The Hawaiian Romance Of Laieikawai. S. N. Haleole

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.]

      [Footnote 4: With the stories quoted from Fornander may be compared such wonder tales as are to be found in Krämer, pp. 108, 116, 121, 413–419; Fison, pp. 32, 49, 99; Grey, p. 59; Turner, Samoa, p. 209; White I, 82, etc.]

4. THE EARTHLY PARADISE; DIVINITY IN MAN AND NATURE

       Table of Contents

      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 the younger gods rent them apart to give room to walk upright;[1] 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 goddesses 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and valleys, rocks, and crevices as they trampled hollows with a spring and thrust their spears through mountains, were superseded by a humaner race of heroes who ruled the islands by subtlety and skill, and instead of climbing the heavens after the fiery drink of the gods or searching the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.[2]

      And during this transfer of attention from heaven to earth the objective picture of a paradise in the heavens or of an underworld 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 Kane"—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 tree of knowledge," the well of life, and plenty without labor.[3] "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 under 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 Laieikawai 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 supernatural blends into the natural in exactly the same way as to the Polynesian mind gods relate themselves to men, facts about one being regarded as, even though removed to the heavens, quite as objective as those which belong to the other, and being employed to explain 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 folklore 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.

       Footnotes to Section II, 4: The Earthly Paradise

      [Footnote 1: Grey, pp. 1–15; White, I, 46; Baessler, Neue Südsee-Bilder, pp. 244, 245; Gill, Myths and Songs, pp. 58–60.]

      [Footnote 2: Compare Krämer'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. Krämer'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,"

       etc.]

      [Footnote 3: Krämer, Samoa Inseln, pp. 44, 115; Fison, pp. 16, 139–161, 163; Lesson, II, 272, 483 (see index); Mariner, II, 100, 102, 115, et seq.; Moerenhout, I, 432; 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."]

5. THE STORY: ITS MYTHICAL CHARACTER

       Table of Contents

      These mythical tales of the gods are reflected in Haleole's romance of Laieikawai. Localized upon Hawaii, it is nevertheless familiar with regions of the heavens. Paliuli, the home of Laieikawai, and Pihanakalani, home of the flute-playing high chief of Kauai, are evidently earthly paradises.[1] 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 follows to the heavens corresponds with Polynesian cosmogonic conceptions, 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 of some of the same material as Haleole's version.[2]

      The main situation in this story furnishes a close parallel to the Laieikawai A beautiful girl of high rank is taken from her parents 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 mountain, Poliahu, though identical in name and nature, plays a minor part in Haleole's story. In other details the stories show discrepancies.[3] 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. Restoring this connection, the story describes the doings of a single family, gods or of godlike descent.[4]

      In