Even if nothing changes outside for whatever reason this will completely transform your perception of the challenges you face, making them less challenging for you. So many miracles start happening in my life. I also healed a lots of people. Try it, you have nothing to lose, only gain. I love you, I am sorry, Please forgive me, Thank you. I started feeling angry and hopelessness. I recognised the issues.
I asked please forgive me. I let it go and I said that higher power there to fix this big issues. Feel like losing my mind. Nothing is truly real unless you believe it is. Anything that causes you stress is an invitation to step back and reflect on what within you is being triggered. Or ignore it all together and trust that life will bring you what you need when you need it and are ready for it.
There are many different ways to heal. This is not the only one.
Our government is using our area to test 5g.. Every lampost has these transmitters on and if they are withing 30 metres of it you are basically being slowly cooked.. This has all been done without our consent — we have no say — the council refuse to answer when asked if it is safe.. This is going to be rolled out across the whole of the UK.. So basically it is genocide.. I am trying so hard to see it all from a different perspective.. Can I change this perspective, this reality.. Please advise as this is having a profound effect on my vibrations and wellbeing and I need some optimistic focus going on here.
Thank you in advance. This is my first visit to the website. The four steps remind me of Catholic Confessionl. I was very upset for my brother because he is a lost soul and hang out with bad guys. I think it is a good sign finally he is going to realise he needs to change and find his true self being in this world.
I am reading zero limit book. Hi — can you give any advice on how to overcome resistance to forgiveness? Very practically for you right now, understand that anger and hate are powerful emotions. Next time you feel these, redirect them to something constructive, e. What happened, happened and you cannot change that. You are not apologizing and asking forgiveness to him but to yourself.
Thank you for your reply. I will try that. I am using as 1. I love you 2. I am sorry 3. Please forgive me 4. Thank you This is not my innovation but, from the very first source from where I came to know about this was in this order and I followed that. Also developed a simple logic of as given below: Mornah re framed just like Dr Hew did…. Was wondering what you thought of this? People may feel like Dr Hew Lens teachings are falsified, but I believe he just simplified and created his own version. I believe that this is okay because so did Mornah and so does everyone with everything.
Since starting this practice, I find myself crying all the time as I feel deeply sorry for everything! There is a Buddhist piece of wisdom that says that if you are hit by an arrow what you will feel is pain. If you start to feel anger or resentment towards whoever sent it — or sadness because you received — it then that is suffering. Likewise, feeling whatever your compassion leads you to feel is natural and unavoidable.
Success to you on your practice! Save my name, email, and website in this browser for the next time I comment. How to practice it in 4 simple steps. April 3rd, 0 Comments. April 2nd, 0 Comments. Certificate of the Inner Child. March 20th, 0 Comments. How to create your own biography of joy. January 10th, 0 Comments.
December 21st, 0 Comments. Kathy June 17, at Mary August 3, at 2: Elisa August 17, at 9: Morag Macdonald July 7, at Dawna January 9, at 4: Elikapeka April 5, at 8: Eden September 28, at Hui November 15, at 6: I would like to repost this comments from Patrice C. Read and judge wisely Subject: Hew Len and about Morrnah Simeona. Michael Micklei wrote in a comment to an another person: I can only say, steer clear of Dr. Hew Lens 4-phrase mantra and of Dr. Hew Lens cleaning tools!
Please let me share this link is only in german language, please use Google tanslator to translate to your language: Naser Khan August 30, at 8: Bests, Naser khanbd at yahoo. Sebastien Gendry September 3, at 9: Shaunita February 11, at 5: Jennifer January 9, at 4: Love November 11, at Serendipity November 30, at Jen Sipe June 19, at 5: Calvin york May 9, at Sebastien Gendry November 1, at Lana Jacobs December 30, at 4: Jay January 9, at 6: Eduardo January 21, at 8: Sebastien Gendry January 24, at Muteib July 6, at 3: Marian Long January 23, at Squiggles November 10, at Carolina February 5, at And on the Republicans who support him.
