Maui remembered that an old priest lived in Waipio valley, the largest and finest valley of the large island, Hawaii, on which he made his home.

This priest had a covered calabash in which he compelled the winds to hide when he did not wish them to play on land and sea. The priest's name was Kaleiioku, and his calabash was known as ipu-makani-a ka maumau, "the calabash of the perpetual winds." Maui called for the priest who had charge of the winds to open his calabash and let them come up to Hilo and blow along the Wailuku river. The natives say that the place where Maui stood was marked by the pressure of his feet in the lava rocks of the river bank as he braced himself to hold the kite against the increasing force of the winds which pushed it towards the sky. Then the enthusiasm of kite flying filled his youthful soul and he cried aloud, screaming his challenge along the coast of the sea toward Waipio—

"O winds, winds of Waipio,
In the calabash of Kaleiioku.
Come from the ipu-makani,
O wind, the wind of Hilo,
Come quickly, come with power."

Then the priest lifted the cover of the calabash of the winds and let the strong winds of Hilo escape. Along the sea coast they rushed until as they entered Hilo Bay they heard the voice of Maui calling—

"O winds, winds of Hilo,
Hasten and come to me."

With a tumultuous rush the strong winds turned toward the mountains. They forced their way along the gorges and palisades of the Wailuku river. They leaped into the heavens, making a fierce attack upon the monster which Maui had sent into the sky. The kite struggled as it was pushed upward by the hands of the fierce winds, but Maui rejoiced. His heart was uplifted by the joy of the conflict in which his strength to hold was pitted against the power of the winds to tear away. And again he shouted toward the sea—

"O winds, the winds of Hilo,
Come to the mountains, come."

The winds which had been stirring up storms on the face of the waters came inland. They dashed against Maui. They climbed the heights of the skies until they fell with full violence against their mighty foe hanging in the heavens.

The kite had been made of the strongest kapa (paper cloth) which Maui's mother could prepare. It was not torn, although it was bent backward to its utmost limit. Then the strain came on the strong cord of olona fibre. The line was stretched and strained as the kite was pushed back. Then Maui called again and again for stronger winds to come. The cord was drawn out until the kite was far above the mountains. At last it broke and the kite was tossed over the craters of the volcanoes to the land of the district of Ka-u on the other side of the island.

Then Maui was angry and hastily leaped over the mountains, which are nearly fourteen thousand feet in altitude. In a half dozen strides he had crossed the fifty or sixty miles from his home to the place where the kite lay. He could pass over many miles with a single step. His name was Maui-Mama, "Maui the Swift." When Maui returned with his kite he was more careful in calling the winds to aid him in his sport.

The people watched their wise neighbor and soon learned that the kite could be a great blessing to them. When it was soaring in the sky there was always dry and pleasant weather. It was a day for great rejoicing. They could spread out their kapa cloth to dry as long as the kite was in the sky. They could carry out their necessary work without fear of the rain. Therefore when any one saw the kite beginning to float along the mountain side he would call out joyfully, "E! Maui's kite is in the heavens." Maui would send his kite into the blue sky and then tie the line to the great black stones in the bed of the Wailuku river.

Maui soon learned the power of his kite when blown upon by a fierce wind. With his accustomed skill he planned to make use of his strong servant, and therefore took the kite with him on his journeys to the other islands, using it to aid in making swift voyages. With the wind in the right direction, the kite could pull his double canoe very easily and quickly to its destination.

Time passed, and even the demi-god died. The fish hook with which he drew the Hawaiian Islands up from the depths of the sea was allowed to lie on the lava by the Wailuku river until it became a part of the stone. The double canoe was carried far inland and then permitted to petrify by the river side. The two stones which represent the double canoe now bear the name "Waa-Kauhi," and the kite has fallen from the sky far up on the mountain side, where it still rests, a flat plot of rich land between Mauna Kea and Mauna Loa.

X.

It was said that Maui and Hina had no fire. They were often cold and had no cooked food. Maui saw flames rising in a distant place and ran to see how they were made. When he came to that place the fire was out and some birds flew away. One of them was Ka-Alae-huapi, "the stingy Alae"—a small duck, the Hawaiian mud hen. Maui watched again and saw fire. When he went up the birds saw him coming and scattered the fire, carrying the ashes into the water; but he leaped and caught the little Alae. "Ah!" he said, "I will kill you, because you do not let me have fire." The bird replied, "If you kill me you cannot find fire." Maui said, "Where is fire?" The Alae said, "Go up on the high land where beautiful plants with large leaves are standing; rub their branches." Maui set the bird free and went inland from Halawa and found dry land taro. He began to rub the stalks, but only juice came out like water. He had no red fire. He was very angry and said, "If that lying Alae is caught again by me I will be its death."

