e reference to the temple of Pahauna is one of a number
of passages which concern themselves with antiquarian interest. In these
and the transition passages the hand of the writer is directly visible.]

[Footnote 18: 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. Given a widely sung hero like Kauakahialii, whose flute playing
is so popularly 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 can not escape the reader, and may
be compared with the advent of the Sun god later in the story. 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 returns to her husband through jealousy of her
rival's attractions. A special 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.]

[Footnote 19: 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 _oo_ (_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 uplan