Voyages of Malolo:

VOYAGES OF MALOLO

The Secret of the Rongo

ROBERT BONVILLE

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Published by Robert Bonville at Smashwords

Copyright 2011 Robert Bonville

All rights reserved.

License Notes: This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this ebook with another person, please purchase an additional copy for each person you share it with. If you’re reading this book and did not purchase it, or it was not purchased for your use only, then you should return to Smashwords.com and purchase your own copy. Thank you for respecting the hard work of this author.

ISBN: 0615531296

ISBN-13: 9780615531298

Library of Congress Control Number: 2011937357

Voyages of Malolo, Green Valley, AZ

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This book is dedicated first and foremost to my wonderful wife Linda, for her support and patience during the entire creative process. And secondly, to all those who love and appreciate the history, culture and achievements of the Polynesian people.

Table of Contents

Foreword

Introduction

Chapter 1 Discovering the Rongo

Chapter 2 Malolo Comes Alive

Chapter 3 The Journey Begins

Chapter 4 The Men of Malolo

Chapter 5 Escape from Sacrifice Island

Chapter 6 Island of Smoke and Fire, Pele’s Temple

Chapter 7 The Ground of Men

Chapter 8 The Island at the Navel of the Earth

Chapter 9 Endurance in the Endless Sea

Chapter10 Secrets and Treasures of the Emerald Forests

Chapter11 Malolo Changes Hands

Chapter12 War of the Flowers

Chapter13 Visions of the Blind Seer

Chapter14 The Tears of Quetzalcoatl

Chapter15 Into the Mouth of the Snake

Chapter16 King Pa’ele I

Chapter17 The Wonderful People

Chapter18 Journey to Kuchama

Chapter19 In Search of the First People

Chapter20 The Return Begins

Chapter21 Meeting the Great Ali’i-nui

Chapter22 Maui’s Needle Discovered

Chapter23 The Final Leg

Chapter24 The Battle for Mana

Appendix Hawaiian/Polynesian Alphabet and Pronunciation

Glossary

Foreword

During the time of recorded history circa 1000 AD, when such world events as the classic Pueblo period when Anasazi cliff dwelling culture flourished, Muslims destroyed the Holy Sepulcher in Jerusalem, construction on the cathedral in Pisa, Italy began and, final separation between Eastern (Orthodox) and Western (Roman) churches occurred, the Pacific Ocean was largely populated by migrating seafarers who originated from the continent of Asia thousands of years before. This migration continued as conditions changed for these ancient Polynesians.

These early Polynesians were skilled navigators, without the benefit of a written language, having only the stars, sea currents, wave patterns and winds. They made their way across virtually all regions of the Pacific and settled where life could be sustained. Evidence indicates their primary exploratory motivation was to ease the demands of burgeoning populations.

Polynesian mythology doesn’t speak of explorers bent on conquest of new territories, but rather of heroic discoverers of new lands for the benefit of those who voyaged with them. While further influxes of immigrants from other Polynesian islands sometimes augmented the growth and development of the local population, for the most part, each island or island groups’ culture developed in isolation. There was no widespread inter-island group communication, nor is there much indication during this period of any interest in such communications, at least not for economic reasons.

During the period following complete settlement of Polynesia, each local population developed politically in diverse ways, from fully developed kingdoms in some islands and island groups or archipelagos, to constantly warring tribes or extended family groups between various sections of islands or, in some cases, even within the same valleys on various islands.

The early Polynesians brought along with them clothing, weapons, plants, animals, and established settlements wherever they were able to discover islands that would sustain life.

Upon their arrival, the settlers built homes and temples. They grew taro, banana, coconut, breadfruit, and raised pigs, chickens, and dogs, although these meats were eaten less often than fruits, vegetables, and seafood. Popular condiments included salt, ground kukui nut, seaweed, and sugarcane, also used in some cases for medicinal purposes. The settlers also acquired sweet potato or yam.

Polynesian religion is the term used to describe the folk religious beliefs and practices of the most of the peoples of Polynesia. This form of worship is unrelated to, though commonly confused with, the concept of huna or secret which is a philosophy of living, originated among the Tahitians and other Pacific islanders who colonized the many islands within the Polynesian Triangle during this time in history.

The Polynesian religion is polytheistic, believing in many deities, and is also animistic in that it’s based on a belief that spirits are found in non-human beings and objects, such as animals, trees, earth, the waves, and sky.

In ancient Polynesia the word kapu is usually translated to English as forbidden, though it also carries the means of sacred, consecrated, or holy.