After a while he saw the fire burning and ran swiftly. The birds saw him and cried, "The cooking is over. Here comes the swift grandchild of Hina." They scattered the fire, threw the ashes away and flew into the water. But again Maui caught the Alae and began to kill it, saying: "You gave me a plant full of water from which to get fire." The bird said, "If I die you can never find fire. I will give you the secret of fire. Take a branch of that dry tree and rub." Maui held the bird fast in one hand while he rubbed with the other until smoke and fire came out. Then he took the fire stick and rubbed the head of the bird, making a place where red and white feathers have grown ever since.

He returned to Hina and taught her how to make fire, using the two fire sticks and how to twist coconut fibre to catch the fire when it had been kindled in wood. But the Alae was not forgotten. It was called huapi, "stingy," because it selfishly kept the knowledge of fire making to itself.

MAUI CATCHING THE SUN.

Maui watched Hina making tapa. The wet tapa was spread on a long tapa board, and Hina began at one end to pound it into shape; pounding from one end to another. He noticed that sunset came by the time she had pounded to the middle of the board. The sun hurried so fast that she could only begin her work before the day was past.

He went to the hill Hele-a-ka-la, which means "journey of the sun." He thought he would catch the sun and make it move slowly. He went up the hill and waited. When the sun began to rise, Maui made himself long, stretching up toward the sky. Soon the shining legs of the sun came up the hillside. He saw Maui and began to run swiftly, but Maui reached out and caught one of the legs, saying: "O sun, I will kill you. You are a mischief maker. You make trouble for Hina by going so fast." Then he broke the shining leg of the sun. The sufferer said, "I will change my way and go slowly—six months slow and six months faster." Thus arose the saying, "Long shall be the daily journey of the sun and he shall give light for all the people's toil." Hina learned that she could pound until she was tired while the farmers could plant and take care of their fields. Thus also this hill received its name Hele-a-ka-la. This is one of the hills of Waianae near the precipice of the hill Puu-o-hulu.

UNITING THE ISLANDS.

Maui suggested to Hina that he had better try to draw the islands together, uniting them in one land. Hina told Maui to go and see Alae-nui-a-Hina, who would tell him what to do. The Alae told him they must go to Ponaha-ke-one (a fishing place outside of Pearl Harbor) and find Ka-uniho-kahi, "the one toothed," who held the land under the sea.

Maui went back to Hina. She told him to ask his brothers to go fishing with him. They consented and pushed out into the sea. Soon Maui saw a bailing dish floating by the canoe and picked it up. It was named Hina-a-ke-ka, "Hina who fell off." They paddled to Ponaha-ke-one. When they stopped they saw a beautiful young woman in the boat. Then they anchored and again looked in the boat, but the young woman was gone. They saw the bailing dish and threw it into the sea.

Maui-mua threw his hook and caught a large fish, which was seen to be a shark as they drew it to the surface. At once they cut the line. So also Maui-hope and Maui-waena. At last Maui threw his hook Manai-i-ka-lani into the sea. It went down, down into the depths. Maui cried, "Hina-a-ke-ka has my hook in her hand. By her it will be made fast." Hina went down with the hook until she met Ka-uniho-kahi. She asked him to open his mouth, then threw the hook far inside and made it fast. Then she pulled the line so that Maui should know that the fish was caught. Maui fastened the line to the outrigger of the canoe and asked his brothers to paddle with all diligence, and not look back. Long, long, they paddled and were very tired. Then Maui took a paddle and dipped deep in the sea. The boat moved more swiftly through the sea. The brothers looked back and cried, "There is plenty of land behind us." The charm was broken. The hook came out of "the one toothed," and the raised islands sank back into their place. The native say, "The islands are now united to America. Perhaps Maui has been at work."

MAUI AND PEA-PEA THE EIGHT-EYED.

