Volume 6 / Part 1 — PREFACE. (continued 7)

The day that the gods went out was sacred; no fires were lighted, no cultivating, no fishing, and no other work was done. Merrymaking, pride demonstrations and going to Hinakahua to witness the boxing were the occupations of the day. The makahiki god led the procession, the people following behind making merry, boxing along till they reached Hinakahua. When two men stood up to box, if one fell there were loud cheerings and huzzas. Then the voices of derision proceeded from one side against the other, the blows had been delivered with great force and struck the nose, the eyes, the chin; discoloring the eye, dislocating the nose and disjointing the jaw. This was the way they jeered at the defeated side: “Eat the manure of your chicken; the boar is biting; wait, wait, let the maniac finish eating; heua! heua!” roared the crowd. Thus it continued till sunset when everybody retired to his place. I ka wa e hele ai ke akua, kapu ia la, aole ahi e a, aohe mahiai, aohe lawaia, aohe hana e ae. O ka lealea ka hana, o ka haaheo, o ka hele i ka nana mokomoko i Hinakahua. Mamua ke akua makahiki e hele ai, mahope na makaainana e lealea ai, e mokomoko hele ai a hiki i Hinakahua. I ka wa e ku ai na kanaka elua e mokomoko, a hina kahi, kani ka pihe, uwa, alaila puka mai ka leo henehene a kekahi aoao ia wa, i kekahi aoao, ikaika loa ke kui ana, ku i ka ihu, ka maka, i ka auwae. Uliuli na maka, kapae ka ihu, kapakahi ka auwae. Penei e olelo henehene ai i kekahi aoao. Aina iho kukae o ko moa! Kane puaa ke nahu nei! Alia! alia! i oki ka aina a ka Hewahewa. Heua! Heua! Uwa ka aha. Pela no e hana ai a po ka la, alaila, hoi kela mea keia mea i kona wahi.

24. Kaloakulua. The god journeys. 25. Kaloakukolu. The god journeys until it reaches Pololu and stops. 26. Kane. The god repairs to Mookini. 27. Lono. Still boxing. 28. Mauli. The long god comes from Kona. 29. Muku. The long god arrives at the barren seashore. 30. Hoaka. The long god reaches Kohala. 24. Kaloakulua. Hele ke akua. 25. Kaloakukolu. Hele ke akua a hiki i Pololu. Alaila, pau ka hele ana o ke akua. 26. Kane. Hoi ke Akua i Mookini. 27. Lono. Mokomoko no. 28. Mauli. Hele mai ke akualoa mai Kona mai. 29. Muku. Hiki ke akualoa i ke Kaha. 30. Hoaka. Hiki ke akua i Kohala.

THE LONG GOD.30 KE AKUA LOA.

He ’kua poai puni keia i ka moku, ia Hawaii a puni. Ke kino. He kauila ke kino. Ekolu anana ka loa, he kea ma waena, i ke poo o luna loa, o ka laau, he palaoa kai luna loa, me ka malo loihi eono iwilei ka loa. Ina hele keia akua e kaapuni, ia wa e hookupu ai na makaainana a pau i ka waiwai ka puaa, ke kapa, ka hulu. Ina uuku ka waiwai o ka aina, hoohalahala ke akua, aole e hele. Ina e kali ke akua a hala ka la, alaila, hemo ia aina, pau ka noho konohiki ana, pela no e hele ai a pau ka moku.

BATHING BY JUMPING. KA LELE KAWA.

He pali kiekie ia, kahi e lele ai ke kanaka. Ina opu ka lele ana o ke kanaka a ku ka nuku o mua, alaila, “he iomo ia.” Ke ano o ia hua olelo, aohe pane kai.

KITE FLYING. KA HOOLELE LUPE.

He kapa ka lupe lele, he lako, he hau ka laau, he anana ka loa, he muku ka laula, he iwakalua kanaha anana ka loa o ke aho, he umikumamalima anana ka loa o ke kakaiapola. I ka wa e hoolele ai, elua kanaka e paa ai me ka pahu laau. I ka lele ana o ka lupe, ua nalowale i ka lewa, ua pulu i ka ua awa, a koe o na laau. Ina e moku, haule i ka moana loa.

SURF-RIDING. KA HEENALU.

He papa loihi ia i kalai ia, “he wiliwili ka laau.” Eha anana ka loa, ekolu kekahi, pela a hiki i ke anana hookahi, he iwilei ka laula. Eia na inoa o na papa a me ka nalu.

