Footnote 347:[ (return) ] Lava poured out in plates and folds and coils resembles many diverse things, among others the canoe, wa’a here characterized as complete in its appointments and ready for launching, kauhí. The words are subtly intended, no doubt, to convey the thought of Pele’s readiness to launch on the voyage of matrimony.
Footnote 348:[ (return) ] Pepe, a seat; kiele, to paddle; and ulu, a shortened form of the old word oulu, meaning a paddle, are archaisms now obsolete.
Footnote 349:[ (return) ] Nihéu. One of the mythological heroes of an old-time adventure, in which his elder brother Kana, who had the form of a long rope, played the principal part. This one enterprise of their life in which they joined forces was for the rescue of their mother, Hina, who had been kidnaped by a marauding chief and carried from her home in Hilo to the bold headland of Haupu, Molokai. Nihéu is generally stigmatized as kolohe (verse 11), mischievous, for no other reason apparently than that he was an active spirit, full of courage, given to adventure and heaven-defying audacities, such as put the Polynesian Mawi and the Greek Prometheus in bad odor with the gods of their times. One of these offensive actions was Nihéu’s theft of a certain ulu, breadfruit, which one of the gods rolled with a noise like that of thunder in the underground caverns of the southern regions of the world. Nihéu is represented as a great sport, an athlete, skilled in all the games of his people. The worst that could be said of him was that he had small regard for other people’s rights and that he was slow to pay his debts of honor.
After the death of Lohiau, his best friend, Paoa, came before Pele determined to invite death by pouring out the vials of his wrath on the head of the goddess. The sisters of Pele sought to avert the impending tragedy and persuaded him to soften his language and to forego mere abuse. Paoa, a consummate actor, by his dancing, which has been perpetuated in the hula Pele, and by his skillfully-worded prayer-songs, one of which is given above, not only appeased Pele, but won her.
The piece next appearing is also a song that was a prayer, and seems to have been uttered by the same mouth that, groaned forth the one given above.
It does not seem necessary to take the language of the mele literally. The sufferings that the person in the mele describes in the first person, it seems to the author, may be those of his friend Lohiau; and the first person is used for literary effect.
Mele [350]
Aole e mao ka ohu: