CHAPTER II: MYTHOLOGY
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CRYING FOR THE DEAD.
THE Mythology of an isolated race like that of the New Zealander, is an important aid in ascertaining the locality, from whence it originally sprung; embodied in it, the most ancient remains of its history are to be found, as well as peculiarities of its religion; and it is there amongst fables and foolish tales, that some faint remains of ancient truth, are to be discerned.
Of their traditions it may be remarked, that the most ancient, are those which are common to other islands, as they evidently belong to a period anterior to their arrival in New
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Zealand; whilst such as are totally dissimilar to any other, may be supposed to belong peculiarly to themselves, and thus mark the turn which the native mind has taken, after it has been cut off from every other portion of the world. This clearly shows how the human mind, when left to its own resources, without the means of being cultivated and enlarged, becomes deteriorated, loses its manly character, and falls into a childish frivolity and weakness; whilst in the same degree that the mental powers are impaired, the fierce passions of the savage, brute force and violence, increase.
The knowledge which has even now been acquired, of the mythology of this singular people, is very imperfect; and as the old people, in whose breasts it is locked up, are rapidly passing away, much of it will perish with them. The rising generation is indifferent to the traditions of the past; the mind being now occupied with so many fresh subjects of interest, which European intercourse is introducing, it cannot be wondered, that it should be disinclined to burthen itself, with long strings of names and rites, which, generally speaking, are preserved in language, as dissimilar to that now spoken, as Spencer or Chaucer is to ours; and this also presents a great difficulty in the research, as it is only the old men who can explain words, which have long been obsolete.
Properly speaking, the natives had no knowledge of a Supreme Being. They had a multitude of gods, and these were said to have been the fathers, 1 each one of some department in nature; and these gods are so mixed up with the spirits of ancestors, whose worship entered largely into their religion, that it is difficult to distinguish one from the other. In fact, their traditions of the creation, go back far beyond
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even the gods themselves. They begin with nothing, which produced something, and that brought forth something more, and generated a power of increasing. Spirit, being more subtle than matter, arose before it, and thought, being supposed to be more so than spirit, the commencement dates with its birth.
There is a degree of thought perceptible in their traditions of the creation, which mark a far more advanced state than their present. Their ideas in some respects are not so puerile, as those even of the more civilized heathen nations of old, and without the light of inspiration, we cannot expect they would be more advanced than we find them.
The first period may be styled the epoch of thought--
"From the conception the increase,
From the increase the thought,
From the thought the remembrance,
From the remembrance the consciousness,
From the consciousness the desire."
The second period is that of night--
"The word became fruitful;
It dwelt with the feeble glimmering;
It brought forth night:
The great night, the long night,
The lowest night, the loftiest night,
The thick night, to be felt,
The night to be touched,
The night not to be seen,
The night of death."
This (we are told) is all we have to do with night; during these periods there was no light--there were no eyes to the world.
The third period is that of light--
"From the nothing the begetting,
From the nothing the increase,
From the nothing the abundance,
The power of increasing,
The living breath;
It dwelt with the empty space, and produced the atmosphere which is above us,
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The atmosphere which floats above the earth;
The great firmament above us, dwelt with the early dawn,
And the moon sprung forth;
The atmosphere above us, dwelt with the heat,
And thence proceeded the sun;
They were thrown up above, as the chief eyes of Heaven:
Then the Heavens became light,
The early dawn, the early day,
The mid-day. The blaze of day from the sky."
The fourth period--
"The sky above dwelt with Hawaiki, and produced land. Taporapora Tauwarenikau, Kuku-paru, Wawau-atea, Wiwhi-te Rangiora."
These are the names of lands or islands, supposed to have been first created; Hawaiki is the island they originally came from, which is regarded as the cradle of their race.
The fifth period: the land being thus formed, then were produced the gods--
"Ru-ou-hoko, Ruatupu, Ruatawiti Rua-kaipo, &c."
The sixth period, when men were produced.--
Ngae, Ngaenui, Ngaeroa, Ngaepea, Ngaetuturi, Ngapepeke. Tatiti, Ruatapu, Toe, Rauru-tama-rakei-ora."
There were two grand orders of gods: the first and most ancient were the gods of the night, as night preceded light, and then followed the gods of the light. Of the former the
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chief was Hine-nui-te-po, great mother night, the grand parent of the rest. Of the latter, Rangi and Papa, or Heaven and Earth, were the parents. The general idea of Heaven was that it was a solid and opaque body, spread out upon the earth, which was flat as a board. Papa (the earth) bears this signification.
