Part 12 (1/2)

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 G.o.ddess of the night. Light was flas.h.i.+ng from her body. Here they found a great pit--the home of night. Maui entered the pit--telling his brothers not to laugh. He pa.s.sed 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 G.o.ddess 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 G.o.ddess 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 G.o.ddess 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 pa.s.sed 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 pa.s.sed away and the house lay in quiet gloom. Maui came near to the sleeping G.o.ddess. Her large, fish-like mouth was open wide. He put off his clothing and prepared to pa.s.s 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 pa.s.sing, 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 G.o.ds, 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 rehea.r.s.e 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-G.o.d, Who severed him in two, and shut him in, So dusk of eve came on.”

--Maori death chant, New Zealand.

XII.

HINA OF HILO.

Hina is not an uncommon name in Hawaiian genealogies. It is usually accompanied by some adjective which explains or identifies the person to whom the name is given. In Hawaii the name Hina is feminine. This is also true throughout all Polynesia except in a few cases where Hina is reckoned as a man with supernatural attributes. Even in these cases it is apparent that the legend has been changed from its original form as it has been carried to small islands by comparatively ignorant people when moving away from their former homes.

Hina is a Polynesian G.o.ddess 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 G.o.ddess 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 G.o.d, 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 ma.s.sive 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 coa.r.s.er 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 sc.r.a.ped 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 ma.s.s 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 ma.s.s to pulpy ma.s.s 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 G.o.ddess 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.