He alaia ka papa (ekolu iwilei ka loa). He kakala ka nalu—he nalu poi, he aaka, he make.

He olo ka papa (eono iwilei ka loa). He opuu ka nalu, he nalu poi ole, he alaneo ke ano.

If there is no surf, invoke seaward in the following manner: Ina aohe nalu, alaila, kahea aku i kai, penei e hea ai.

Arise, arise ye great surfs from Kahiki,

The powerful curling waves.

Well up, long raging surf.

Ku mai! Ku mai! Ka nalu nui mai Kahiki mai,

Alo poi pu! Ku mai ka pohuehue,

Hu! Kaikoo loa.

When the surf rises and breaks lay the board on. The man has two places to slide in the surf, the foam, which is within the curl, or the end, which is outside the curl. I ke ku ana o ka nalu a hai, alaila, hoomoe ka papa, elua wahi a ke kanaka e holo ai i ka nalu. O ka hua maloko ia o ka nalu, o ka lala mawaho ia o ka nalu.

DANCING. NO KA HULA.

O Laka ke ’kua hula, oia ke akua o na hula a pau loa. He akua mana o Laka, eia ke ano. He lau nahelehele ke kino, oia ka halapepe, he mea like me ka lau o ka ieie. O na lau apau o ke kuahiwi, ka maile, ka awapuhi, ka ieie, ka laki, ka lei ilima. He kuahu ko Laka, he holopapa laau, malaila e kau ai na mea a pau loa. O kahi ia a na kumu hula a me na haumana e hoomana. Penei e hoomana ai i mua o ke kuahu:

O Laka! Here is food. O Laka! Who has swine, food, fish. O Laka! Who has riches and all things. E Laka! eia ka mea ai, E Laka i ka puaa, i ka ai, i ka ia. E Laka i ka waiwai, i na mea a pau.

Breast-slapping dance. The meaning is this: Slapping is made on the breast while the hands are moving, and the body in an undulating motion. Calabash dance. It is a dance with a calabash accompaniment. Here is an explanation: A long calabash is furnished, similar to a hokeo, only the former has a neck and a round opening on top, with a string on its side. One teacher and two pupils are the performers, and so on to ten or more, with about six or seven or more substitutes. Ka hula paiumauma. Eia ke ano, ma ka umauma e pai ai, kuhikuhi na lima, ami o lalo. Ka hula paipu. He hula ia me ka ipu, eia ke ano, he ipu loihi me he hokeo la, he puali nae keia, a he waha poepoe o luna, he kaula ma ka aoao. Hookahi kumu, elua haumana, a pela a hiki i ka umi a keu, eono hoopaa, ehiku, a pela aku no.

Hula pahu. He niu ka pahu, he ili mano o luna, he puniu kekahi. Ma kekahi lima ka pahu, ma kekahi lima ka puniu, ua haku ia i ke kaula, a he ili kala ma ka waha. Penei e hula ai. Ua kahiko ia ka haumana i ka pau, a poheheo, he lei ma ke poo, he kupee ma na wawae. He niho ilio, he niho puaa ma na lima (oia he hulili), he palaoa ma ka ai. Ia wa oli mai ka haumana i mua o ke kumu a me na hoopaa.

Fond feelings arise for the friends of the lowlands, Companions in the upper woodlands of Puna, Some report of Kauakahi’s rage At the absence of male friends on the night of invitation. Many are the offspring of Kauahoa, Many are the reports of chiefess Piikea; The garland of the birds down at Halulu, Soaring in the face of the cliff Kahakea. Kalani works on the ornamented board, Ornamented indeed! Put away for a moment the board of the chief The high sea, the clouded sea, The curling sea that came on the month Of the summer, the month of Hinaakukele, The loose sea, a wave of Kane, The boisterous wave, the boisterous tide, The ebb-tide, the rapid current, the strong-sucking current, The transparent sea, the sea which reveals the bottom. Ke walina mai nei ke kini o lalo, Na hoa i ka uka nahele o Puna, Kekahi lono hua e Kauakahi, Nonoho kane i ka po kolohia, Halau lani pua e Kauahoa, Halau e ka lohe lani e Piikea, Ka lei na a ka manu i kai o Halulu, Kaha i ke alo pali e Kahakea, Ka hana o ka lani ka papa nionio I Nionio ia la e! kala iki ha oia papa o ka lani, Ke kainuu, ke kai opua, Ke kai aweawe hiki ka malama, I ke kau nei, ka malama o Hinaakukele, Ke kaina luelue, he ale no Kane, Ka ale kupiki au ke kupiki, Au ko, au koieie, ke kai au mimiki, Ke kai ao, ke kai ahu wale ka papa.