Oti atu koutou ki te Po--e.
[During this period all was dark--no eyes.]
Na te kore i ai,
Te kore te wiwia
Te kore te rawea,
Ko hotupu, ko hauora,
Ka noho i te atea,
Ka puta ki waho, te rangi e tu nei,
Ka noho i Hawaiki,
Ka puta ki waho ko tapora pora,
Ko tauware nikau, ko kukuparu
Ko wawauatea, ko wiwhi te rangiora,
Ko Ru, no Ru, ko ou hoko
Na ouhoko, ko ruatupu,
Ko rua tawito, na rua tawito
Rua kaipo, na rua kaipo
Ko ngae, ngae nui, ngae roa,
Ngae pea, ngae tuturi, ngae
Pepeke, ko Tatiti, ko Rua
Tapu, ko toe, ko rauru
Ko tama rake i ora ko &c.
[The natives are very proud of their genealogies, and generally those of great men are traced up to the gods, and even before them; this may be the case here; if so, the latter part will be some great Chief's genealogy attached to this Song of the Creation.]
Ko te rangi e tere tere ana
I runga o te whenua
Ka noho te rangi nui e tu nei
Ka noho i a ata tuhi, ka puta
Ki waho te marama, ka noho.
Te rangi i tu nei, ka noho i a
Te Werowero, ka puta ki waho
Ko te ra, kokiritia ana
Ki runga, hei pukanohi
Mo te rangi, ka tau te
Rangi, Te ata tuhi, te
Ata rapa, te ata ka
Mahina, ka mahina
Te ata i hikurangi.
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There were either ten or eleven Heavens; 3 the lowest was separated from the earth, by a solid transparent substance like ice or crystal, 4 and it was along the under side, or that next to the earth, that the sun and moon were supposed to glide. Above this pavement was the grand reservoir of the rain, and beyond that was the abode of the winds. 5
Each Heaven was distinct, the lowest being the abode of rain; the next of spirits; the third of the winds; the fourth of light, the highest of all, being the most glorious, and therefore the chief habitation of the gods.
The sky, with its solid pavement, laying upon the earth,
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rendered it fruitless; a few insignificant shrubs and creeping plants only, had room to grow on its surface.
The earth's skin, or covering, was the tutu;
Her covering was the wehe-wehe;
Her covering was the bramble;
Her covering was the nettle.
Don't grieve that the earth is covered with water;
Don't lament for the length of time.
The ocean's reign shall be broken;
The ocean's surface shall be rough, (with the lands springing up in it)
With mountains standing forth,
Girdling round the sea.
Yes, round the sea.
Broken up shall you be (0 earth).
Do not grieve,
Yes you, even you,
Lest you should grieve through love;
Lest you should grieve for your water covered surface;
Lest you should lament for the time.
The offspring of Rangi and Papa, were first the Kumara, which came from the face of Heaven, being a plant which requires heat. Next came the fern-root, which sprung from the back of Rangi, intimating its hardy nature, being found on the cold hills, and needing no sun to make it grow. The first living being they produced was Tane, from whom proceeded trees and birds; what he was they do not seem clearly to know, a god, a man, or a tree; he is also called Tane Mahuta,
The second was Tiki, from whom man proceeded; his wife's name was Marikoriko, or Twilight. The first woman was not born, but formed out of the earth by the Arohi-rohi, or quivering heat of the sun and the echo. The daughter of Tiki and Marikoriko was called Kauatata.
The third son of Rangi and Papa was Tutenganahau, the grand author of evil.
Their fourth was Tahu, the author of all good. Tahu is the name for husband, and may have a figurative reference to marriage.
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The fifth was Tawirimatea, the father of the winds; and the last was Tangaroa, the father of all fish, and the great god of the ocean. This god in Tonga, is regarded as the creator of all things; he is there called Tangaloa; and in Tahaiti, where he is known as Taaroa, he is viewed in the same light.