Maui had been fishing and had caught a great fish upon which he was feasting. He looked inland and saw his wife, Kumu-lama, seized and carried away by Pea-pea-maka-walu, "Pea-pea the eight-eyed." This is a legend derived from the myths of many islands in which Lupe or Rupe (pigeon) changed himself into a bird and flew after his sister Hina who had been carried on the back of a shark to distant islands. Sometimes as a man and sometimes as a bird he prosecuted his search until Hina was found.

Maui pursued Pea-pea, but could not catch him. He carried Maui's wife over the sea to a far away island. Maui was greatly troubled but his grandmother sent him inland to find an old man who would tell him what to do. Maui went inland and looking down toward Waipahu saw this man Ku-olo-kele. He was hump-backed. Maui threw a large stone and hit the "hill on the back" knocked it off and made the back straight. The old man lifted up the stone and threw it to Waipahu, where it lies to this day. Then he and Maui talked together. He told Maui to go and catch birds and gather ti leaves and fibers of the ie-ie vine, and fill his house. These things Maui secured and brought to him. He told Maui to go home and return after three days.

Ku-olo-kele took the ti leaves and the ie-ie threads and made the body of a great bird which he covered with bird feathers. He fastened all together with the ie-ie. This was done in the first day. The second day he placed food inside and tried his bird and it flew all right. "Thus," as the Hawaiians say, "the first flying ship was made in the time of Maui." This is a modern version of Rupe changing himself into a bird.

On the third day Maui came and saw the wonderful bird body thoroughly prepared for his journey. Maui went inside. Ku-olo-kele said, "When you reach that land, look for a village. If the people are not there look to the beach. If there are many people, your wife and Pea-pea the eight-eyed will be there. Do not go near, but fly out over the sea. The people will say, 'O, the strange bird;' but Pea-pea will say, 'This is my bird. It is tabu.' You can then come to the people."

Maui pulled the ie-ie ropes fastened to the wings and made them move. Thus he flew away into the sky. Two days was his journey before he came to that strange island, Moana-liha-i-ka-wao-kele. It was a beautiful land. He flew inland to a village, but there were no people; according to the ancient chant:

"The houses of Lima-loa stand,
But there are no people;
They are at Mana."

The people were by the sea. Maui flew over them. He saw his wife, but he passed on flying out over the sea, skimming like a sea bird down to the water and rising gracefully up to the sky. Pea-pea called out, "This is my bird. It is tabu." Maui heard and came to the beach. He was caught and placed in a tabu box. The servants carried him up to the village and put him in the chief's sleeping house, when Pea-pea and his people returned to their homes.

In the night Pea-pea and Maui's wife lay down to sleep. Maui watched Pea-pea, hoping that he would soon sleep. Then he would kill him. Maui waited. One eye was closed, seven eyes were opened. Then four eyes closed, leaving three. The night was almost past and dawn was near. Then Maui called to Hina with his spirit voice, "O Hina, keep it dark." Hina made the gray dawn dark in the three eyes and two closed in sleep. The last eye was weary, and it also slept. Then Maui went out of the bird body and cut off the head of Pea-pea and put it inside the bird. He broke the roof of the house until a large opening was made. He took his wife, Kumu-lama, and flew away to the island of Oahu. The winds blew hard against the flying bird. Rain fell in torrents around it, but those inside had no trouble.

"Thus Maui returned with his wife to his home in Oahu. The story is pau (finished)."

XI.

The story of Maui seeking immortality for the human race is one of the finest myths in the world. For pure imagination and pathos it is difficult to find any tale from Grecian or Latin literature to compare with it. In Greek and Roman fables gods suffered for other gods, and yet none were surrounded with such absolutely mythical experiences as those through which the demi-god Maui of the Pacific Ocean passed when he entered the gates of death with the hope of winning immortality for mankind. The really remarkable group of legends which cluster around Maui is well concluded by the story of his unselfish and heroic battle with death.

The different islands of the Pacific have their Hades, or abode of dead. It is, with very few exceptions, down in the interior of the earth. Sometimes the tunnels left by currents of melted lava are the passages into the home of departed spirits. In Samoa there are two circular holes among the rocks at the west end of the island Savaii. These are the entrances to the under-world for chiefs and people. The spirits of those who die on the other islands leap into the sea and swim around the land from island to island until they reach Savaii. Then they plunge down into their heaven or their hades.