Amy March 21, at 8: Jones March 1, at 1: Clare March 14, at 9: Lucienne August 11, at 9: Greeting from The Netherlands Lulu. Sebastien Gendry March 25, at 4: Joe March 28, at 1: Sebastien Gendry March 29, at 8: Logan April 11, at 2: Sebastien Gendry April 14, at 1: James March 17, at 2: Johanna June 20, at John Ward March 29, at 2: Sebastien Gendry March 30, at 7: Larissa C Rubio July 18, at 8: Selda lane April 12, at Sebastien Gendry April 14, at 2: David April 28, at 4: Nick G May 30, at 7: Sebastien Gendry June 17, at 1: Joaquin April 22, at Sebastien Gendry May 8, at 8: Joaquin May 23, at 6: Isil Ersu April 28, at Jane P Lee May 18, at 1: Sebastien Gendry May 18, at 6: Amy October 30, at 1: Nicky May 30, at 1: Sam July 19, at 8: Edward June 17, at Alicia July 13, at Adriana June 29, at 7: Starvel August 14, at Patsy S October 26, at 5: Celina August 29, at 5: Hayley October 4, at 3: Jennifer January 9, at 5: C ChandraMohan October 9, at 9: In eight, finely wrought stanzas he captured the ambiguities of our paradisal projections:.
A place to earn in more chastising climates Which teach us that our destinies are mild Rather than fierce as we had once supposed, And how to recognize the peril of calm, Menaced only by surf and flowers and palms. At the time when the earth became hot At the time when the heavens turned about At the time the sun was darkened To cause the moon to shine The time of the rise of the Pleiades. The follow-up anthology to A Hawaiian Reader is not quite as strong as its predecessor but is still essential.
In Australia, Stevenson had come across a letter by Hyde published in a church bulletin: Stevenson visited the lazaretto shortly after the future saint died in , stayed a week, and bore witness to the immense suffering. In taking on Hyde—who, Stevenson noted, lived in a comfortable house in Honolulu—Stevenson gave no quarter. Emerson, Unwritten Literature of Hawaii: Emerson maintains a running commentary on the chants, or meles , provides footnotes, and supplies the Hawaiian texts.
When the Hawaiian cultural renaissance gathered strength in the mids, this became the go-to book for students of the hula. The poetry is lyrical as the Hawaiian universe. At other moments, the pendulum swings towards the beautiful:. Morning rains wash the damp sand cool and grainy. Over the cream of foam, young surfers hover, tense for the rising glory. If she sometimes writes like an academic, the compelling subject matter allows the treatment to assume a kind of scholarly lyricism.
As Feeser makes clear, this famous stretch of land—or real estate, in modern terms—with its mild surf and clear, blue waters, was once a rich agricultural area replete with sacred sites, streams and fresh water springs, taro plantations, and royal fishponds. John Tayman, The Colony: Starting in , and for more than years, the Hawaiian and the U. By the time Damien arrived at the colony in , conditions were as horrifying as a scene out of H. As Robert Louis Stevenson put it: One story among thousands of heartbreaking stories is that of Olivia Robello.
They are distinguished from secular narrative not by name, but by the manner of telling. Sacred stories are told only by day and the listeners must not move in front of the speaker; to do so would be highly disrespectful to the gods. Folktale in the form of anecdote, local legend, or family story is also classed under moolelo. It is by far the most popular form of story-telling surviving today and offers a rich field for further investigation, but since no systematic collecting has been done in this most difficult of forms for the foreign transcriber, it is represented here only incidentally when a type tale has become standardized in folklore.
Nor can the distinction between kaao as fiction and moolelo as fact be pressed too closely. It is rather in the intention than in the fact. Many a so-called moolelo which a foreigner would reject as fantastic nevertheless corresponds with the Hawaiian view of the relation between nature and man. A kaao, although often mak-. The Hawaiians worshiped nature gods and these gods entered to a greater or less extent into all the affairs of daily life, played a dominant part in legendary history, and furnished a rich imaginative background for the development of fictional narrative.
Hence the whole range of story-telling is included in the term mythology. Among Hawaiians the word for god akua is of indeterminate usage. Thus any object of nature may be a god; so may a dead body or a living person or a made image, if worshiped as a god. Every form of nature has its class god, who may become aumakua or guardian god of a family into which an offspring of the god is born, provided the family worship such an offspring with prayer and offerings. The name kupua is given to such a child of a god when it is born into the family as a human being.
The power of a kupua is limited to the district to which he belongs. In story he may be recognized by a transformation body in the form of animal or plant or other natural object belonging to him through his divine origin, and by more than natural powers through control over forms of nature which serve him because of family descent.
As a human being he is preternaturally strong and beautiful or ugly and terrible. The name comes from the word kupu as applied to a plant that sprouts from a parent stock, as in the word kupuna for an ancestor. So the word ohana, used to designate a family group, refers to the shoots oha which grow up about a rootstock. The terms akua, aumakua, and kupua are as a matter of fact interchangeable, their use depending upon the attitude of the worshiper. An akua may become an aumakua of a particular family.