This is also the case in Hawaii, 6 or the Sandwich isles. Orongo, another of the most ancient deities at Hawaii, was worshipped by the name of Orono; and Captain Cook, on his arrival there, was taken for that god, and he permitted the islanders to reverence him as such, and even to offer up sacrifices to him, which eventually caused his death. Tane and Tiki 7 were also known in Tahaiti, the latter by the name of Tii, so likewise was Ru, 8 and Hine nui te po, or Great Mother Night, the womb of nature. The same idea prevailed there of the malignant character of the Atua Potiki, or infant gods, who were called Hotua Pou; and supposed to delight in mischief.
The offspring of Papa and Rangi are next represented as holding a council, to decide what was to be done with their parents, that the earth might be rendered fruitful; for, as the tradition states, for a long long period "from the first night to the tenth night, to the hundredth night, to the thousandth night, all was dark, the thick opaque heaven laid on the earth, and rendered her barren. In vain did she seek for offspring in the likeness of the night, or of the day. Then they considered what must be done for Rangi and Papa. Shall we slay them, or shall we separate them? Tumata-uenga (this
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person must be the same as Tutenganahau) said yes, let us kill them. Tane Mahuta replied no, by no means, rather let us separate them; let one be placed above and let the other remain below; let the one be like a stranger far removed from us; let the other be near as a father or mother to us. All agreed to this counsel; one only was strongly opposed to their separation; five decided that they should be parted; one only loved them. These are the words: --
"The night, the night,
The day, the day,
The seeking, the adzing out,
From the nothing, the nothing.
Their seeking thought also for their mother,
That man might arise.
Behold this is the word,
The largeness, the length,
The height of their thought,
To kill their mother,
That man might live:
This was their counsel."
"Tutenganahau cruelly cut the sinews which united the two. The first then laid hold of her, but did not succeed; the second laid hold, but with no more success; the third did the same; the fourth, the fifth, and he alone was able. Alas for Rangi and Papa; alas for the power of Tane Mahuta 9 for him was reserved the propping up: down went his head below, up went his heels above. Up entirely went Rangi; down entirely went Papa. By him were they divided: the night was made distinct; the day also was made distinct."
"From Tawhirimatea arose the thought for his mother, lest she should decide that good should not spring forth by her turning to fight with his elder brethren. Truly such was the desire of Rangi-nui; but Tawhirimatea knew his rising up."
"Yes, truly of the great day,
Of the long day,
Of the clear sky,
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Of the night driving away day,
Of the day making all things distinct,
Of the day making everything bright,
Of the day driving away gloom,
Of the advancing day,
Of the hot day,
Of the day shrowded in darkness."
"He caused the winds to blow between earth and heaven: the cold breeze whistled over her surface. He placed his mouth to that of Tane Mahuta, and the winds shook his branches and uprooted him. He waged war with Tangaroa, and caused great waves on his surface. But Tane completed his work by taking his lofty trees and propping up the heaven." 11
The elevating and supporting of the heaven was Tane's first and great work; 12 his next was the production of his
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children the trees, of which he was the father; and of the birds, who own him also as their parent. Tane had six names, each being emblematical of his power. This is the case with all those who have distinguished themselves in the New Zealand mythology. Thus we have
Tane Tuturi--the bending; from doing so in upheaving the sky.
Tane Pepeki--the bowing; when his feet were against the sky.
Tane Uetika--straight as a tree.
Tane Ueka--strong as a tree.
Tane te Waiora--the person who opened the fountain of living water.
Tane nui a Rangi--the great Tane who propped up the heavens.
In addition to these he is called Tane Mahuta. The last great work which is attributed to him is the opening of the fountain of living water, to perpetuate the existence of the sun and moon; the latter, when it wanes, is thought to go to it, and bathing therein to receive a renewed existence: hence the saying--"Man dies and is no more seen; but the moon dies, and, plunging into the living water, springs forth again into life."
Tane is also the father of the birds which fly by night as well as those which fly by day; 13 hence the saying-- "Ko te
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manu huna a Tane"--(the hidden bird of Tane), applied to a person who arrives when it is dark, or remains unnoticed in the place.
Of Tiki little is preserved: his great work was that of making man, which he is said to have done after his own image. One account states, that he took red clay and kneaded it with his own blood, and so formed the eyes and limbs, and then gave the image breath. Another, that man was formed of clay, and the red ochreous water of swamps, and that Tiki bestowed both his own form and name upon him, calling him Tiki-ahua, or Tiki's likeness. The most prized ornament is an uncouth image of a man, formed of green stone, and worn round the neck as an "Heitiki" image, or remembrance of Tiki. 14 The new-born infant is called "he potiki," or a gift of Tiki from the Po or Hades. And the top knot of a Chief's head, the most sacred part of the person, is called "He Tiki."