KONANE (CHECKERS). NO KE KONANE.

Elua ano iliili o ke konane. He iliili keokeo, he iliili eleele. He umi-kumamalua iliili ke akea o ka papa, a he umi-kumamalima ka loa, o ka nui o na iliili, hookahi haneri kanawalu a he oi aku kekahi papa he nui na iliili. O ka iliili mua o ke kau ana. O paoa ia iliili, penei:

First pebble. Three paoas, the sacrifice paoa, which is one, and two paoas which are not sacrifices. This one pebble has several appellations: Kalanimoku, Kaikilani, Pilikukikapiliahuula, Pilikahili, seven names and moves by this same stone. Iliili mua. Ekolu paoa. Paoa hai, hookahi ia, elua paoa hai ole. He nui na inoa o ia iliili hookahi: Kalanimoku, Kaikilani, Pilikukikapiliahuula, Pilikahili, ahiku inoa a me na hahau ana ia iliili hookahi.

From the first pebble to the seventh, in the seventh of the pebbles are several names and moves, and may be understood from the following: To one pebble there are twelve appellatives and moves. These are the names: Kamooinanea, Honu, Kaniupii, Panaewa, Hua, Kahikumanamana, Naku, Haunakahi, Kaikilani, Kaniumoe, Kalapana, Paoa. Mai ka iliili akahi a ka iliili ahiku, iloko o ka hiku o na iliili, he nui loa na inoa a me na hahau ana, penei e maopopo ai. Hookahi iliili, he umi-kumamalua inoa a me na papa hahau, eia na inoa: Kamooinanea, Honu, Kaniupii, Panaewa, Hua, Kahikumanamana, Naku, Haunakahi, Kaikilani, Kaniumoe, Kalapana, Paoa.

The third pebble has two appellatives and two moves, Hawaiiloa, Eleeleualani. The following is pronounced during the game: I ke kolu o ka iliili, elua inoa, a elua hauna iliili. Hawaiiloa, Eleeleualani. Penei ka hana i loko o ke konane ana:

That is won; this is on the run; The space is long; the top is falling; Black is indistinct; the whites have won. O ke kui kela, O ka holo keia, Moe kawa,— Niole ka luna, Hapala ka ele, Na ke kea ka ai.

Here is the interpretation: The kui is the pebble which is moved forward and backward and from a corner to the middle of the board. Penei ke ano: Ke kui. Oia ka iliili e hoi ana imua a i hope, o ka papa iliili mai ke kihi a waena.

The holo is the jump made over two or three pebbles, and so on. Ka holo. Oia ka holo ana o ka iliili maluna o na iliili elua a ekolu paha, a pela aku no.

Vacancy is the distance of a pebble on the other side from the head of the board. Pebbles in line mean that the edges and middle are pretty well guarded, like a narrow headland in appearance. Kawa. Oia ke kaawale akea ana o ka iliili ma kekahi aoao, a me ke poo paha o ka papa konane. Niole. Oia ka waiho lalani ana o ka pae iliili ma ke kihi a ma waena iki iho. Me he lae kahakai oololi la, ke nana iho.

Hapala ka ele, the defeat of the black by the white. Hapala ka ele. Oia ka make ana o ka iliili eleele i ka iliili keokeo.

Na ke kea ka ai, is the defeat of the black pebbles by the white. Na ke kea ka ai. Oia ka make ana i ka iliili keokeo o ka iliili eleele.

CAT’S CRADLE. NO KA HEI.

A string one fathom long is required. The two hands are employed, but at first four fingers, two of the right hand and two of the left only are engaged. In case the ten fingers are all employed the teeth are required in biting. There are many cradles, and their name chants to be recounted, and it is full of merriment to hear them recited. Lands and people are mentioned in the chants which accompany the play. Kuehoopioekala is one of the most renowned, its representation by the string is like a turtle in appearance. It has a chant, as follows: Hookahi anana ka loa o ke kaula, elua lima e hana ai, eha manamana lima mamua, elua o ka akau, elua o ka hema. A pau loa na manamana he umi, alaila, aaki ka niho. He nui na hei a me na inoa e hana ai, a he lealea loa ka heluhelu ana; a ua komo ka aina, a me ke kanaka i loko o ka hei ana. Eia kekahi hei kaulana, o Kuehoopioekala, o kona kii ma ke kaula, ua like ia me ka honu, ke nana iho. He mele kona penei:

Arise and defeat the sun; The sun at the field of Ahuena, And enter the calm of Kailua. Ku e hoopio ka la, Ka la i ke kula o Ahuena, Komo i ka lai o Kailua la.

