least eight
different points, as observed by the Hawaiians. It was well
fitted, therefore, to serve as a figure descriptive of eight
different lovers, who follow each other in quick succession,
in the favors of the same wanton.]

[Footnote 187: _Ho-Wo_ The name of a wind, but of an entirely
different character from those above mentioned.]

[Footnote 188: _Hana-kahi_. (See note _f_, p. 60.)]
[Page 71]

This is not a line-for-line translation; that the author
found infeasible. Line 8 of the English represents line 7 of
the Hawaiian. Given more literally, it might be, "He'll shake
the buttocks of Hilo's forty thousand."

The metaphor of this song is disjointed, but hot with the
primeval passions of humanity.

PAUKU 4

Ho-ina-inau mea ipo i ka nahele;
Haa-kokoe ana ka maka i ka Moani,
I ka ike i na pua i hoomahie 'Iuna;
Ua hi-hi-hina wale i ka moe awakea.
5 Ka ino' ua poina ia Mali'o.
Aia ka i Pua-lei o Ha'o.
I Puna no ka waihona o ka makani;
Kaela ka malama ana a ka Pu'u-lena,
I kahi mea ho-aloha-loha, e!
10 E aloha, e!

[Translation]

STANZA 4

Love is at play in the grove,
A jealous swain glares fierce
At the flowers tying love-knots,
Lying wilted at noon-tide.
5 So you've forgotten Mali'o,
Turned to the flower of Puna--
Puna, the cave of shifty winds.
Long have I cherished this blossom,
A treasure hid in my heart!
10 Oh, sweetheart!

The following account is taken from the Polynesian Researches
of the Rev. William Ellis, the well-known English missionary,
who visited these islands in the years 1822 and 1823, and
whose recorded observations have been of the highest value in
preserving a knowledge of the institutions of ancient Hawaii.

In the afternoon, a party of strolling musicians and dancers
arrived at Kairua. About four o'clock they came, followed by
crowds of people, and arranged