Some traditions say that Tiki is a woman, but the general idea is the contrary.
The next person who appears on the stage is Maui: he may be called the grand hero of the New Zealand mythology,
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and it is upon his history the natives delight to dwell. A person called Tara-hunga is said to be the father of the Maui family, which is all that is known of him. He had six sons--
5 Maui-i-tiki tiki-a-tarangi
6 Maui-i-nukurau, or the Potiki.
The last is the most important character: his elder brethren were surnamed Ware-ware, which signifies that they were forgetful or absent. Maui Potiki appears to have had many names, which are expressive of his power: thus he is called Atamai, from his liberality; Toa, from his superior strength, and by some he is also called e tiki tiki a tarangi, which signifies that he possessed the tiki, (top knot,) or power of his father.
His brethren, however, professed to despise and underrate their younger brother, and to take every advantage of him. When they went out fishing, they would give him what they caught to cook, and then eat all up themselves, only giving him the scales for his portion. He likewise appears to have returned evil for evil, sometimes refusing to join in their fishing until they had finished; he would then throw his hook into the water, and at one pull would catch more fish than they had all taken together. Some traditions also allude to his playing tricks on his kuia and waea--his grandmother and mother. He is also said to have been guilty of great impiety in taking the jaw-bone of his grandfather Muri Rangawhenua, and making a fish-hook of it, which he kept concealed under his mat. One of Maui's works was to tie the sun and moon in their places, so that having run their appointed courses, they should daily return to their starting post. Another work of this Maori Hercules was to kill Tunarua, a great taniwa or monster, who lived in the water. He cut off his head, which he cast into the sea, where it became a koiro, or conger eel; the tail he threw into the fresh water, and it turned into the tuna, or eel. Another part was thrown on the ground, and the kareao or supple-jack sprung up. The blood was absorbed
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by the rimu, totara, toatoa, and other trees having red wood, which accounts for their being so.
Afterwards Maui Atamai accompanied his brother Maui Ware-ware to the woods to get makaka, a strong flexible climbing plant, used for the manufacture of eel pots. Maui Ware-ware made an opening at the end of his eel pot for the fish to enter in by, but as he used no precaution to binder them from going out again, they only eat the bait and went away. But Maui Mohio, made a tohi, or door, to the entrance into his eel pot, to hinder the fish from escaping; so that whilst his elder brother had no fish, his eel basket was filled. On their return home, Maui Mohio privately removed his tohi, lest his contrivance should be known; so when his disappointed brothers saw that his eel basket was filled, they inquired the cause of his success, and examining his basket, found to their surprise that it was just the same as their own. Afterwards the elder brothers made some spears for birds; all their points were smooth; but Maui added a barb to his; when they went to the woods to spear birds, they wounded, but could not secure them, as they slipped off the smooth point. Maui secured all his, as the barb of his spear held them firm. When they returned home, Maui privately removed the barb, and put on the smooth point again, which his brothers had made, that they might not find out the cause of his success.
Afterwards the elder brothers made some fish-hooks; Maui did the same, but his were barbed, whilst theirs were smooth. They went to the sea; his brothers caught fish, but they escaped: Maui secured all his. His brothers called out to him, let us see your hook; he held up one that was unbarbed like their own. They returned home, but without fish; Maui the cunning only had any. His brethren were very angry, and turned him out of their canoe; they told him and Irawaru, his brother-in-law, to go to sea in a canoe by themselves. Maui gave the baits to him to put on the hooks, but, like a greedy dog, he eat them all up. This made Maui very angry, and when they landed he called to his brother-in-law to go on before and lie down, as a skid. Irawaru did so, and Maui dragged the canoe over his back, and, behold! it was broken;
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and he was turned into a dog. 15 Maui left him, and returned to the village. His sister asked him, where is your brother-in-law? Maui replied, he is there taking care of our fish. His sister went and called Irawaru, Irawaru, Irawaru (his second name was Kooa); she returned, and said he is not there. He inquired, did you go as far as the canoe? She said, yes. Maui then bid her return and call moi, moi (the usual way of calling a dog). The woman went, and when she arrived at the canoe she cried moi, moi, and behold Irawaru ran up to her; the tail was turned into the head, and the head into the tail. The woman returned to her brother: when she came to Maui she said, why have you acted in this way to your brother-in-law, to turn him into a dog? Maui replied, because he eat our baits like one. Thus Irawaru became the father of the dog, which being descended from a god was considered sacred.