Kona. With the same set, making only a slight change it becomes Kona, whose representation is like a spider: O Kona. Hookahi hei ana, a wehe ae o Kona ia, ua like kona kii me ka nanana:

That is Kona of the calm sea, Which embraces the limits of Kapulau. The ao is singing at Waiulaula, At the path which there lies That man may travel on. O Kona ia o ke kai malino, Ke hele la i waho o Kapulau, Kani ka ao i Waiulaula, A ke alanui e waiho nei, A ke kanaka e hele ai.

Kau. Like a newly built ship is its representation. It also has a chant: O Kau. Ua like me ka moku hou o ke kapili ana, pela kona kii. He mele no kona:

Great Kau, stormy back, Standing alone; odorous with dirt; The koae flies away, the odor remains. Kau nui kua makani Kukohana, hauna lepo, Lele koae la, ku maea.

Puna. Its representation is like that of a house in appearance, and has a chant: O Puna. O kona ano me he hale la kona kii ke nana iho. He mele no:

That is Puna of the creeping sea, Which groans in the pandanus grove; It is the sea of Puna at Keaau. O Puna ia o ke kai kolo, E nu ana i ka ulu hala, Ke kai o Puna i Keaau.

Hilo. Its representation is like that of a four-fingered meshed net. It has a chant: O Hilo. Ua like me ka “Upena Mahae” kona kii. He mele no:

That is Hilo of the fire-quenching rain, The unending rain of Hilo. O Hilo ia o ka ua kinakinai, Ka ua mao ole o Hilo.

Hamakua is represented as a lounge, and has a chant: O Hamakua. Ke ano o Hamakua, ua like me ka noho koki, he mele no:

That is Hamakua Of the precipice—of the steep path; The hand is holding the rope, The teeth are retaining the gourd At the cliffs of Koholalele. O Hamakua ia, O ka pali, o ka ulili, Ke paa ala ka lima i ke kaula, Ke aki la ka niho i ka ipu, I ka pali e Koholalele.

Waipio and Waimanu. Their representation on the cat’s cradle is like the plains of Kamaomao, on Maui, lying desolate with the two hands up. O Waipio ma laua o Waimanu. O ko laua kii ma ka hei ana, he like me ke kula o Kamaomao i Maui, ka waiho alaneo a pii na poo i luna.

Kohala. It is represented as a level flat, like Nuuanu street from Kaopuaua to Maemae. It has a chant: O Kohala. Ua papu iliwai like kona kii, e like me ke alanui Nuuanu mai Kaopuaua a Maemae. He mele no:

Small Kohala; great Kohala; Kohala of the apaapaa rain. The companion of Kalahikiola; The hills which remain in the uplands; Only the people wander away. O Kohala iki, O Kohala nui, O Kohala ua apaapaa. O pili o Kalahikiola, O na puu noho no i uka, O kanaka no ke hele.

Pili and Kalahikiola, a desolate land between, a hill on each side. O Pili a me Kalahikiola. He alaneo o waena, he puu ma na aoao.

Kinikuapuu is another cradle which actually represents a hunchback. It has a chant: O Kinikuapuu. He hei no ia, he like no me ke kuapuu. He mele kona:

O Kinikuapuu, The one who ate the banana of Kahuoi, I ate not your banana. When the sun rises there is warmth. There are Ieiea and Poopalu, The fishermen of Makalii; They are whipping the long fish-line. By fishing with the line, wife collects [the fish] While the children climb the coconut tree. That is the coconut, yet you beg; It is not to be had, not even by you. O Kinikuapuu, Ka mea nana i ai ka ea maia a Kahuoi, Ua ai la hoi au i kau ea maia, I ka hikina ae a ka la pumehana, O Ieiea, o Poopalu, O na lawaia a Makalii, E kaka ana i ke aho loa, Kuukuu kaula, ohi wale ka wahine, Na keiki pii niu, He niu la hoi ia ia oe ka mali, He mali loaa wale la ia ia oe.