A person may be represented in story as a kupua during his life and an aumakua if worshiped after death. A ghost lapu is called an akua lapu to designate those tricky spirits who frighten persons at night. Much that seems to us wildest fancy in Hawaiian story is to him a sober statement of fact as he interprets it through the interrelations of gods with nature and with man. Another philosophic concept comes out in his way of accommodating himself as an individual to the physical universe in which he finds himself placed.
He arrives at an organized conception of form through the pairing of opposites, one depending upon the other to complete the whole. So ideas of night and day, light and darkness, male and female, land and water, rising and setting of the sun , small and large, little and big, hard and light of force , upright and prostrate of position , upward and downward, toward and away from the speaker appear paired in repeated reiteration as a stylistic element in composition of chants, and function also in everyday language, where one of a pair lies implicit whenever its opposite is used in reference to the speaker.
It determines the order of emergence in the so-called chant of creation, where from lower forms of life emerge offspring on a higher scale and water forms of life are paired with land forms until the period of the gods po is passed and the birth of the great gods and of mankind ushers in the era of light ao. It appears in the recitation by rote of genealogies in which husbands and wives are paired through literally hundreds of generations. It is notable that in similar genealogies such as the Hebrew, in which, as introduced by the missionaries, Hawaiians showed extraordinary interest, males alone are recorded.
Gods are represented in Hawaiian story as chiefs dwelling in far lands or in the heavens and coming as visitors or immigrants to some special locality in the group sacred to their worship. Of the great gods worshiped throughout Polynesia, Ku, Kane, Lono, and Kanaloa were named to the early missionaries. They are invoked together in chant, as in the lines:. A distant place lying in quietness.
For Ku, for Lono, for Kane and Kanaloa. They are recognized by the appearance of whatever natural phenomena have been associated with their worship by tradition or ritual custom, as color, scent, cloud or rainbow forms, storm signs, and the notes of birds. Each had a place in family worship. Subordinate gods attached to the families of the great gods were invoked by those who hoped to gain through them special skills or success in some particular form of activity.
Even thieves had their patron god. Some of the names of these departmental gods as recorded in Hawaii are to be found attached to South Sea deities; others are of native origin. The elaborate cycle of story centering about the family of the fire goddess Pele of the volcano bears every mark of such local development.
The original character of these great gods is hard to determine. Buck thinks they were of human origin, chiefs whose superior ability in life or the mystery which surrounded them on earth led to their deification after their death or disappearance. I believe that they were at first conceived as nature deities of universal significance, like Pele, and their identification with a particular human being, perhaps as an incarnation of the god, came later. So Captain Cook was worshiped as Lono because the people thought the god, or possibly the chief who impersonated the god, had returned to them in the form of this impressive stranger.
Worshipers of a god were sometimes identified with the god after their death. It also happened that a man acquired the name of an ancestor during life as a sobriquet. A certain Hawaiian chief was called Wakea because he had a child by his own daughter, a departure from custom like that narrated in the myth of the first parent. An episode told in the life of Lono the god seems to have become mixed up with the quarrel of the chief Lono-i-ka-makahiki with his wife Kaikilani.
Thus confusion arises through the habit of doubling names and we are unable to say in particular instances whether the god or his namesake, or which namesake in the historical sequence, is alluded to. But divinity is thought of in Polynesia as lying dormant in the idea and manifesting itself in form only when it becomes.
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The particular form such a god took depended upon some dream or incident which suggested that a god had thus manifested himself to them. Hawaiian mythology recognizes a prehuman period before mankind was born when spirits alone peopled first the sea and then the land, which was born of the gods and thrust up out of the sea. In Hawaii, myths about this prehuman period are rare. No story is told of the long incubation of thought which finally becomes active and generates the material universe and mankind; the creation story in Hawaii begins at the active stage and conforms as closely as possible to the biblical account.
No story is told of the rending apart of earth and heaven, after the birth of the gods. No family of gods is represented, no struggle of the son against the primeval father, no story of the ascent to the heaven of the gods after esoteric wisdom, no myth of Tiki and the first woman, or one so obscured as to remain doubtful. Even Wakea and Papa, whose figures play a dominating part in Hawaiian myth and story, are represented as parents upon the genealogical line, not as the Sky and Earth deities their names imply.
