPHORBIACEAR 2o5=-— == ee ee
RABAGE AR ess _ See ee ees
RAGA CHAR Sak Sail w Eset hed re el

FArCATA COMOSA _
ATSEMIGEAPE 25.225 sees eae

670
Page
Fast Horse AND WIFE, assistance
Tendenred) | Pyne 46
FEATHERS—
magie power attributed to___ 228
Significance (of === e=22—=— 227

FEATHERWORK___ 334, 618, 622, 642, 643
648, 649, 65S
FEwKEs, Dr. J. WALTER—
cited_—--= == 169, 170, 174, 177,
180, 196, 200
note on accompanying paper

Offre ee ae ee 40
note on the accompanying
Dapersee=.0es ie ae 39
systematic research by_——--~~ 12
Fire pir in Eagle Nest House____ 168
FIsHHOOKS, MAGICAL___-____ 640, 658,
659, 660
iG BLURS = 12
INDAXS “WILD tess ee eee 98
Fiora, effect on architecture_____ 57
Frowers, not plucked for adorn-
MeN t 222 Sa ee ee ee 58
WOX-GLOVES With so eee 114
FRACHTENBERG, Dr. LEO J., com-
pletion of Coos and Siuslaw
grammars: 22> == eee 29
FRAGARIA AMERICANA_——_--_-____ 84
F'RAGARIA VIRGINIANA —------—---- 84
FRAXINUS PENNSYLVANICA___-___- 108
RSUZ2.9-WEED <2" == ee ee ee 134
GALIUM TRIFLORUM ___-~_------__ 115
human transportation of____ 59
GENEALOGIES__~—_-~~ 308, 309, 313, 627,
629, 642, 652
GENTIANS. 42. 3 2 eee 109
GENTIANAGCEA Soo sa ee ee 109
GEOPRUMNON CRASSICARPUM_____~ 91
GHOSTS, ORIGIN OF_______ _. 612, 680
GIANT Hyssop, fragrant__________ 113
Gitt, Dre Lawncey, illustration
WOrk Dyes ee eee 34
GILLINGHAM,DAvip, assistance ren-
dered) by==) = eee 46

GILMoRE, Dr. MELVIN RANDOLPH,
note on accompanying paper of_ 39

GINSENG =a) === 28 = 22a Lae 106
GUY CINE VAPIOS| === 22 222o ees 94
GLYCYRHIZA, LEPIDOTAS= == eee == 92
GOLDENRODE oe 22 2 133
FOURD; DIPPER =—== == =e eS 117
GOURD: “WILD: --=-— = 116-117

Gourpbs, probable place of origin. 59

INDEX

Page

TRAPE) WILDS" Qeeo2 102
GRAVES, discovery of__-----~ 185, 187,
188, 189, 194, 195

RINDELIA SQUARROSA__—-—-----~-- 133
GROSSULARIA MISSOURTENSIS__---- 84
GROUND BEAN == 2 95
GROUND) CHESEY => ee 113
GROUND PLUM. ==32==24-=25se25 91
GUM “WHED2. 222 > eee 132
FuRLEY, J. G., editorial work by__ 33
GUTIERREZIA SAROTHRAE___-~--~~- 133
GYMNOCLADUS DIOICA____---__---- 89
EUACKBERRY S2- S2-s=-84-s2S-3e2= a
EPATR: SACRED] 2224-3252 ese 645

HATE MAO) = == = 812, 321, 327, 618,
. 619, 622, 629, 654

HANAAUMOn 2=== =) 2 == Se 662
Harpin, A. B., information given
Diy ee ee ee 161
Harrincton, J. P., cited___-_-_-_- 243
HARSHBERGER, Dr. J. W., uses and
correlations of ethnobotanic
Studyie 22. 23 ee 54
(EIASUMIRCAT AND oe eee 296, 310,
319, 3824
(EEA ZC ee 74
PRR AW INS 2 Se ee 299, 302, 318
Kahakaekaea-—--------— 556, 558,
584, 594, 612
Kealohilant 2282-2. 336, 554,
568, 586, 614
Ruaihelanii==2—==22 = 305, 634,
6386, 655
Lanikuaksa. =e 590
INtamMes ani ee 305, 554,
584, 627, 684
IEDEOMA) “HISPIDAS == == ea 112
HELIANTHUS ANNUUS —_---------- 130
HELIANTHUS TUBEROSUS___-_-~__~~ 1381
ERT VSIA GBA Wis oe eee 63
HENDERSON, ProF. JUNIUS, ac-
knowledgment for use of office
and equipment==————— 162
HERACLEUM .LANATUM__-------___ 107
Hewett, Dr. Encar L.—
cooperative work in excaya-
HON 222 32a see eee 11
suggestion by, concerning ex-
Gavations: 2 so=— = 161
Hewitt, J. N. Ba—
custodian of manuscripts__-_ 87