THE PUZZLE. KA PU.

A long rope one fathom and over in length [is required]. It is a gambling game, even to one’s person being wagered. To lock and to unlock the puzzle were two calls. Choose either locked or unlocked, and if the call was correct and so forth, the wager was won. A song was first chanted: He kaula loihi, hookahi anana a oi ae kona loa, he mea piliwaiwai, a pili i na iwi. O ka paa o ka hemo, elua ai. Ina e koho i ka paa, a i ole o ka hemo. Ina e pololei ke koho ana, eo, a pela aku. He kau mamua e oli ai.

There it is; there it is; The well-known wreath of Hilo, With the three-stranded line of Ikua. Hanalei is grumbling; Grumbling at the fish inlet At Kawainui. Sluggishly Lingers the Kualau rain The weary enjoys a residence in Kaukaopua. O my beloved husband, A blossom of Mana, With parents at Koolau, With parents at the cliff of Honopu, Parents at the beloved cliff. Aia la! aia la! Kumakalei Hilo, I ke aho kaakolu o Ikua, Wa Hanalei e! Wa i na makaha ia, A Kawainui, maoeha, Ka apa a ka ua Kualau, Kui aku ka luhi noho i Kaukaopua, Aloha wale kuu kane, He ao no Mana, Makua i Koolau, Makua i ka pali o Honopu, Makua i ka pali aloha e!

Then one player says to the other: “Our beloved one, locked or unlocked, which do you choose?” If he chooses the unlocked and it is locked, then he loses, and so on. Alaila i aku i ka hoa lealea: “O ka mea aloha a kaua, o ka paa o ka hemo. Mahea oe?” Ina i koho i ka hemo, a i hemo ole, “eo,” a pela aku no.

GAME OF KOI. KE KOI.

It is a gambling game, and here is an explanation. A round stone like an iron ball, a sloping runway about an arm’s length in depth. A trench-like contrivance is made with a curve, like a water-course. When the ball comes to a stop without being overtaken by another, then the game is won. After winning and the stakes are lost to the other side, the winner exclaims in reviling tones: He pili waiwai ana ia, eia ke ano, he pohaku poepoe e like me ka poka hao, he wahi palipali kamoe, he hailima ke kiekie a oi ae. A o kona wahi e holo ai, ua hana auwaha ia a uakee ae me ka moe pio, me he auwai la. Aia a hiki i ka pau ana o ka ulu, a loaa ole aku i kekahi ulu, alaila, eo. I ke eo ana, a lilo ka waiwai i kekahi aoao, alaila, puka na olelo hoonaukiuki a ka mea i ko.

Beloved is the cliff of Koloa; The front facing Waihanau. Alas, the brother Returning to the long barren shore empty-handed. Long! O how long is the returning. Aloha ka pali o Koloa, Ke alo huli i Waihanau la e! Aloha ka hoahanau, Ka hoi wale i ke kaha loa, Loa! Loa ka hoi ana.

ARROW-SLINGING. NO KE KEA PUA.

It was one of the most enjoyable pastimes of old days. This is its description. That would be a good arrow if it dropped at a distance of three or four times forty fathoms from the place of slinging. There are various ways of slinging arrows and the kinds of arrows are many also, for selection. The flower-stalk of the sugar-cane is used for arrows. Here are the kinds of arrows: If it has no stems it is called the lehua eater; if the arrow has blotches it is a man eater; if the body of the arrow is twisted it is a roll; if the arrow is cut short it is a stump, and so on. As is the character of the body of the arrow so is its flight. A spiral knot is made at the fore end of the arrow to keep it enfolded and balance its lightness and steady it in the wind. Oia kekahi hana lealea loa o ka wa kahiko. Eia ke ano. Oia ka pua lele i hiki kona haule ana i na kaau anana ekolu a eha paha, mai ke kahua kea pua a kona wahi i haule ai. He nui ke ano o ke ka “pua,” a he nui na loina o ke kino o ka pua ke nana, o ka pua o ke ko, oia ke mea e kea pua ai. Eia ke ano o na pua. Ina niau ole ka pua, he ai lehua ia. Ina puupuu nui ka pua, he aikanaka ia. Ina wili ke kino o ka pua, he owili ia. Ina e oki ia ka pua a pauku, he omoku ia pua, a pela aku no. E like me ke ano o ke kino o ka pua, pela no ka lele ana. He omua mamua o ka pua, he mea e wahi ai i ke kumu, i ole e mama a olepelepe ka lele ana i ka makani.