Thus the imagination, which in Polynesian groups in the South Seas plays with cosmic forces, in Hawaii is limited to human action on earth, magnified by incarnations out of a divine ancestry. Cosmic myths are either absent or told in terms of human society. The comparison of Hawaiian stories with versions from the southern Pacific offers an important link in tracing routes of intercourse during the period of migration of related Polynesian groups.
When the peopling of Hawaii took place cannot be clearly demonstrated. It was probably some centuries after the Christian era and perhaps first by way of Micronesia, from whence the earliest Polynesian voyagers may have spread out fanwise over the eastern Pacific. They may have followed flights of migrating birds or observed currents which brought strange pieces of wreckage to their shores. There is no archaeological evidence to show that any people of a different culture had lived here before them. Later migrations certainly took off from Tahiti, as is distinctly recorded in old chants and legends and further proved by linguistic identities and corresponding forms of culture between the two areas.
All were branches lala from the parent stock. The plot of many Hawaiian romances and hero tales turns upon such a claim to relationship with a chief in Tahiti through whom the child of the humbler parent lays claim to divine lineage.
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Hawaii was a large and fertile land. After the hardships and struggles of early colonization the social order became stabilized, long voyages ceased, chiefs settled down to a life of leisure, and aristocratic arts and amusements flourished. Even in the humblest family, story-telling furnished entertainment for long evenings. In the courts of chiefs it was a popular amusement on the occasion of a journey or a visit.
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Genealogies and local legends were carefully preserved. Traditional hero tales and romances were spun out long into the night by means of song and dialogue, one detail following another according to a fixed pattern, or an episode being introduced from another legend to prolong the tale. A contemporary incident might be adroitly narrated in terms of some legendary episode; an old tale localized or moved forward into the cycle told of a contemporary chief; a story of gods made over into one of human exploit.
But a tale once composed retained its general form, even much of its detail. Since the habit of memorizing does not easily die out, a comparatively large body of such traditional story has been preserved, for the most part from oral recitation. Hawaiians today readily distinguish stories invented on a foreign pattern, of which, after the coming of the whites,. Very soon after their arrival, the reduction of the language to writing was followed by the setting up of the first printing press west of the Rockies. The missionaries specialized in biblical knowledge, but free versions of foreign tales from Persian epic, The Arabian Nights, Shakespeare, Walter Scott, and lesser romancers of the day fill the pages of Hawaiian newspapers after the sixties.
Wild romances were composed upon the foreign model with a setting of passion and mystery borrowed from other than native sources. The popular romance of Leinaala is said to have been inspired by the love passages in the Song of Solomon, and the magic employed is distinctly other than Hawaiian or even Polynesian. Happily, however, some Hawaiian editors believed that the old stories handed down from their forefathers through oral recitation had equal claim to the interest of their readers.
A call was sent out for such transcriptions and, from the period of the sixties, many such legends were committed to writing and printed as continued stories in the weekly journals. A single tale might run on for years, as happened in the case of one whose translation I had attempted, only to find that the transcriber had died without bringing the story to a conclusion.
Luckily the mother of my interpreter was able to furnish the gist of the ending from her familiarity with the legend as told in the section of the country from which she came. Through the picture given in these recitals the background of old Hawaiian culture may be actually realized. It is that of a people divided into strict classes as chiefs, priests, commoners, and slaves, holding prerogatives according to inherited rank down to their minutest subdivisions, and of land similarly subdivided, parceled out by each district chief to his followers during his own lifetime and returned to his successor for redistribution after his death.
Each such ruling chief represented a family group ohana claiming a divine ancestor of whom he was the oldest male of pure blood in direct descent, or lacking such, the female of highest rank, and through whom he inherited the land rights for his district,. From time to time this orderly system of inherited descent was broken by the usurpation of a popular leader, inferior in blood but ambitious for land and power and encouraged by a discontented faction within the following or by a powerful relative from a neighboring district.
Many of the legends turn upon such a conflict with the old order, in which an adventurer of a younger branch leads a popular revolt. The complete success of the first Kamehameha and his final domination over the group was due not only to unusual strength of character but also to his readiness in adopting foreign ways of warfare and in following the advice of white men salvaged from the crews of looted foreign vessels, by which qualities he proved himself a capable dictator. The express commands of the dying chief, loyal to the old gods under whom he had won victory, were nevertheless powerless to prevent the final overthrow of the old religious system upon which had depended the stability of the social order.
General demoralization had followed the economic changes which took place as a result of the conquest. Land was redistributed to the victors, old families were dispossessed and their holdings given to warring adventurers. Moreover, for forty years the presence of white strangers and contact with other countries had weakened respect for the old system by which law had been regulated upon religious tapus. Young Hawaiians visiting America on whaling ships around the Horn asked for teachers for their people. Almost immediately upon the death of the old chief in the rejection of the eating tapus between men and women took place.
In the first missionaries sent out from Boston by the American Board of Missions were allowed to land and to take up their mission of teaching a new faith and imposing the standards of a foreign civilization. Within a few years after this event the whole nation followed their chiefs in repudiating the national worship and adopting the Christian religion.
Social and political changes took western pat-. The uniting of the nation under a single ruler moi as in European countries was followed by the setting up of a constitutional form of government after the American model, the dividing up of lands for individual ownership, and the abolition of the class system. Chiefs and slaves were alike under the new law of Christian democracy. Destructive war ceased, however political intrigue might continue.
Foreign contacts of this period must certainly have influenced story-telling, especially those traditional narratives which are comparable with Bible incidents like the creation, flood, and fall of man, or episodes also which would have seemed indecent to the foreign listener. Borrowings from southern groups must have occurred, too, after interrelations were again established with neighbors of their own blood. Hawaiians joined whaling expeditions in very early days, and had intercourse with China and the Northwest Coast. Mexican cowboys were introduced into Hawaii to help in the development of cattle ranches and may have contributed some episodes from their own stock of racy story-telling.
Modern interpolations certainly occurred and are to be recognized in tales collected direct from more than one native narrator and recorded in Hawaiian text. It is likely too that the long novelistic passages which occur in romances published for Hawaiian readers, as well as the handling of dialogue and incident to create a picture of life, are imitated from English models. It is highly probable that the almost complete absence of cosmic imagination already noticed is due to suppression under the influence of the hard-headed incredulity of the literal-minded English and Americans who became their mentors.
But those tales which Hawaiians themselves accept as genuine are easily to be distinguished from the spurious. The strangeness of the concepts to our own culture and their consistency with Polynesian thought prove a minimum of foreign influence. Many episodes or whole histories correspond with southern types. Only in certain cases is this correspondence so close as to prove a late borrowing. In every case, however recently remodeled, the story is firmly based on native tradition and remains true in detail to native Hawaiian culture.
Despite the breakdown of classes, Hawaiians of chief stock take pride today in preserving family genealogies, possibly at times distorted by a desire to aggrandize their claim to rank. Blue blood is still to be recognized in some fine old Hawaiians who do honor, in the dignity of their lives, to their inherited tradition.
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Many old Hawaiian chiefs during the first hundred years of foreign contact remained on their holdings in the back country conducting their lives much according to the old pattern, retelling their family tales or those belonging to their own locality, repeating their family chants and genealogies, treasuring their family gods or setting up new gods for immediate protection against want or sorcery.
In everything relating to the past the family bond remained sacred. The old pride of rank did not easily lose its hold upon the imagination. About the places where the old gods walked, where the forefathers dwelt, lingered still their active influence for good or evil; wahi pana storied places they are called.
Even today a mere child of the district will point them out. Local entertainers may always be found ready to tell the legend, embellished by a chant at emotional moments to break the monotony of recital. On the edge of the royal fishponds below Kalihi, in a house built for King Kalakaua, lives David Malo Kupihea, holding among his kindred, who have settled close about him, a position corresponding in humble fashion to the old patriarchal dignity of the past. Beyond the soft fringe of overhanging cassias shimmer the surfaces of the ponds outlined in enduring stone, and there are dusty exhalations from neighboring dump-heaps to which the once royal area has been consigned as the creeping population of the city seeks to build up firm land upon the bordering marshes.
There Kupihea rules alike over fishponds and dump-heaps. Descended from a long line of sorcery priests of Molokai in the high-chief class, educated in the best English-speaking schools of Honolulu side by side with the children of the newcomers, inheriting from his fathers the office of guardian of the royal fishponds, he keeps his love for the old learning taught by the elders of his own blood, and takes an even emo-.
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According to Kupihea the great gods came at different times to Hawaii. Ku and Hina, male and female, were the earliest gods of his people. Kane and Kanaloa came to Hawaii about the time of Maui. Lono seems to have come last and his role to have been principally confined to the celebration of games. At one time he was driven out, according to Kupihea, but he returned later.
Of the coming of the gods he had explicit evidence to offer: They were the gods who ruled the ancient people before Kane. That is the tradition of our people. Kane and Kanaloa [arrived there], but not Lono. Some claim that Lono came to Maui. KU and Hina, male or husband kane and female or wife wahine , are invoked as great ancestral gods of heaven and earth who have general control over the fruitfulness of earth and the generations of mankind.
Prayer is addressed to Ku toward the east, to Hina toward the west. Together the two include the whole earth and the heavens from east to west; in a symbol also they include the generations of mankind, both those who are to come and those already born. Some kahunas teach a prayer for sickness addressing Ku and Hina, others address Kahikina-o-ka-la The rising of the sun and Komohana-o-ka-la Entering in of the sun.
Still others call upon the spirits of descendants and ancestors, praying toward the east to Hina-kua -back as mother of those who are to come, and toward the west to Hina-alo -front for those already born. The prayer to Ku and Hina of those who pluck herbs for medicine emphasizes family relationship as the claim to protection. All are children from a single stock, which is Ku. Ku [or Hina], listen! I have come to gather for [naming the sick person] this [naming the plant] which was rooted in Kahiki, spread its rootlets in Kahiki, produced stalk in Kahiki, branched in Kahiki, leafed in Kahiki, budded in Kahiki, blossomed in Kahiki, bore fruit in Kahiki.
Life is from you, O God, until he [or she] crawls feebly and totters in extreme old age, until the blossoming time at the end. Amama, it is freed. Ku is therefore the expression of the male generating power of the first parent by means of which the race is made fertile and reproduces from a single stock. Hina is the expression of. Through the woman must all pass into life in this world. The two, Ku and Hina, are hence invoked as inclusive of the whole ancestral line, past and to come.
Ku is said to preside over all male spirits gods , Hina over the female. They are national gods, for the whole people lay claim to their protection as children descended from a single stock in the ancient homeland of Kahiki. The idea of Ku and Hina as an expression of common parentage has had an influence upon fiction, where hero or heroine is likely to be represented as child of Ku and Hina, implying a claim to high birth much like that of the prince and princess of our own fairy tales. It enters into folk conceptions. A slab-shaped or pointed stone pohaku which stands upright is called male, pohaku-o-Kane; a flat papa or rounded stone is called female, papa-o-Hina or pohaku-o-Hina, and the two are believed to produce stone children.
So the upright breadfruit ulu tree is male and is called ulu-ku; the low, spreading tree whose branches lean over is ulu-ha-papa and is regarded as female. These distinctions arise from analogy, in the shape of the breadfruit blossom and of the rock forms, with the sexual organs, an analogy from which Hawaiian symbolism largely derives and the male expression of which is doubtless to be recognized in the conception of the creator god, Kane.
The universal character of Ku as a god worshiped to produce good crops, good fishing, long life, and family and national prosperity for a whole people is illustrated in a prayer quoted by J. Emerson as one commonly used to secure a prosperous year:. O Ku, O Li! Soften your land that it may bring forth. Bring forth in the sea [naming the fishing ground], squid, ulua fish. Encourage your land to bring forth. Bring forth, on land, potatoes, taro, gourds, coconuts, bananas, calabashes. Bring forth men, women, children, pigs, fowl, food, land. Bring forth chiefs, commoners, pleasant living; bring about good will, ward off ill will.
Here again, in the antithesis between sea and land, is another illustration like that between male and female of the practical nature of prayer, which sought to omit no fraction of the field covered lest some virtue be lost. The habit of antithesis thus became a stylistic element in all Hawaiian poetic thought. Imagination played with such mythical conceptions of earth and heaven as Papa and Wakea Awakea, literally midday. Night po was the period of the gods, day ao was that of mankind.
Direction was indicated as toward the mountain or the sea, movement as away from or toward the speaker, upward or downward in relation to him; and an innumerable set of trivial pairings like large and small, heavy and soft, gave to the characteristically balanced structure of chant an antithetical turn. The contrast between upland and lowland, products of the forest and products of the sea, and the economic needs dependent upon each, shows itself as a strong emotional factor in all Hawaiian composition.
It was recognized economically in the distribution of land, each family receiving a strip at the shore and a patch in the uplands. It was recognized in the division of the calendar into days, months, and seasons, when those at the shore watched for indications of the ripening season in the uplands and those living inland marked the time for fishing and surfing at the shore. It modified the habits of whole families of colonizers, some of whom made their settled homes in the uplands and in the forested mountain gorges.