Soon after this, he finished making his fish-hook, which is called "Tuwhawhakia te rangi." 16 The face of it is named Muri ranga whenua. His brethren again went to the sea in their canoe, which is called the Riu o Mahui. Maui went on board, but remembering his former conduct, they would not take him with them, but turned him out, and went to sea, although he continually entreated to go. No, no; you are too full of
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craft; stay behind. So they left him. Some time afterwards he took the form of a Piwakawaka (the fan-tailed fly-catcher, a very lively restless little bird), and flying straight to the canoe, he perched on the prow. But as he began twirling and twiddling about, his brothers immediately recognized him. He then dropped his feathers one by one, and again resuming his proper form; he remained sitting on the prow of the canoe. His brothers said, don't let us give him a bait for his hook. Maui looked about with his eyes, and saw the root end of a leaf of flax lying near him; he cut it off as a bait for his hook, made from the jawbone of his grandfather, which he pulled from beneath his mat. He gave his nose a blow, and with the blood which came from it, saturated the lump of flax, and tying it on his hook as a bait, he then cast it into the sea, paying out the line as he uttered this spell--
Angi angi ki te wakarua, Angi angi ki te mawaki; Taku aho ka tangi wiwi nei; Taku aho ka tangi wawa; Taku aho kai iria ka mate, Tu ana he wata mano wai. Manowa mai hoki, Te watu wiwia, Te watu rawea, Te watu ko ronga ta, au ni ka wai atu Ki moana, ka wainga Waka nene a Maui Waka nene a-ka-tau,(He Hirihiringa mo te hutinga a te ao)
Blow gently from the wakarua, Blow gently from the mawaki; My line let it pull straight; My line let it pull strong; My line, it is pulled, It has caught, It has come. The land is gained, The land is in the hand, The land long waited for, The boasting of Maui, His great land, For which he went to sea, His boasting, it is caught.
He let out all his line, and then there was a bite. The hook caught something, which pulled very hard, so that the canoe heeled over, and was on the point of capsizing. His brothers called out, Maui let go. He replied, 17 What did I come for but to catch fish? I won't let go. So he continued pulling in his line, and again the canoe heeled over. His brothers impatiently repeated the command, Maui let
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go; we shall be drowned; but he persisted in pulling, and at last the earth came up. The hook caught the Maihi, the facing board of Hine-nui-te-po's house, and drew it up with the land. This was Ranga whenua, that is the fish of Maui. He boastingly asked his brothers the name of his fish: they could not tell. Again and again did he ask them; they were dumb with amazement. He told them it was Haha whenua, that is the searching for land. The moment the land came up their canoe grounded, and the hills 18 appeared. The canoe, it is said, still remains on the top of Hikurangi, a lofty mountain at Waiapu, near the East Cape. Some say it is further south, at Ahuriri. The salt water eye of the fish is Wanganui-a-te-ra (Port Nicholson). The fresh water eye is Wairarapa. The upper jaw is Rongo rongo (the north head of Port Nicholson); the lower jaw is Te Rimurapa (south head of ditto). The head of this land fish of Maui lies at Turakirae (a mountain on the coast near Wairarapa); the tail is the spirits' flying place (Cape Maria van Dieman); the belly is Taupo and Tongariro. One tradition states, that Maui's brothers immediately they saw the fish, took their tuatini's (an instrument bordered with a row of shark's teeth, the ancient Maori knife) and began crimping the fish. This accounts for the hills and vallies and all the irregularities of the islands' surface. A similar tradition prevails in the Tonga isles; but there Tangaloa is the fisherman. With some variations, this myth is known from one end of the island to the other. It appears only to apply to the north island, which indeed has a remarkable resemblance to a fish in shape; and the perfect knowledge which the natives had of its form, is an evident proof that they had frequently circumnavigated it in former times, and, in fact, had lived more peaceably and had more friendly intercourse with each other than they have now. It is not improbable that the
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name Maui is nothing more than a title given to the person who first sighted land. 19 Ma-u-i literally signifies as much. Maui also means to bewitch or enchant; in both of which arts he was a great adept. 20
The next great work of Maui is his contention with Mauika. Some traditions make him to be the grandfather of Maui; others deny it. He appears to have been a kind of Maori Pluto; his body was filled with fire. The name Maui-ka seems to imply that he was a member of the Maui family and distinguished by his being fire; at any rate, it is generally supposed that fire first proceeded from him. Some traditions represent Mauika as being a woman.