systematic research by-----_- 23

INDEX 671
é Page Page
HeEYE, GrorGE G., collection of JACK-IN-THE-PULPIT______________ 69
aboriginal objects’= 2-2" = 16 | Jackson, Wo. H., cited___164, 193, 197
ERICORTAT OWA een ee eee eS (4S TACOE!SrADDER =) ss eae wee ral
INTC KORY- END i See we Se ee 74 | JERUSALEM ARTICHOKE ___________ 181
HIGH-BUSH CRANBERRY______-____ 115 | JoHNson Canyon—
oA ReAWwED = 660 building shink= = Sa ee eee 165
Hirt, E. K., assistance rendered descriptionsof==s2 as 164
lth ee ol Se ee ee AGI RJ OUNT RUSE == oe eee 63
HINAAIKAMALAMA___ 382, 622, 629, 688 | JUGLANDACEAR__________ 74
HOAMAKEIKEKULA Se 6558 | UCUANS) nigral ee 74
Hopcr, F. W.— JUIN SRR Vee eee 87
collections made by__________ 36 | JUNIPERUS viRGINIANA ___________ 63
systematic research by_______ 1o | Kataxurkamoana -_____________ 634
HOrarean Wok ISONETAUEA OP UNA gee 656
Sie 164, 182, 198, 196, 197 ArT =e 298, 299, 634, 635, 643,
preparation of Handbook of 645, 648
IKCATPATAQ At 319, 327, 647
ATrcheolozye==- > SEesees 31 :
Hor KALAEHINA ee ee 652
c 9 SSSASTEAEED Uy INT eee 651
clans composing___----_----~ 216 z
pottery, imitation of_________ 218 AUECHALU ATA Ss ia DT eS 643
KSA AERU ATER ee eee 635
Hort pottery. See Pottery. _ | Kawaruaa_____ 301, 338, 622, 644, 658
BAU Soce 2 sesaseesasssssSee arose Week) ds 296, 305, 316, 645
Horncioup, JOosePH, assistance [CA Nesy CN, nee 300,
rendered by-----------_---_- 46 303, 305, 306, 618, 634, 636, 643
IORSE MUN == ens ee ee ee SLA SKA pe ea a eRe 308,
HorsERADISH, introduced by whites 59 305, 306, 618, 634, 686, 642, 643
ISLONSIEW at 8 ee 63 | KapuaoKaoHELoar_____ 623, 656
HovucH, Dr. WaLTtER— KSAP UNO HIS. So ee ee 646
GUS) a oe 176,178 | Kaunanrwoxm_______ 305, 306, 622, 659
collector of Hopi pottery for LiGiN Gar) eee eee ie ea 638
National Museum__________ 2190) KeAunomeam eee ee oes ee 661
QS sie C249 Keun ae ee 339, 635
13 Gant 305, 306, 311, 327, 654, 658 IA WiATOINTU TA OEAN ee 663
HUMULUS AMERICANA___________ Cle Keanwanrio sot san oe rai a Mie diene 620, 641
WT) oe eae see 643, 694 | KeAWEIKEKAHIALIT._— 653
IMPATIENS BIFLORA —-____________ IML | ixtoreonee oy 654
IMPATIENS PALLIDA —-----________ 101 | Kentucky COFFEE-TRER 89
TIN CAN DANTON === ae 639, 644,659 | Krmapoeant_ 650
INCONSISTENCIES_________ Gils OA) C2 || igre 619, 648
TDN DEAUN COB Neen ae ea Gia crag eee eate Eaee 626, 654
“ INDIAN GRAVES,” their use conjec- KERNEN INC ks Se a 107
(RUUE ee e O30 IIS Twy Giese teas be eee 624
List PATI EPO TAINO sess eae are 94 | Krva—
JIND EAN RICH Serer e semen os See 7 description: 0f=—— ee 169
I 102 in Eagle Nest House_________ 167
TREES COT ts a pt 616 | Kivas—
TIWCRERR Yea = ee aetna 78 Iwi NON So 165, 166
FONOKATIS) VIOGAGBAL == 5 == 98 InNCRUINBNO 20 le 192, 193
TPOMOEA LEPTOPHYLLA ___________ 110 | Kyire-Curer, Caries, assistance
ISSTYAGp Ii i ee eee 72 TeNGered hye = == eee 46
PieTSRVERSTCOLOR 2 == o-oo. oe 72 | Knire-Cuier, Mrs. Ruopa, assist-
IN MiG a 660 ancemmendereds ip ys == eee 46