It determined the worship of functional gods of forest or sea, upon whom depended success in some special craft. A great number of these early gods of the sea and the forest are given Ku names and are hence to be regarded as subordinate gods under whose name special families worshiped the god Ku, who is to be thought of as presiding over them all. As god of the forest and of rain Ku may be invoked as:. Ku-holoholo-pali Ku sliding down steeps. Ku-pepeiao-loa and -poko Big- and small-eared Ku. Ku-ka-ohia-laka Ku of the ohia-lehua tree.
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These are only a few of the Ku gods who play a part in Hawaiian mythology. The Ku gods of the forest were worshiped not by the chiefs but by those whose professions took them into the forest or who went there to gather wild food in time of scarcity. Kumauna and Ku-ka-ohia-laka were locally worshiped as rain gods. Canoe builders prayed to the canoe-building gods for aid in their special capacities: They prayed also to the female deities: Some equate Ku-pulupulu with the male Laka, called ancestor of the Menehune people, and hence with Ku-ka-ohia-laka, god of the hula dance.
Ku-ka-ohia-laka is worshiped by canoe builders in the body of the ohia lehua, the principal hardwood tree of the upland forest. His image in the form of a feather god is also worshiped in the heiau with Ku-nui-akea, Lono, Kane, and Kanaloa. That is why the altar in the dance hall is not complete without a branch of red lehua blossoms. Emerson, HHS Papers 2: Emerson, Pele , —; Westervelt, Honolulu , 97—; For. Malo, — note 5. It bears only two blossoms at a time.
If a branch is broken blood will flow. The story of its origin is as follows:. When the sister brings vegetable food from her garden to her brother at the sea, her stingy sister-in-law pretends that they have no fish and gives her nothing but seaweed to take home as a relish. In despair at this treatment, Kaua transforms her husband and children into rats and herself into a spring of water. Her spirit comes to her brother and tells him of her fate. He visits the uplands, recognizes the spot as she has directed in the dream, and, plunging into the spring, is himself transformed into the lehua tree which we see today.
Hina-ulu-ohia Hina the growing ohia tree is the female goddess of the ohia-lehua forest. In the genealogies, legends, and romances she appears as mother of Ka-ulu, the voyager, and wife of Ku-ka-ohia-laka; Kailua on the northern side of Oahu is their home. To both god and goddess the flowering ohia is sacred and no one on a visit to the volcano will venture to break the red flowers for a wreath or pluck leaves or branches on the way thither. Only on the return, with proper invocations, may the flowers be gathered.
A rainstorm is the least of the unpleasant results that may follow tampering with the sacred lehua blossoms. Ku-mauna Ku of the mountain is one of the forest gods banished by Pele for refusing to destroy Lohiau at her bidding. There he incurred the wrath of Pele and was overwhelmed in her fire. Today the huge boulder of lava which re-. Green and Pukui, Emerson, Pele , As late as a keeper escorted visitors to the sacred valley to see that the god was properly respected and his influence upon the weather restrained within bounds for the benefit of the district. The legend runs as follows:.
A tall foreigner comes from Kahiki and cultivates bananas of the iholena variety in a marshy spot of the valley. Pele comes to him in the shape of an old woman and he refuses to share his bananas with her. She first sends cold, then, as he sits doubled up with his hands pressed against his face trying to keep warm, she overwhelms him with a stream of molten lava. In this shape he is to be seen today encrusted in lava. Sick people are sometimes brought to a cave near the place where stands Kumauna and left there overnight for healing.
In case a fish of the proper variety is lacking, a rare plant growing in the vicinity, which has leaves mottled like the sides of the opelu, may be used as a substitute. But all this must be done with the greatest reverence. Visitors to the valley are warned to be quiet and respectful lest a violent rainstorm mar their trip to the mountains. The story told of Johnny Searle has become a legend of the valley and a warning to irreverent foreigners.
An Evening of Aloha ~ Hawaiian Shamanistic Healing
Emerson, Pele , ; J. Emerson, HHS Reports Rain heiau were still to be found in early days on Hawaii. A famous healing kahuna of Ka-u nicknamed Ka-la-kalohe, who worshiped his god the sun in Honokane gulch, is said to have been constantly appealed to by the white planter to invoke rain or sunshine. When a company go out after doves, offerings are made to them of taro and fish in order to insure fair weather. But if someone follows and strikes the stone which is dedicated to the two spirits, a thunderstorm will fall.