The Tongans had a spirit island for the home of the dead. They said that some natives once sailed far away in a canoe and found this island. It was covered with all manner of beautiful fruits, among which rare birds sported. They landed, but the trees were shadows. They grasped but could not hold them. The fruits and the birds were shadows. The men ate, but swallowed nothing substantial. It was shadow-land. They walked through all the delights their eyes looked upon, but found no substance. They returned home, but ever seemed to listen to spirits calling them back to the island. In a short time all the voyagers were dead.

There is no escape from death. The natives of New Zealand say: "Man may have descendants, but the daughters of the night strangle his offspring"; and again: "Men make heroes, but death carries them away."

There are very few legends among the Polynesians concerning the death of Maui. And these are usually fragmentary, except among the Maoris of New Zealand.

The Hawaiian legend of the death of Maui is to the effect that he offended some of the greater gods living in Waipio valley on the Island of Hawaii. Kanaloa, one of the four greatest gods of Hawaii, seized him and dashed him against the rocks. His blood burst from the body and colored the earth red in the upper part of the valley. The Hawaiians in another legend say that Maui was chasing a boy and girl in Honolii gulch, Hawaii. The girl climbed a breadfruit tree. Maui changed himself into an eel and stretched himself along the side of the trunk of the tree. The tree stretched itself upward and Maui failed to reach the girl. A priest came along and struck the eel and killed it, and so Maui died. This is evidently a changed form of the legend of Maui and the long eel. Another Hawaiian fragment approaches very near to the beautiful New Zealand myth. The Hawaiians said that Maui attempted to tear a mountain apart. He wrenched a great hole in the side. Then the elepaio bird sang and the charm was broken. The cleft in the mountain could not be enlarged. If the story could be completed it would not be strange if the death of Maui came with this failure to open the path through the mountain.

The Hervey Islands say that after Maui fished up the islands his hook was thrown into the heavens and became the curved tail of the constellation of stars which we know as "The Scorpion." Then the people became angry with Maui and threw him up into the sky and his body is still thought to be hanging among the stars of the scorpion.

The Samoans, according to Turner, say that Maui went fishing and tried to catch the land under the seas and pull it to the surface. Finally an island appeared, but the people living on it were angry with Maui and drove him away into the heavens.

As he leaped from the island it separated into two parts. Thus the Samoans account for the origin of two of their islands and also for the passing away of Maui from the earth.

The natives of New Zealand have many myths concerning the death of Maui. Each tribe tells the story with such variations as would be expected when the fact is noted that these tribes have preserved their individuality through many generations. The substance of the myth, however, is the same.

In Maui's last days he longed for the victory over death. His innate love of life led him to face the possibility of escaping and overcoming the relentless enemy of mankind and thus bestow the boon of deathlessness upon his fellow-men. He had been successful over and over again in his contests with both gods and men. When man was created, he stood erect, but, according to an Hawaiian myth, had jointless arms and limbs. A web of skin connected and fastened tightly the arms to the body and the legs to each other. "Maui was angry at this motionless statue and took him and broke his legs at ankle, knee and hip and then, tearing them and the arms from the body, destroyed the web. Then he broke the arms at the elbow and shoulder. Then man could move from place to place, but he had neither fingers or toes." Here comes the most ancient Polynesian statement of the theory of evolution: "Hunger impelled man to seek his food in the mountains, where his toes were cut out by the brambles in climbing, and his fingers were also formed by the sharp splinters of the bamboo while searching with his arms for food in the ground."

It was not strange that Maui should feel self-confident when considering the struggle for immortality as a gift to be bestowed upon mankind. And yet his father warned him that his time of failure would surely come.

White, who has collected many of the myths and legends of New Zealand, states that after Maui had ill-treated Mahu-ika, his grandmother, the goddess and guardian of fire in the under-world, his father and mother tried to teach him to do differently. But he refused to listen. Then the father said:

"You heard our instructions, but please yourself and persist for life or death."

Maui replied: "What do I care? Do you think I shall cease? Rather I will persist forever and ever."

Then his father said: "There is one so powerful that no tricks can be of any avail."

Maui asked: "By what shall I be overcome?" The answer was that one of his ancestors, Hine-nui-te-po (Great Hine of the night), the guardian of life, would overcome him.

When Maui fished islands out of the deep seas, it was said that Hine made her home on the outer edge of one of the outermost islands. There the glow of the setting sun lighted the thatch of her house and covered it with glorious colors. There Great Hine herself stood flashing and sparkling on the edge of the horizon.