672 INDEX
Page Page
KoNANE G19AB521655) | Wonose=see_ seess 3038, 649, 654
Tee et Oe ee 303, 649, 654 | LonorkKAMAKAHIKI_______-_---_- 296,
IU ARTS =a 626, 642 312, 321, 620, 634, 650, 652
Song- offs 2 ea eee ee 296 LOPHOPHORA WILLIAMSII__~—~~~-~ 104
313, 316, 319, 320, 339, 635 | Love cHARMs, plants used in—

IGUAPAKAA= 22> -\ =. _0k eee 301, bloods:00t=— 83
312, 316, 324, 620, 650 fuzzyaweed = eee 134
KigavAMOst 2-22 ss = ee 663 Pinsen gaa = eee ee 106
Kurarmanwi =. =~. 22 eee 635 Lobelia? red as Se ser eS 129
KURANTINOKUY==-- === oe a 839 LOVE WSCed | 2548 er ee 107
KULDPRs= 245 oe ee eee 6638 80
KUMUKAHT=—+ = #94 627 82
1iQoin oy Ne 800=302°306; 62056255629) | Move SEED= 22 === eee 107
LACINIARIA SCARIOSA-———-—___ AS8=184: | Woviny vines ee re eh)
ADy’ SMBouQqQurED ==. = (5 || WaycopeRDA CHAR: === = aa aa 62
La FLescHes, Francis— LYCOPERDON GEMMATUM__-------~— 62
collections made by___------- 36: | LixGoDESMTIA JUNCEA_=———-_-____— 136
systematic research by__----- 26 | MAITAUHOALENALENAUPENA —______ 663
TAINO HENO HW aa eS BDAC 2H || MATS es ee 67, 136
AaB? S-QUARTER=======—= eee Oi A|| MPAGRCATET Te Se ee eee ee 305,
LAND, DISTRIBUTION OF_________- 310, 317, 630, 637, 639, 644, 648
62°75 6415 G46N649" 650) || Mianto 222 eee 324, 627, 6386
AND SHELLBS Se ee 628. | Matrtery, Garrick, cited_________ 237
TWATHYRUS) ORNATUS_———- === === 98 || Marrow. PURPLE. 242 == See 103
LAUKIAMANUIKAHIKI__-_-___ O24; 655) || IMIAT US) SIORNSISS===———5——— == 86
DSUKIBEEUDA]—=2-'- eee = 307, 324, 629 human transportation of____~ 59
Lavery, J. H., assistance rendered MCAT VA GHAR = 22 === =e ee 103
Dye t= ee ere 161 | MatvaAsTRUM COCCINEUM —___----~ 103
CeAD PE ANT eee ee See eee 93 | MANINIHOLOKUAUA__-__~________ 661
Leary, Miss Erpa, work as li- EAP IE, SEUARDS 2 eye ee ee 100
Drarian Se eS 35) ||| Marne SORTi=2-- 20 oe ee 100
LEONTODON TARAXACUM, of recent NEARTGORD) RETID SS =e =n ee 132
introduction = === eee 5O']) MUARRTAGH oo SoS ee ee 616

LEPARGYREA ARGENTEA —___-___-__ 106 | MARRIAGE OF BROTHER AND SIS-
heen === eee 320, 662 WER == = oe ee ee 306, 309
IEESPEDEZA) |GAPITADAS 9) Se = OF (MeAnow RUE ==> = 80
TCH N SSS 8 22 eo oe eo eee 63) 1 Minna Av EDERAGH == —- fee een ae aa 9S
TICORICES WILD See eee eee 92) || Mmrracnano. ——- === eee 98
IDTERACK An a Oe ee eee (AUN Wi trorerm coe ofS FINE YN ease Se ee 91
LILIUM UMBELLATUM__———------_-— 71 | MELILOTUS OFFICINALIS_—____-_-___ 91
(UENACE AK = 228522 > == sa earee 98 | MemoriIziIneG -_-_--_-_ 312, 313, 316, 328
Linton, Rarpn, assistance ren- MENTSPERMACKAT ==> 838
dered'by2e==-=2 === 161 | MENISPERMUM CANADENSE_------~ 83
LiNUM DMWISK==-= ===). eee 98 | MENTHA CANADENSIS__—~---______ 112
Lion CANYON, location of_________ 166 || Mentescmans. ==" 2S) s- esa 111
LITHOSPERMUM CANESCENS___~—~—~ 14 ||, MErarnor=* 32 2=2== 322-325, 326, 328

LAV RAT OE-POD= oe eee 91 | MicHEetson, Dr. TRUMAN, system-
TEL SRD GOD" Sean eae 305, 306, atic research py=22 24
825, 624, 625, 636, 637, 650, 656, G61 | MrcRAMPELIS LOBATA-—---------__ 129
MORSACE ARS. = ee ee eee 103) |] o Maron a2 es See ee 13-4
DOBRLTAICSRDENAGISH Om = 129\0) Winx wer ee 109
human transportation of_____ 60 || Viney np) A ee eS 110
MHOBRLTA, RED Se ee see eee oe eee 129 || Miroiky. SWiAWw 22s 6389

