File:Pele and Hiiaka - a myth from Hawaii (1915) (14784208192).jpg

Identifier: pelehiiakamythfr00emer (find matches)
Title: Pele and Hiiaka : a myth from Hawaii
Year: 1915 (1910s)
Authors: Emerson, Nathaniel Bright, 1839-1915
Subjects: Legends -- Hawaii
Publisher: (Honolulu) : Printed by Honolulu Star-Bulletin Limited
Contributing Library: University of Connecticut Libraries
Digitizing Sponsor: University of Connecticut Libraries

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ike those that had gone before.Lohiau, thereupon, sought relief for his artistic disappointmentin song: Wehea iho nei loko o ka moe;Malamalama no me he ahi lele la,No lalo, e; auwe hoi au, e! TRANSLATION Failed, failed in my choicest ambition! —Heralded, like a shooting star! —Fallen, fallen, alas and alas! The game has by this time resolved itself into a contest of witsas well as of skill, and the two chief antagonists are — strangeto relate — Lohiau. the man who was called back from the graveand the woman to whom he owes his life, Hiiaka. As a prelude to her next play Hiiaka gave this song: I uka kaua i Moe-awakea,( c)I ka nahele o Ka-liu, la.Auwe hoi, e-e! TRANSLATION You shall bed with me in open dayIn the twilight groves of Ka-liu —Woe is me! Ive uttered it now! Hiiakas play this time as before was a marvellous show of (a) Moe-awakca, a hill in Puna; here used for its otymological sig-nification—literally, to sleep at noontime—which is brought out in thetranslation.
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Pele and Hiiaka—A Myth 177 skill. The kilu seemed possessed with an instinct of attractionfor the block that stood as her target. Like a bee that has founda rich honey-flower it returned again and yet again, as if to drainthe last particle of sweetness. Before venturing on his last play, Lohiau discarded the kiluhe had been using and chose another, thinking thus to changehis luck. He also changed the style of his song, adopting themore sensuous form called ami honua,(b) or kuu pau: Ke lei mai la Ka-ula i ke kai, e;Ka malamalama o Niihau i ka malie.A malama ke kaao o kou aloha —Kou aloha hoi, e-e! In the first line of this little song, Lohiau, skilfully playing onthe name Pele-ula, which he turns into Ka-ula, under the figureof the ocean tossing about that little island, banters the womanfor her display of passion. In the second line, using a similarword-play, by which he turns his own name into Nii-hau, hecontrasts the calm of the latter island with the agitation of theformer. TRA

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