Maui, in these last days of his life, looked toward the west and said: "Let us investigate this matter and learn whether life or death shall follow."

The father replied: "There is evil hanging over you. When I chanted the invocation of your childhood, when you were made sacred and guarded by charms, I forgot a part of the ceremony. And for this you are to die."

Then Maui said, "Will this be by Hine-nui-te-po? What is she like?"

The father said that the flashing eyes they could see in the distance were dark as greenstone, the teeth were as sharp as volcanic glass, her mouth was large like a fish, and her hair was floating in the air like sea-weed.

One of the legends of New Zealand says that Maui and his brothers went toward the west, to the edge of the horizon, where they saw the goddess of the night. Light was flashing from her body. Here they found a great pit—the home of night. Maui entered the pit—telling his brothers not to laugh. He passed through and turning about started to return. The brothers laughed and the walls of night closed in around him and held him till he died.

The longer legend tells how Maui after his conversation with his father, remembered his conflict with the moon. He had tied her so that she could not escape, but was compelled to bathe in the waters of life and return night after night lest men should be in darkness when evening came.

Maui said to the goddess of the moon: "Let death be short. As the moon dies and returns with new strength, so let men die and revive again."

But she replied: "Let death be very long, that man may sigh and sorrow. When man dies, let him go into darkness, become like earth, that those he leaves behind may weep and wail and mourn."

Maui did not lay aside his purpose, but, according to the New Zealand story, "did not wish men to die, but to live forever. Death appeared degrading and an insult to the dignity of man. Man ought to die like the moon, which dips in the life-giving waters of Kane and is renewed again, or like the sun, which daily sinks into the pit of night and with renewed strength rises in the morning."

Maui sought the home of Hine-nui-te-po—the guardian of life. He heard her order her attendants to watch for any one approaching and capture all who came walking upright as a man. He crept past the attendants on hands and feet, found the place of life, stole some of the food of the goddess and returned home. He showed the food to his brothers and persuaded them to go with him into the darkness of the night of death. On the way he changed them into the form of birds. In the evening they came to the house of the goddess on the island long before fished up from the seas.

Maui warned the birds to refrain from making any noise while he made the supreme effort of his life. He was about to enter upon his struggle for immortality. He said to the birds: "If I go into the stomach of this woman, do not laugh until I have gone through her, and come out again at her mouth; then you can laugh at me."

His friends said: "You will be killed." Maui replied: "If you laugh at me when I have only entered her stomach I shall be killed, but if I have passed through her and come out of her mouth I shall escape and Hine-nui-te-po will die."

His friends called out to him: "Go then. The decision is with you."

Hine was sleeping soundly. The flashes of lightning had all ceased. The sunlight had almost passed away and the house lay in quiet gloom. Maui came near to the sleeping goddess. Her large, fish-like mouth was open wide. He put off his clothing and prepared to pass through the ordeal of going to the hidden source of life, to tear it out of the body of its guardian and carry it back with him to mankind. He stood in all the glory of savage manhood. His body was splendidly marked by the tattoo-bones, and now well oiled shone and sparkled in the last rays of the setting sun.

He leaped through the mouth of the enchanted one and entered her stomach, weapon in hand, to take out her heart, the vital principle which he knew had its home somewhere within her being. He found immortality on the other side of death. He turned to come back again into life when suddenly a little bird (the Pata-tai) laughed in a clear, shrill tone, and Great Hine, through whose mouth Maui was passing, awoke. Her sharp, obsidian teeth closed with a snap upon Maui, cutting his body in the center. Thus Maui entered the gates of death, but was unable to return, and death has ever since been victor over rebellious men. The natives have the saying:

"If Maui had not died, he could have restored to life all who had gone before him, and thus succeeded in destroying death."

Maui's brothers took the dismembered body and buried it in a cave called Te-ana-i-hana, "The cave dug out," possibly a prepared burial place.

Maui's wife made war upon the spirits, the gods, and killed as many as she could to avenge her husband's death. One of the old native poets of New Zealand, in chanting the story to Mr. White, said: "But though Maui was killed, his offspring survived. Some of these are at Hawa-i-i-ki and some at Aotea-roa (New Zealand), but the greater part of them remained at Hawa-i-ki. This history was handed down by the generations of our ancestors of ancient times, and we continue to rehearse it to our children, with our incantations and genealogies, and all other matters relating to our race."

"But death is nothing new,
Death is, and has been ever since old Maui died.
Then Pata-tai laughed loud
And woke the goblin-god,
Who severed him in two, and shut him in,
So dusk of eve came on."
—Maori death chant, New Zealand.

XII.

Hina is a Polynesian goddess whose story is very interesting—one worthy of study when comparing the legends of the island groups of the Pacific. The Hina of Hilo is the same as the goddess of that name most widely known throughout Polynesia—and yet her legends are located by the ancient Hawaiians in Hilo, as if that place were her only home. The legends are so old that the Hawaiians have forgotten their origin in other lands. The stories were brought with the immigrants who settled on the Hilo coast. Thus the stories found their final location with the families who brought them. There are three Hawaiian Hinas practically distinct from each other, although a supernatural element is connected with each one. Hina who was stolen from Hawaii by a chief of the Island of Molokai was an historical character, although surrounded by mythical stories. Another Hina, who was the wife of Kuula, the fish god, was pre-eminently a local deity, having no real connection with the legends of the other islands of the Pacific, although sometimes the stories told concerning her have not been kept entirely distinct from the legends of the Hina of Hilo.

The Hilo Hina was the true legendary character closely connected with all Polynesia. The stories about her are of value not simply as legends, but as traditions closely uniting the Hawaiian Islands with the island groups thousands of miles distant. The Wailuku river, which flows through the town of Hilo, has its own peculiar and weird beauty. For miles it is a series of waterfalls and rapids. It follows the course of an ancient lava flow, sometimes forcing its way under bridges of lava, thus forming what are called boiling pots, and sometimes pouring in massive sheets over the edges of precipices which never disintegrate. By the side of this river Hina's son Maui had his lands. In the very bed of the river, in a cave under one of the largest falls, Hina made her own home, concealed from the world by the silver veil of falling water and lulled to sleep by the continual roar of the flood falling into the deep pool below. By the side of this river, the legends say, she pounded her tapa and prepared her food. Here were the small, graceful mamake and the coarser wauke trees, from which the bark was stripped with which she made tapa cloth. Branches were cut or broken from these and other trees whose bark was fit for the purpose. These branches were well soaked until the bark was removed easily. Then the outer bark was scraped off, leaving only the pliable inner bark. The days were very short and there was no time for rest while making tapa cloth. Therefore, as soon as the morning light reddened the clouds, Hina would take her calabash filled with water to pour upon the bark, and her little bundle of round clubs (the hohoa) and her four-sided mallets (the i-e-kuku) and hasten to the sacred spot where, with chants and incantations, the tapa was made.

The bark was well soaked in the water all the days of the process of tapa making. Hina took small bundles of the wet inner bark and laid them on the kua or heavy tapa board, pounding them together into a pulpy mass with her round clubs. Then using the four-sided mallets, she beat this pulp into thin sheets. Beautiful tapa, soft as silk, was made by adding pulpy mass to pulpy mass and beating it day after day until the fibres were lost and a sheet of close-woven bark cloth was formed. Although Hina was a goddess and had a family possessing miraculous power, it never entered the mind of the Hawaiian legend tellers to endow her with ease in producing wonderful results. The legends of the Southern Pacific Islands show more imagination. They say that Ina (Hina) was such a wonderful artist in making beautiful tapas that she was placed in the skies, where she beat out glistening fine tapas, the white and glorious clouds. When she stretches these cloud sheets out to dry, she places stones along the edges, so that the fierce winds of the heavens shall not blow them away. When she throws these stones aside, the skies reverberate with thunder. When she rolls her cloud sheets of tapa together, the folds glisten with flashes of light and lightning leaps from sheet to sheet.

The Hina of Hilo was grieved as she toiled because after she had pounded the sheets out so thin that they were ready to be dried, she found it almost impossible to secure the necessary aid of the sun in the drying process. She would rise as soon as she could see and hasten to spread out the tapa made the day before. But the sun always hurried so fast that the sheets could not dry. He leaped from the ocean waters in the earth, rushed across the heavens and plunged into the dark waters again on the other side of the island before she could even turn her tapas so that they might dry evenly. This legend of very short days is strange because of its place not only among the myths of Hawaii but also because it belongs to practically all the tropical islands of the Pacific Ocean. In Tahiti the legends said that the sun rushed across the sky very rapidly. The days were too short for fruits to ripen or for work to be finished. In Samoa the "mats" made by Sina had no time to dry. The ancestors of the Polynesians sometime somewhere must have been in the region of short days and long nights. Hina found that her incantations had no influence with the sun. She could not prevail upon him to go slower and give her more time for the completion of her task. Then she called on her powerful son, Maui-ki-i-ki-i, for aid.