Nolaila, he mea piliwaiwai ke kea pua, e hiki i ko kela wahi keia wahi ke hele mai. He mea kaulana no ke keiki akamai a me ke kanaka. A pela hoi kekahi pua kaulana loa i ka wa kahiko, o “Pua-ne,” ka inoa.

OF COCK-FIGHTING. NO KA HOOHAKAKA MOA.

It was one of the sports and a source of gambling in the group of islands in olden times. A cock has a trait to be looked for, and by the features a powerful or weak rooster might be known. If the cock was of grey and white spots, or yellow, or of any other color, if the voice was despicable and the fowl looked weighty and big-bellied, it was called auha; he would run away from his opponent after the first round, thereby called “auha,” full of excrements. If the bird was of a whitish grey and the voice agreeable, like the voice of the wild duck, and the bill black, it was a bony black bill. It was very powerful for three rounds and long-winded during the fight. If a red bird and slow in crowing, it was a very long-winded cock before its adversary. Oia kekahi mea lealea, a mea piliwaiwai ma keia mau pae aina i ka wa kahiko. He ano ko ka moa ma ka nana ana, a ma ke ano e ike ia ai ka moa ikaika a me ka moa ikaika ole. Ina he nene ka moa, a he puahau paha, a he moa e ae, ina inoino ka leo, a polupolu opunui ka moa ke nana aku, he auha ka inoa o ia moa. Hookahi ana ai holo i ka hoapaio, kapaia, “he auha kukae nui.” Ina he uakea keokeo ka moe, a he lea ka leo, me he koloa ke kani, a eleele ka nuku, he nuku uli lawa ia. He moa ikaika loa ekolu ai, a he aho loa no hoi i ka wa hakaka. Ina he ulahiwa a kohi ka leo ke kani, he moa aho loa ia i mua o kona hoapaio.

If the bosom of the rooster was straight that the breast could not be discerned it was a powerful bird and could not be hit by the spurs of an opponent. Cocks are of various kinds and characteristics. If property was wagered, or other things perhaps, then cock-fighting was kept up continuously, to keep the birds in practice for dodging and slipping under the wings [of opponents], that their combs might not be injured, nor [themselves] struck by the spurs. Ina pololei ka poli o ka moa a umauma ole ke nana aku, he moa ikaika ia, aole e ku i ke kakala o kekahi moa. He nui na ano a me na loina o na moa. Ina he piliwaiwai a he mea e ae paha, alaila, hoohakaka mau ka moa. I walea i ka alo a me ke palemo malalo o ka eheu i ole e pau ka lepe, a e ku hoi i ke kakala.

Counts made by a rooster were of great importance. If the fowl was strong in kicking it was a count. If strong at pecking it was a count; if strong at striking with the wings it was a count; if the adversary ran away it was a count. If that one rooster possessed all the counts, it was a powerful bird, it could get three or four opponents. Na ai a ka moa he mea nui ia. Ina ikaika ka moa ma ka peku ana, he ai ia. Ina ikaika i ke kiko, he ai ia. Ina ikaika i ke pai o ka eheu, he ai ia. Ina holo ka hoapaio, he ai ia. Ina pau loa na ai ia moa hookahi, oia ka moa ikaika, e loaa no ekolu hoa hakaka, a eha paha.

The strongest birds were those smoked in the house. This is the method: Light a fire beneath the roost with the cock thereon directly over the fire. The smoke would ascend until it reached the eyes, the water poured out leaving the eyes dry and looking this side and that of the smoke. That was the cock skillful in foiling and dodging, and could not be pecked. Such was Kawauhelemoa, one of the celebrated fighting cocks of Hawaii nei in olden times. O na moa ikaika loa, oia na moa i kau ia i ka uwahi i loko o ka hale. Penei ke ano. Kahu ke ahi malalo, maluna ka haka o ka moa me ka moa e kau ai. Nee ae ka uwahi a loaa i na maka, kahe ka wai, a koe ka maka me ka alo ma o ma o o ka uwahi, alaila, oia ka moa akamai i ke palemo, a me ka alo, aole e loaa i ke kiko. Pela no hoi o Kawauhelemoa kekahi moa kaulana o Hawaii nei i ka wa kahiko.