An offense against kapu was often considered a corporal offense, but also denoted a threat to spiritual mana or power, or theft of mana. Kapu was strictly enforced, and the breaking it, even unintentionally, could sometimes result in immediate death. The concept is related to taboo found in most South Pacific cultures.

The indigenous, ethnic names and words used in this book are primarily the Hawaiian version of the Polynesian language except for the peoples our voyagers experienced in South and Central America, Mexico, and the Channel Islands off the coast of California.

Some words from other parts of Polynesia have been selected for the story, to add variety. An appendix has been added for proper pronunciation of Polynesian words in addition to a complete glossary describing these words, and others the reader may not immediately understand. They are both located in the back of this book.

This story begins briefly on Rapa Nui (Easter Island), then quickly shifts a relatively isolated Polynesian archipelago located at the north western edge of the Polynesian Triangle situated north of the Tropic of Capricorn, northeast of Aotearoa, known today by most as New Zealand, and due east of the island of New Guinea.

Introduction

The village of Atapu was located on the main and largest island of Taea, located near a small island group now known as the Kiribati archipelago along with four other islands named Koaea, Niafatu, Patumua, and Mu’uita, the last of which was inhabited only by birds and sea turtles, most abundant during the breeding season for those particular creatures.

The land mass of Taea was under 100 square kilometers, with a total population of just over 500 people, dispersed among three separate villages, and a handful of hamlets.

Life on this island was simple, safe and prosperous for the inhabitants with its rich, loamy volcanic soil, abundant moisture, sunshine, and sustained cooling trade winds.

The people were quite self-sufficient, being basically a subsistence society where the men mostly fished and tended to animals such as chickens and pigs.

Although the tending to crops was mainly the job of women and children, some men participated as well. In addition, the people of the Taea archipelago possessed all the necessary crafts and trades required of an organized, but somewhat primitive and isolated society.

Nakedness was common among the peoples of the South Pacific as clothing wasn’t necessary except to cover the most private and personal parts of their anatomy.

When clothing was worn, it was similar for both men and women, that being a bark cloth fabric known as tapa, worn as a loincloth by men or as a waistcloth by women. Variations of these garments would be worn during special celebrations and ceremonial events and decorated with colorful designs made from plant pigments.

Personally worn decorations were common where the women favored flowered head bands while most of the men preferred similar bands made of ferns or palm fronds for their heads, necks, wrists and ankles. Necklaces’ made of shell material were also popular.

Ear ornaments were worn most of the time by both sexes; more ornate ornaments were typically displayed at ceremonial events along with elaborate feathered headdresses.

While this island group had no active volcanoes, there was isolated geothermal activity on most of the islands providing sources of hot water and the ability to cook-in, around the mouths of these artesian hot springs. Each island had ample sources of fresh water as a result of their tropical rainforests. Waterfalls, streams and pools were never in short supply.

This epic story chronicles the voyages and adventures of a small group of Polynesians, led by a young adventurer who began an inspired quest to go beyond the secure boundaries of their primitively settled archipelago and, explore the vast Pacific in search of knowledge and adventure while being guided and inspired by their spiritual legends, beliefs, and ritual kapu. In their wildest imaginations these ancient voyagers could never have envisioned what knowledge, adventures, and sights await them.

These are the voyages of Malolo.

CHAPTER 1

Late one day, circa 1000 AD, Tikaroa was finding it difficult to see sufficiently to carve the final hieroglyphs into a flat length of reddish colored mahoe wood with his shark tooth tool. The final rays of the setting sun provided waning shards of light into the mouth of his seaside cave and sanctuary as he attempted to complete his work.

Tikaroa a member of the Hanau-momoku or short ears, the oppressed working class, was at one point a much sought after highly skilled stone carver of the monolithic stone statues known as moai. Now a fugitive, he was being hunted by the Hanau-epe the oppressive ruling class known as the long ears.

He was proclaimed guilty of carving sacred prayers into wooden tablets in direct violation of the kapu prohibiting any form of religion or worship other than to the moai, which littered the landscape as a constant reminder to all the people of the island.

The carved wooden tablets known as Rongo contained hieroglyphs, depicting the chants and prayers to the gods of Hawai’iki; Iao the creator, Kane the god of forests and trees, Lono the god of rainfall, agriculture, and music, Ku the god of war, and Tangaroa the god of the sea and others.