INDEX 673

Page Page

Mititer, GEORGE, assistance ren- NIHOALAKI______ 301, 303, 622, 640, 657

derediby#sos ve) 4s) See Phe 46 | NorDENSKIOLD, G., cited__________ 164,

litte ee a ae 299, 620, 660 166, 167, 170, 172, 174, 176
MIMOSACEAE. NusspaumM, JESSE L., photographs

1 tri [S94 oo Pees | 1S ea and plaster casts made by___--_ 11

MoaNALIHAIKAWAOKELE__ 307, 324,629 | NUTPTALLIA NUDA

MOoaAULANUIAKEA_________ 370, 619, 645

BVT OMEGA ee 619, 656, 647
MONARDA FISTULOSA_~_-----__-__- alatst
human transportation of_____ 59
RODIN a. Bess pie yet _ Th ye 637, 6388
Moon, Karr, Osage photographs to
Deuhornished bya see eee — 28
Mooney, JAMES—
collections made by__~--~---- 36
manuscript read by--------- 46
systematic research by_______ alr¢
MooNnSsEED 83
MoorEHEAD, WARREN K., coopera-
tion of _____ ! 33
MoRACEAE 76
MorCHELLA ESCULENTA__~_~---____ 63
DIDI Res eee eee re eee «oe 63
MokgNING-GLORY,. BUSH__~~_------_ 110
Morris, Hart H., note on accom-
panyinie paper /of=28s8__sa2ee2 39
Mowunps, destruction of, by badg-
he eee eee 185, 188
MULLEIN, of recent introduction___ 59
Murife, ALFRED, AND WIFE, assist-
ance rendered by_—.———_=— =—225 46
Mouriz, JAMES R., assistance ren-
Mered Jy = = 2S _ Payta hs = 46
MUSEUMS CONTAINING COLLECTIONS
Ok HOB POtrERYes 3. yak 219
MUSHROOMS, PRAIRIE________ 62
MUSICAL INSTRUMENTS _________— 618,
623, 627, 662
NAME, MAGIC IN_________- 316, 319, 659
NAME SONG__________ 312, 644, 652, 659
NaMPEO—
Copying of Sikyatki mortuary
desions= ee seipenry s atye 218
expert modern potter________ 217
mentioned _—_ pee TEINS
IMAININY BERRY. = =~ => Sau Yireeess 4 t f 43 115
INDEDIE GRASS= 234 fare 1G 2: 66
INE UMB OMIA ses ele Da 79
NEPETA CATARIA, introduced by
WiITLOS er St ee ee 59
INI = se eth ia 77
NICOTIANA QUADRIVALVIS _________ 1138
probable place of origin______ 59

74936°—19—33 ErH——43

OUMAGEAD.-3_-04_ SGT ft eee
QOPELEMOEMOn =: ooo SE 642
OPUKAHONUS, 252s aca SS 635
OPUNTIA HUMIFUSA__.-. 22 104
OSAGE: ORANGES = eet 76
OxXALIDACEARS. =_ =e Rae Aaa ee 98
PADUS MELANOCARPA. 940) 42024 89
PUP AD US) WAIN AS a sn OS 88

307, 634, 643,645, 646

PA NERN OR! 2 See SUS AN Ony o" Bae 301, 622, 658
PANAX QUINQUEFOLIUM —_~_~~--__ 106
PANICUM! VIRGATUM_ 12105 Us sie 66
PAPAVERACHAR <== === sand 83
PAPER BiG aur th 0) Be Os Aa wis)
PARALTBIISM 225 2 =s—— ee SE 328
ParRKER, ARTHUR C., cooperation of. 33
PARMELIA BORRERI —== ~~~ + =+s_ 63
PARMEEIACHAE. tk BEM i) re 63
IPAROSEDA: ‘AU REAS=<= <5 =- 3 E ees 94
PAROSELA ENNEANDRA ____ 94
PARTHENOCISSUS QUINQUEFOLIA___ 102
PASQUE FEOWEER S22 22S ae ose es 80
Pripe==——=2====="295+3803)'68S! 644" 645
PEMBINAS 23 ===~-84I92 IU 8 TOR! 115
PENISHKA, JACK, assistance ren-
COUN (0 hal Oa feel al deere een LARS 46
PENNYROYAES ROUGHED === === er aig bn
PENSTEMON GRANDIFLORUS________ 114
PRPOeROETIDISSIMA======—2 5 SL 116
PEPoMirA ThE = See eee SS 118
(PRP OAP EP iat teas are aren iss SEM 117
PERFUMES, plants used as________ 59
ladys|bouquet=====s8e ease 115
meadowsriest esses. eee 80
‘prickly iash=-2=-.6= 2" aa ee 98
Sywreehreracsee SSS eee 66
wilds columpbines =o eee 82
PETALOSTEMUM CANDIPUM ________ 94
PETALOSTEMUM PURPUREUM_______ 94
PHrROGiyYeHBS==——- 2-22 627, 653