A fisherman might choose any one of various fishing gods to worship, and the tapus which he kept depended upon the fish god worshiped. Reddish things were sacred to him. The fisherman's heiau set up at a fishing beach is called after him a kuula. There he built the first fishpond; and when he died he gave to his son Aiai the four magic objects with which he controlled the fish and taught him how to address the gods in prayer and how to set up fish altars.
The objects were a decoy stick called Pahiaku-kahuoi kahuai , a cowry called Leho-ula, a hook called Manai-a-ka-lani, and a stone called Kuula which, if dropped into a pool, had the power to draw the fish thither. Some accounts give Aiai a son named Punia-iki who is a fish kupua and trickster and helps his father set up fishing stations. In this story the god Ku-ula-kai who supplies reproductive energy to all things of the sea is represented by his human worshiper. The man Kuula who served the ruling chief of East Maui as head fisherman has a place on the genealogical line stemming from Wakea.
At the stone Maka-kilo-ia Eyes of the fish watchman placed by Aiai on the summit of Kauiki, fishermen still keep a lookout to watch for akule fish entering the bay. A haul of 28, were drawn up there only a few years ago. All the places named in the legend of Aiai remain as authentic fishing grounds and stations for fishermen in island waters. Nor is the old practice of offering fish from the first catch to the god upon the fish altar entirely forgotten. The chief finds the food supply diminishing and his people in want.
He appoints Kuula-kai head fisherman and Kuula-uka head cultivator for the whole island. Kuula-kai builds a fishpond with walls twenty feet thick and ten feet high and an inlet for the fish to go in and out at. Finally appears an enemy who breaks down the walls of the fishpond.
At Wailau on Molokai lives a handsome chief named Kekoona who has kupua power. He sees the fishpond swarming with fish and slips in through the inlet, but when he has fed well he cannot get out without breaking down the wall. Kuula fishes for the eel with the famous hook Manaiakalani baited with roasted coconut meat and attached to two stout ropes held by men standing on opposite sides of the bay. These draw the hooked eel to shore, Kuula kills him with a stone, and there his body lies turned to stone with one jaw smashed and the other gaping.
The dog Poki is set to watch him and may be seen also turned to stone looking off to Molokai where the friends of the chief are bewailing him. Often one hears a shrill sound like mourning and the bubbles that push up into the rock pools are the tears of those who mourn.
The chief orders Kuula to be burned in his house with all his family. Because he is a god, Kuula knows of the order and prepares to save himself, his wife, and son. Three gourds pop in the fire and all believe that the three inmates of the house are consumed. A storm arises and all those who have taken part in the burning are killed. Meanwhile the fish have followed Kuula and Hina and the pond is empty.
The chief threatens the people with death if no fish is brought him. Aiai is befriended by a little boy named. Pili-hawawa and to save the family of his friend he drops the kuula stone into a pool and the fish swarm into the pool. The first fish that the chief eats slips down his throat whole and chokes him to death. The first fishing ground marked out by Aiai is that of the Hole-of-the-ulua where the great eel hid.
A second lies between Hamoa and Hanaoo in Hana, where fish are caught by letting down baskets into the sea. A third is Koa-uli in the deep sea. A fourth is the famous akule fishing ground at Wana-ula mentioned above. At Honomaele he places three pebbles and they form a ridge where aweoweo fish gather. At Waiohue he sets up on a rocky islet the stone Paka to attract fish.
From the cliff of Puhi-ai he directs the luring of the great octopus from its hole off Wailua-nui by means of the magic cowry shell and the monster is still to be seen turned to stone with one arm missing, broken off in the struggle. Leaving Hana, he establishes fishing stations and altars along the coast all around the island as far as Kipahulu. Another famous station and altar is at Kahiki-ula. At Hakioawa on Kahoolawe he establishes a square-walled kuula like a heiau, set on a bluff looking off to sea.
On Lanai he fishes for aku at cape Kaunolu and there some say finds Kaneapua fishing. At cape Kaena a stone which he has marked turns into a turtle and this is how turtles came to Hawaiian waters and why they come to the beach to lay their eggs, and this is the reason for the name Polihua for the beach near Paomai. On Molokai he lands at Punakou, kicks mullet spawn ashore with his foot at Kaunakakai, and at Wailau where Koona lived and where he finds the people neglecting to preserve the young fish, he causes all the shrimps to disappear and then reveals their retreat to a lad to whom he takes a fancy.
A good place for fishing with hook and line on Molokai is between Cape-of-the-dog and Cape-of-the-tree. Other stones are set up at grounds for different kinds of fish.