Behold Mauika had fire in his fingers and toes; when Maui knew this he went to kill him by his cunning: when he came to his ancestor he inquired the object of his visit; Maui replied, to obtain a little fire. Mauika immediately gave him one of his fingers, the koiti or little one. Maui left him, and went straight to the water and extinguished it. When it was put out he returned again to Mauika, and said that his fire had gone out: he inquired, how is it that the fire is extinguished; he replied, I fell into the water. He cut off another finger, the manawa, or ring finger. Maui went, and when he came to the water he extinguished it also, and then wetted his hand with the water, that Mauika might think what he said was true. Again he presented himself before him, and asks for some fire. The reason of his continually asking for fire of Mauika was that all the fire in his fingers and toes might be exhausted, lest he should burn him with it. This he kept constantly doing: he got successively the mapere, or middle finger, and the koroa, or fore finger, and the rongo matua, or thumb: having finished the fingers, he then tried to obtain the toes, and got all but the great toe. Maui cried, give me
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the remaining toe. Mauika said, No, Maui, you have some bad design towards me. Maui then tossed the fire from his hand, and burned Mauika with it, as well as the land and the trees. Maui himself was all but consumed; he fled in one direction, and the fire pursuing him there, then he fled in another; but the consuming flames still followed him, and finding no refuge on earth, he flew up into the air, and called for the small rain; but still being encircled with flames, he called for the greater rain, and that not sufficing, he then called for the heavy rain, which came pouring down in torrents, and soon extinguished the flames, and flooded the land. When the waters reached the tiki tiki or top-knot of Mauika's head, the seeds of fire which had taken refuge there, fled to the Rata, Hinau, Kaikatea, Rimu, Matai, and Miro; but these trees would not admit them. They then fled to the Patete, Kaikomako, Mahohe, Totara, and Puketea, and they received them. These are the trees from which fire is still to be obtained by friction.
Emboldened by his success in thus destroying Mauika, and extinguishing his fire, he next tried to put out the sun and moon. He set snares to catch them, and kept repeating his work, but in vain; for as often as he placed his traps, the powerful rays of the sun bit them in two. After all this hot work, Maui naturally became very thirsty; he, therefore, asked the Tieke to go and bring him some water. The bird paid no attention to his request; he threw it into the water. He then called another bird, the Hihi: and asked it to go and bring him some water; it also took no notice of his request: he cast it into the fire, and its feathers were burned in the flames, which accounts for its color. He next tried the Totoara, but it did not comply with his request: he placed a streak of white near its nose, as a mark for its incivility. Maui next asked the Kokako; that bird was immediately obedient to his wish. When it reached the water it filled its ears; and then returned to Maui; he drank and quenched his thirst: as a reward he pulled the birds legs to make them long, because he was attentive to his wish and brought him water.
His last work was to do away with death. He noticed that the sun and moon were not to be killed, because they bathed
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in the living fountain, the Wai ora Tane; he determined, therefore, to do the same and to enter the womb of Hine-nui-te-po, that is Hades, where the living water--the life-giving stream--was situated. 21 Hine-nui-te-po draws all into her womb, but permits none to return. Maui determined to try, trusting to his great powers; but before he made the attempt, he strictly charged his friends, the birds, not to laugh. He then allowed great mother night to draw him into her womb. His head and shoulders had already entered, when that forgetful bird, the Piwaka-waka, began to laugh. Night closed her portals, Maui was cut in two and died! Thus death came into the world! Had not the Piwaka-waka laughed, Maui would have drank of the living stream, and man would never have died. Such was the end of Maui!
He does not appear to have been generally prayed to as a god; yet he was invoked for their kumara crops and success in fishing. A karakia, or pure, addressed to him begins as follows:
Maui e hoea mai to heru,
Mo nga pa tuna,
Te heru o Maui,
Ko i wano ai, whiti mai
Te marama, &c, &c.
Maui is also said to have tattoed the lips of the native dog; and that accounts for its muzzle being always black. 22
A MERE MERE.