674

PEYOTE

PHASEOLUS VULGARIS____+_---____
probable place of origin______ 59
PHYSALIS HETEROPHYLLA___~_~__~ 118
PHYSALIS LANCEQLATA== =22=5-= 1138
PHYTOLACCA AMERICANA_--_______ 78
PHYTOLACCACEAN= = = == 78
Picorre, Dr. Susan La FLESCHE,
assistance rendered by_-------- 46
PicroGkRaAPHsS in Ruin No, 7____-~ 174
PPK OTR AAU AT Ae ene 301, 326, 641
{PINOT WEED == 25,.=— > 132
PIN ACEAR {= == Ss Seer ee 638
PINE: LODGEPOLE 2 = eee 63
PINUS MURRAYANA ————-~——-=-—=— 63
PLACE, AFFECTION FOR _~--------- 321
PLACE NAMES(S 22) eee 314
affected! by flora=_ =~ 2-2 == BiC(
IPTANTAGINACEAR == =o ae 115
IPVANTAGO) MAJ OR= === =e 115
BAN TAIN === ee ee ee 115
PLANTS—
beads and pendants made
fTOM) Seeds Olas 58
human factor in distribution
0 a ee 59
materials for personal adorn-
ment =.= == eee 58
names of. See Glossary of
plant names.
parts of, used for their fra-
grance._—_ 59
study of, by certain persons__ 55
VATIOUSUSCS|=-=—— == 55
SAC OC See te er ee 625, 659
PLEURISY “ROOM! = see === 5 109
PLEUROTUS ULMARIUS_----~-~---— 61
PLUM, WUD S S225 Fee 87
Piums, human transportation of__ 60
IPOACEARS<— =- =_— 5 a eee eee 66
IPOISON IVY oo ee ee 100
POISON, (OAK === ee 100
POREBERRY = 222 2 sos ee 78
POTTARIU Sse ser es 305, 306, 324
ROLY. GONACKAR 6 == == eee eee edi
POLY PORACWAB. = 52> 5-25 62
POLYSTICTUS VERSICOLOR_—--~~-~~-~ 62
POMME BLANCHE) == —- ees 92
Ponp ity, large yellow_____-____ 79
PoOPULUS SARGENT == 2—- = Sse TP
PORCUPINE) GRASS2———— == ee eee 66
POTATO, INDIANG 2625S eae eee 94

Page
PoTTeERry—
classification by color and
LORIE 2 ee a ee 216
designs more definite than
COlON-2 eee 217
feather designs on___________ 236
Hopi, collection at Phoenix,
(ATA. a 219
Hopi, museums containing col-
lectionsjofe= 235s) sina 219
Sikyatki, bird pictures on____ 228
Sikyatki, human figures de-
Dicted [ones sae)
Sikyatki, life-forms used in
decorationiof2 = Sate 220
Sikyatki, most elaborately
decorated in Southwest___ 217
Sikyatki, no masks or head-
dresses shown_____________ 221
Sikyatki, purely aboriginal and
prehistoric= = aes PAW
superiority of ancient to mod-
COLNE 2 a
Tanoan epoch s=- 2 wieee sas 266.
Wattron collection, source un-
known, but probably from
Sikyatkil 2A ty pee at 220
PRAIRIE ASTER <5. 5 eee 133
PRATRIE-DOG FOOD Lf) 5225)! Ws _ es 132
PRAIRIE GROUND CHERRY______--__ 113
PRAYER—
addressed to spirits of the
dead. == == = ees 301
formvrof 7.203 02 Perey ws 621, 626
texts of_____ 388, 396, 466, 625, 680
PRAYER .WAND..- 20:3) Seat 87
PRICKLY, ASH. 4? 35S 98
PRICK PEESRo—- = ee ee 104
PRIESTHOOD
PRotoceccus,{!2__- > =. = eee
IPROTOPHY GEAR ———=- = === eae 61
Pruppen, T. MrrcHect, cited_ 164, 182
PRUNUS AMERICANA... =U Lo 87
transportation of 60
PRUNUS! BESSHYI=— ==> = eee 88
PSORALEA ESCULENTA__-—---=___ 56, 92
PSoRALEA TENUIFLORA_____------- 93
Puresito INDIANS, preparation of
annotated bibliography of_____~ 9
IBREBATES 2 =e a a ees 62
PuLouLou (taboo sign) ————--- === 622