Some of the legends of the Island Maui say that Hina dwelt by the sea coast of that island near the high hill Kauwiki at the foot of the great mountain Haleakala, House of the Sun, and that there, facing the southern skies under the most favorable conditions for making tapa, she found the days too short for the tapa to dry. At the present time the Hawaiians point out a long, narrow stone not far from the surf and almost below the caves in which the great queen Kaahumanu spent the earliest days of her childhood. This stone is said to be the kua or tapa board on which Hina pounded the bark for her cloth. Other legends of that same island locate Hina's home on the northeast coast near Pohakuloa.

The Hilo legends, however, do not deem it necessary that Hina and Maui should have their home across the wide channel which divides the Island Hawaii from the Island Maui in order to wage war successfully with the inconsiderate sun. Hina remained in her home by the Wailuku river, sometimes resting in her cave under Rainbow Falls, and sometimes working on the river bank, trusting her powerful son Maui to make the swiftly-passing lord of day go more slowly.

Maui possessed many supernatural powers. He could assume the form of birds or insects. He could call on the winds to do his will, or he could, if he wished, traverse miles with a single stride. It is interesting to note that the Hilo legends differ as to the way in which Ma-ui the man passed over to Mau-i the island. One legend says that he crossed the channel, miles wide, with a single step. Another says that he launched his canoe and with a breath the god of the winds placed him on the opposite coast, while another story says that Maui assumed the form of a white chicken, which flew over the waters to Haleakala. Here he took ropes made from the fibre of trees and vines and lassoed the sun while it climbed the side of the mountain and entered the great crater which hollows out the summit. The sun came through a large gap in the eastern side of the crater, rushing along as rapidly as possible. Then Maui threw his lassoes one after the other over the sun's legs (the rays of light), holding him fast and breaking off some of them. With a magic club Maui struck the face of the sun again and again. At last, wounded and weary, and also limping on its broken legs, the sun promised Maui to go slowly forevermore.

"La" among the Polynesians, like the word "Ra" among the Egyptians, means "sun" or "day" or "sun-god"—and the mountain where the son of Hina won his victory over the monster of the heavens has long borne the name Hale-a-ka-la, or House of the Sun.

Hina of Hilo soon realized the wonderful deed which Maui had done. She spread out her fine tapas with songs of joy and cheerily performed the task which filled the hours of the day. The comfort of sunshine and cooling winds came with great power into Hina's life, bringing to her renewed joy and beauty.

XIII.

There are two rivers of rushing, tumbling rapids and waterfalls in the Hawaiian Islands, both bearing the name of Wailuku. One is on the Island of Maui, flowing out of a deep gorge in the side of the extinct volcano Iao. Yosemite-like precipices surround this majestically-walled crater. The name Iao means "asking for clouds." The head of the crater-valley is almost always covered with great masses of heavy rain clouds. Out of the crater the massed waters rush in a swift-flowing stream of only four or five miles, emptying into Kahului harbor. The other Wailuku river is on the Island of Hawaii. The snows melt on the summits of the two great mountains, Mauna Kea and Mauna Loa. The water seeps through the porous lava from the eastern slope of Mauna Loa and the southern slope of Mauna Kea, meeting where the lava flows of centuries from each mountain have piled up against each other. Through the fragments of these volcanic battles the waters creep down the mountain side toward the sea.

