[Footnote 15:  By kahoaka the Hawaiians designate “the spirit or soul of a person still living,” in distinction from the uhane, which may be the spirit of the dead. Aka means shadow, likeness; akaku, that kind of reflection in the mists which we call the “specter in the brocken.” Hoakaku means “to have a vision,” a power which seers possess.  Since the spirit may go abroad independently of the body, such romantic shifts as the vision of a dream lover, so magically introduced into more sophisticated romance, are attended with no difficulties of plausibility to a Polynesian mind.  It is in a dream that Halemano first sees the beauty of Puna.  In a Samoan story (Taylor, I, 98) the sisters catch the image of their brother in a bottle and throw it upon the princess’s bathing pool.  When the youth turns over at home, the image turns in the water.]

[Footnote 16:  The feathers of the oo bird (Moho nobilis), with which the princess’s house is thatched, are the precious yellow feathers used for the manufacture of cloaks for chiefs of rank.  The mamo (Drepanis pacifica) yields feathers of a richer color, but so distributed that they can not be plucked from the living bird.  This bird is therefore almost extinct in Hawaiian forests, while the oo is fast recovering itself under the present strict hunting laws.  Among all the royal capes preserved in the Bishop Museum, only one is made of the mamo feathers.]

[Footnote 17:  The 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