POLSATILEA PATENSoa2as— ee 80

INDEX 675
Page Page
ee Meee eee ee 301, 657 | Rurins—
PokieRdin ae eae ae 117, 136 Johnson Canyon____-_------- 164
probable place of origin_--~~~ 59 Spring Canyon 165
Puna 305, 306, 327, 340, 619,627, 644, 654 | Rumex crispus —-__--_-___-__--- 77
PUNIA ~-~----------------------- 662 | RuMEX HYMENOSERALUS —-----__- 7
PUNTATKI ----------------------- 640 | Russtan THISTLE, introduced from
PUPUALENALENA.—->——--_-_----__- 661 Burope*= ta ee 59
PUPUHULUENA —------------- STO G59) pigacmamev sc eee SY 98
QUERCUS MACROCARPA_—_~----___— 75 | Sacrep Pore, made of cottonwood_ 5S
Sisal RUBEA 2 Sarrorp, W. E., aid in arranging
/ TARO OR oa ae ee and aa : <
Pre erermecnies: | tt renee
search by--------------------- 22 ver wipe ee ee 134
URINE MDD) 182 SAGITTARIA LATIFOLIA___-_-_-_---_— 65
TEUACHINIES ON GH ase eee STIR) Ngee Cara eda uae, Sec ON 7
RAINFALL, reduction of_-------~- 1G} || inoeee terme kee eo 73
RAN UINGULACHANS= === 5-2 === IOS | sineeae ein ay ol Ae 73
RASACEAB___—_----_-_-------~--— 84 | Sarsova PESTIFER introduced from
VAS PBRRE | WVRD ee ae 84 Stra aC lls Seah ek aL 59
RATIBIDA COLUMNARIS__--------—- 181 |g E
SAMBUCUS CANADENSIS___-_------- 115
(OGD. SSD Mesos seen eer pee SANDBAR WILLOW 73
REDEBRUS eee ae ee 108 eo pienso ci ae led 88
Taipan T(ak\||Win ae eee Pa ee Gee .
Teng. aoe lee iD EL 87 SANGUINARIA CANADENSIS ____---- 88
ee ae aera es 129 Sapir, Dr. Epwarp, sketch of Ta-
eS ae eH SAE kelma, grammar = 29
iQue ee ee ee RSIAIS CATO O Nea ee 87
REDWEED SAVASTANA ODORATA_______------- 66
RREDADEN A CRAT eect his SSER TEE eee = 402 | SAXIFRAGACEAE _________-_------- 84
Fer TATA Sade nL EIS Tee. gg | ScHoot or AMERICAN ARCH 0L-
RIBES AMERICANUM ___----_---_-- 84 oGy—_
Bion kUNDIANE- Tose le Bel Ome. 7. cooperation in research by_-_ 10
rom. Pwr ee eee Seer te 67 cooperation with | University
Ripprine ___ 326, 623, 641, 646, 647, 652 Gani e SOEs ee =
TROND, Ta bee eae ee 650 < ies ahaa) Lae :
RoBINnson, RrcHarp, assistance ren- SEOURING BUSES aaa year rita 63
Gere a yaaa ee RUA? 46 ScROPHULABIACEAE —_---___--____ 114
Rock, stone or hill transforma- SEEDS—
ions. A aS 5 et 302, beads and pendantsmadefrom_ 58
617, 637, 638, 639, 643, 652, 656, 658 distributed by human agency_ 59, 60
ROC ET Ree Te ee 75 sed: for) bedds==—— =e 60
Rope MAKING, plants used for— used for their fragrance_____ 59
TC Cl ere ime eA qq] | SHOESTRING-——----------------—_ 93
Biiperyiclinee === ae = 76 | SHorT But, assistance rendered
Tilia americana_____-------- 102 Dy) ee ee 46
RorrPpa ARMORACIA, introduced by Surines, description of _________~ 262
<Whites ee ee ee ee ROU SIGNG === eee s ae 301, 304, 318, 321
ROSA PRATINGCOLN] === =o 85 pind see ee 619, 649
ROS TIN Wie Da ee eee 132 Clouds as = 305, 306, 626
Ross, Witt1AM E., assistance ren- miscellaneous__—-——--_— 621, 649, 650
GWE) jk) pa 161 periume= =e 625, 629
TER DEER U NCL pp er 115 rainbows. 630, 649, 650, 656
RUBUS OCCIDENTALIS —__---------- 84 storm __ 37, 628, 629, 630, 655, 657