At one place, a number of miles above the city of Hilo, the waters were heard gurgling and splashing far below the surface. Water was needed for the sugar plantations, which modern energy has established all along the eastern coast of the large island. A tunnel was cut into the lava, the underground stream was tapped—and an abundant supply of water secured and sluiced down to the large plantations below. The head waters of the Wailuku river gathered from the melting snow of the mountains found these channels, which centered at last in the bed of a very ancient and very interesting lava flow. Sometimes breaking forth in a large, turbulent flood, the stream forces its way over and around the huge blocks of lava which mark the course of the eruption of long ago. Sometimes it courses in a tunnel left by the flowing lava and comes up from below in a series of boiling pools. Then again it falls in majestic sheets over high walls of worn precipices. Several large falls and some very picturesque smaller cascades interspersed with rapids and natural bridges give to this river a beauty peculiarly its own. The most weird of all the rough places through which the Wailuku river flows is that known as the basin of Rainbow Falls near Hilo. Here Hina, the moon goddess of the Polynesians, lived in a great open cave, over which the falls hung their misty, rainbow-tinted veil. Her son Maui, the mighty demi-god of Polynesia, supposed by some writers to be the sun-god of the Polynesians, had extensive lands along the northern bank of the river. Here among his cultivated fields he had his home, from which he went forth to accomplish the wonders attributed to him in the legends of the Hawaiians.

Below the cave in which Hina dwelt the river fought its way through a narrow gorge and then, in a series of many small falls, descended to the little bay, where its waters mingled with the surf of the salt sea. Far above the cave, in the bed of the river, dwelt Kuna. The district through which that portion of the river runs bears to this day the name "Wai-kuna" or "Kuna's river." When the writer was talking with the natives concerning this part of the old legend, they said "Kuna is not a Hawaiian word. It means something like a snake or a dragon, something we do not have in these islands." This, they thought, made the connection with the Hina legend valueless until they were shown that Tuna (or kuna) was the New Zealand name of a reptile which attacked Hina and struck her with his tail like a crocodile, for which Maui killed him. When this was understood, the Hawaiians were greatly interested to give the remainder of this legend and compare it with the New Zealand story. In New Zealand there are several statements concerning Tuna's dwelling place. He is sometimes represented as coming from a pool to attack Hina and sometimes from a distant stream, and sometimes from the river by which Hina dwelt. The Hawaiians told of the annoyances which Hina endured from Kuna while he lived above her home in the Wailuku. He would stop up the river and fill it with dirt as when the freshets brought down the debris of the storms from the mountain sides. He would throw logs and rolling stones into the stream that they might be carried over the falls and drive Hina from her cave. He had sought Hina in many ways and had been repulsed again and again until at last hatred took the place of all more kindly feelings and he determined to destroy the divine chiefess.

Hina was frequently left with but little protection, and yet from her home in the cave feared nothing that Kuna could do. Precipices guarded the cave on either side, and any approach of an enemy through the falling water could be easily thwarted. So her chants rang out through the river valley even while floods swirled around her, and Kuna's missiles were falling over the rocky bed of the stream toward her. Kuna became very angry and, uttering great curses and calling upon all his magic forces to aid him, caught a great stone and at night hurled it into the gorge of the river below Hina's home, filling the river bed from bank to bank. "Ah, Hina! Now is the danger, for the river rises. The water cannot flow away. Awake! Awake!"

Hina is not aware of this evil which is so near. The water rises and rises, higher and higher. "Auwe! Auwe! Alas, alas, Hina must perish!" The water entered the opening of the cave and began to creep along the floor. Hina cannot fly, except into the very arms of her great enemy, who is waiting to destroy her. Then Hina called for Maui. Again and again her voice went out from the cave. It pierced through the storms and the clouds which attended Kuna's attack upon her. It swept along the side of the great mountain. It crossed the channel between the islands of Hawaii and Maui. Its anguish smote the side of the great mountain Haleakala, where Maui had been throwing his lassoes around the sun and compelling him to go more slowly. When Maui heard Hina's cry for help echoing from cliff to cliff and through the ravines, he leaped at once to rush to her assistance.

Some say that Hina, the goddess, had a cloud servant, the "ao-opua," the "warning cloud," which rose swiftly above the falls when Hina cried for aid and then, assuming a peculiar shape, stood high above the hills that Maui might see it. Down the mountain he leaped to his magic canoe. Pushing it into the sea with two mighty strokes of his paddle he crossed the sea to the mouth of the Wailuku river. Here even to the present day lies a long double rock, surrounded by the waters of the bay, which the natives call Ka waa o Maui, "The canoe of Maui." It represents to Hawaiian thought the magic canoe with which Maui always sailed over the ocean more swiftly than any winds could carry him. Leaving his canoe, Maui seized the magic club with which he had conquered the sun after lassoing him, and rushed along the dry bed of the river to the place of danger. Swinging the club swiftly around his head, he struck the dam holding back the water of the rapidly-rising river.