RUBUS STRIGOSUS-_-——-_-_---__-_— 84

TaD00===——————— Seas BLO) 622

676 INDEX
Page Page
SrxyATKI— ETPAS SPARTA - (2 ee 66
abandoned before 1540____-__ 218 | STRAWBERRY, WILD_------________ 84
excavation of, in 1895____-___ 218 || SUGAR MAKING —--_____--__.— 100, 101
prehistoric pottery of________ ZT || SUMAGC, SMOOPHs2s-=-=-===25".— 99
probable cause of overthrow _ 219 | SUNFLOWER 130, 186
THIBS (Oe 3 ee ee ee 218 | Surr—
SILPHIUM LACINIATUM__=——-_____ 132 names’ fort 22 ts 316, 627
SILPHIUM PERFOLIATUM_---~----~ 132 DELsonified == ee 639
SmMinns Ss 2 =a ee eee 621 ridings = 624, 627, 646, 654, 659
SREUMECON GWRED) 2 eee ee ee 136 | Swanton, Dr. Joan R.—
SLIPPERY ELM___ PSS) collections made by___-—_---~ 36
SLOUGH (GRASS 24 Sass a ae 66 systematic research by_-----~ 18
SMILAX: CHMRBACH AH] <== oe ee yet || SAVER CORE: eee =a ee oe 107
Saroug 7 22 Se a eee 62: || EEC Clover’ —-=-—---) =e 91
SINAKEGRASS 22-5 2522 S2Sen eons G3: |) SWEET TAGs Se eee 69
SNATCH 4BnL Ye = aS ee es 71 | SwWEETGRASS ____ == 66
SNOW-ON-THE-MOUNTAIN —________ 99 1 SWEET PAS wipe = eee 98
SOSP WEED === 26 ont s oa eee : | SwitceGRass=._ 1) ~ Sau ssS 66
SOGANSICHAT = oes aaa ee 113 | SymBorism—
SOLIDAGON Sp == a eee ee 188 Kéresans 2 o2 eee 267, 270
SoLmaGo RIGIDA, reason for in- ‘Patiol S54 Cs ES eee 267
Creasenot == =e a 61 Pan oan Lew e ee ae 267
SONG OF THE WILD ROSE___--__-___ 85. | SympBors—
SONGSNtOxtS Of = eee 294, Ean ovepoch*==2— == ==. == aaa 217
310, 327, 376, 422, 424, 426, 428, intended to influence super-

484, 486, 488, 520, 558, 566, 604
SonGs FOR RAIN

SoORCERESS) == as ee
Sorret— 5
Sheep f< Se e e 98
WAMOME ESWC 6h 98
yellow wooule 3222s 98
Soup DOCK= = 4+. 242. DMM EEE AED Ue
SPANISH BAW ONE Te) eee eee ral
SPANISH" NEEDINSE=2e" eee eee 66
SPARTINA MICHAUNIANA_————-_ 66
DPIDHR-BEAN See ae er eee 89
SPIDERT LIE 6 = ee 70
SPIDER WORT UUH SIGS l ews Detat Stayed 70
SPIROGY RACE La EE Ee ite 61
Spring Canyon, ruins at______- 165
SPRING ~Dirty Uns Ue aes (al
SQUARE-STEM —_ 132
SQUASHeIee! . Hoel tote ae A ees 118, 136
probable place of origin______ 59
STARA = = W 3 5-e are terete pees 318
STEVENSON, MATILDA CoxE—
cited > eae
systematic research by
SMUG TEE SSD ee ee af eg ee

STILLWELL, Miss MARGARET BING-
HAM, copying of French-Miami
GictipnAhy Aes Sess See ae 32

natural beings
Keres. ts as ie ae
pottery of Middle Mesa and

Sikyatki almost identical___ 219

religious, discussion of__-____ 274
Sikyatki, imitations of, in
modern pottery ___~--__--_ 218
Sikyatki, modern demand for_ 218
TRO Wale ==. ew sett a a aS 270

SYMPHORICARPOS OCCIDENTALIS_____ 116
SYMPHORICARPOS SYMPHORICARPOS_
Hina UN DIANE === 52>. Sa ee
THALICTRUM DASYCARPUM

THALICTRUM PURPURASCENS, hu-
man transportation of_________ 59
THERMOPSIS RHOMBIFOLIA _-_____ 91

THUNDER BIRD (Halulu)_ 824, 629, 637
TILIA AMERICANA

ARTTTACWAT 42 SEC An me es
EPaP arn 222) Le Se) 2 8 te eee
TOBACCO, UE tee Se
ceremonial use of
probable place of origin_—___—_ 59
TOUCH-ME-NOT, WILD__--_________ 101
TOWER ON RvUIN No. 38_-___----—- 165
TTOXICODENDRON TOXICODENDRON____ 100
TOXYLON POMIFERUM-_--—~~-.--—---~ 76
TRADESCANTIA VIRGINICA —-—---___ 70

INDEX

677
Page Page
Ei voTINEEO WER eee 80 | WarrHer, HEnry—
EYP EVA CA he ee 64 assistant to illustrator______~ 35
iiSaersy\ MUO NOUN oe 64 death: ofi.2. +522 ee 35
WinAGA CRAB = a2 a 75 | War cLuB___ 621, 639, 642, 644, 645, 648
CHEM Speen ee eee 61 | WASHINGTONIA LONGISTYLIS____-__ 107
ULMUS AMERICANA — We WCASELTEACN A: -- 02-0 2 She eee 111
(Whenaqays InN oe ee TG); WATER CHINQUAPING === 222222 = 79
WiEMUS HORA ST OS ee ee OU VVATER. Ok IRE. ==ee == ee eee 537
WROmER EK ae eee ee Gite | RWWA MELON= a= 120, 136
WMBIEICAT, (GORDI === 2-22-72 = 627 probable place of origin_____~ 59
LU ft ke es ee 839, 627, 649, 660 | WATER-STRING _________________-- 93
UNIVERSITY OF COLORADO, Coopera- WEAVING, PLANTS USED IN—
tion with School of American DUIS eee aes See 67
Archrology —222-- == 2= === 161 nettle 22-25 = 8 Pa ee 77
URRIGACHAN Ne = ea 7 | WepsTEeR, DANTEL, assistance ren-
RINT CAN G RA CTHTR ee ee ee TK deredtby see == a a eee 46
USNEA BARBATA_ 63 | WESTERN CHOKECHERRY —-—-----~~ 89
WSNBAGHAR) =2.26. 5 --==32 252 -=— 63 | WESTERVELT’S VERSION_-------~-- 305
WSTILAGINACEAR 2-2 = 2 62 | Wuire Eacte, Cuter, assistance ‘
WSTREAGO MAYDIS=- == === 62 mendered yee ee 46
UivASuRSH sUWA-URSIE-— == 108 | WHITE ELM___ ie
UwEUWELEKEHAU
WAPORMBATHS= eae ona 46
VERBASCUM THAPSUS, cedar used WELD ANISH =— 22-5 Sa 113
in of recent introduction___-—— 59 | WiILD BLACK CUBRANT ____--_--_-- 84
\WASTSSEL ONY N YA Be 111 | Wiep coLUMBINE __ 82
VERBENA: FIASTATA ~~ == 2 = -= 111 | Witp rour-o’cLock 78
VERBMNAGEANA=2ue 5-22 eee S= AM WWD) GOOSEBRRR Y= == === ee S4
VERNONIA FASCICULATA, reason for WikED) ELCORIGBss= "2 =e Se Ene 92
inGres Seyo ee ee 61 | Writp ontoNn : 71
VIBUBNUM LENTAGO_--_—--__--__- 115 | Winp prum ST
WILD RICE_ it¢
Wri) BOSE se 22) Sos See ee = 385)
WiiOW? 222 =5-- — eeeee eee he
mystic character of==-" === ="= 5T
WilND: BLOWER 22-2 === se ee 82
VINTAGHAM 2a ae eee 102 | WrnpD GopDESS__----- 316, 643, 650, 651
WIDISUCINERB A=. == SSS 102 | WinsHrIP, GEORGE PARKER, ac-
VETIS RVUEP INAS = === eso SES 102 knowledgment to________-=--_ 32
WAAWAATKINAAUPO___----_----__ G6SS|D\WOERVBEREY --=->2-- 25228 Se 116
WAHANUI —__—_— Cee eee 625, 643 | WomeEN, position of__ 309, 617, 641, 652
WAILING FOR THE DEAD___--- 312, 321 | WorsHiP OF THE DEAD__-~ 616, 657, 658
WAIOPUKA 338 | XANTHOXALIS STRICTA ~-----_-___ 98
WavsaApa, assistance rendered by-— 46 | Yarrow —-~-~~-=------~---_----- 13+
AVE AUSA INN See en eg Re eae (662))| Wenrow Iberus 2-25 =-2- <== =e xo)
WAREmA (and! Papa))i-==-=- -—--——— BOO MUCES *GOAUCA == ear eee fal
$14, 619, 634, 635,652 | ZANTHOXYLUM AMERICANUM _-~~-~ 98
Waker, Amos, assistance ren- human transportation of__-__ 59
dered by aa ee eee AGA WZRAY MEANS eee eee ae oe 67
WALKER, Dr. J. R., suggestion con- probable place of origin _____ 59
cerning name of wild rice______ Gul PALZaNEAs AGUATICON= = saa s = 56, 67
Wi ARNOU BLACK 30 === S222 SS l= Tae VivGOPEG CORA = ae 61

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