Each time a moai was completed; the short ears would make a new Rongo, and secretly distribute it among the other short ears, teaching them and their children about the virtues and kapus of their original deities and not the lifeless stone moai. This practice was proclaimed kapu by the ruling class Hanau-epe and, those committing these crimes were sought out and killed.

This combination cave and workshop was located on a small isolated island located in the southeast Pacific Ocean known to its people as Te-Pito-O-Te-Henua, the island at the navel of the earth also known as Rapa Nui or Easter Island, ruled by Miruta’a, the all powerful head of the long ears.

Miruta’a, religiously obsessed, and brutally oppressive, was rapidly killing off the working class short ears, and at the same time denuding the country side of its precious supplies of vegetation especially wood once abundant.

When the gigantic stone moai were completed, they had to be transported from their quarries, overland to a strategic location chosen by Miruta’a or one of his high priests. Logs cut from the trunks of giant coconut palms would be used to act as rollers to move the enormous stone tikis, sometimes lubricated by the bodies of human beings before being placed on platforms known as ahu, all facing inland as if to keep a watchful eye on their people.

Only twenty-five kilometers long and twelve kilometers wide as its widest point, this tiny island was rapidly being depleted of its life sustaining flora. No longer did the people have the ability to grow crops, build new homes, clothing, or canoes.

Cooking fires were almost a thing of the past because there was nothing to burn and, as a result the people were losing the ability to make fire. Somehow the ruling class didn’t associate the cultivation of new crops with their inexhaustible consumption of the existing flora.

The small ears changed their sexual habits to prevent conception and the possibility of having more children because those they had were starving, and suffering from various diseases due to malnutrition. Sadly, most of the population was forced into eating human flesh because it was virtually the only food source still available, mostly eaten raw and sometimes salted and sun dried.

Tikaroa suddenly heard the sound of a stone landing directly in front of the cave, then another, and another. This was the signal from his friend Hatui, alerting Tikaroa that he was approaching.

As Hatui entered, Tikaroa could see he was carrying some dried meat. I hope it’s from a long ear, I refuse to eat one of our own, he said emphatically.

It‘s a long ear from one of our camps near Ana-kai-tangata, man eating cave. I just picked up while on the way here, his friend explained.

Still revulsed at the thought of consuming human flesh, Tikaroa quickly devoured the rubbery strip of dried meat swallowing large chunks while hardly chewing. What’s happening to us my friend? Look what we’ve had to resort to, we can’t go on like this much longer, the carver said.

"Tikaroa, have you finished the latest Rongo? If so, I’m to deliver it to our leader Ha’oatu. He’s formed a new group, and they need prayers badly.

This one is complete, but I must have more mahoe wood, my supply is completely gone, Tikaroa told him. Hatui explained there were no more pieces of the precious wood but he had people combing the shoreline looking for possible pieces of driftwood he may be able to use.

The main problem was, when wood was discovered, it was generally used to make fire to cook the meat because most of the people preferred it cooked instead of raw or sun dried.

Hatui was just about to leave with the Rongo when they overheard faint voices outside the cave entrance. Suddenly alerted to possible danger, they focused their complete attention on the source of the sounds and listened. Down over the side of the cliff is a cave. Maybe the short ear carver is down there hiding. Come this way, I see a way down, one of the long ear warriors said as they started making their way down the steep rocky cliff face.

Quick, take the Rongo and escape through the side entrance back here, just stay to the left until you begin to see light, Tikaroa whispered, pointing inside the darkness of the cave.

"No my friend, you take it; I’ll stay here and hold them off so you have time to get safely away.

Your knowledge of the prayers, the legends, and your skill as a carver is too precious to risk; I’m just a runner, but younger and stronger. You go now, save the Rongo," Hatui reasoned.

Very well, dear friend. May the gods protect you, Tikaroa said as he grabbed the sacred wood, turned, and headed into the blackness of the inner cave. Knowing the way with his eyes closed, he followed the wall of the narrow passageway with his hand as it snaked its way to the left.

Moments later he saw the dim light of the back entrance to the cave. Although he’d exited this way before, he wasn’t completely familiar with each part of the climb upwards to the top of the cliff, so the going was slow because he only had one hand to help him climb in what was now rapidly increasing darkness.

Once at the top with the Rongo tucked securely under his arm, he began making his way along the cliff’s edge in a direction opposite to where he assumed the long ears had come from. In his panic to escape, he suddenly came upon a long forgotten crevasse too wide to traverse. As he turned to look for another trail or escape route he was faced with three of the long ears, closing in on him.

At that point he knew his end was near; there was no hope for his personal safety, let alone escape. He quickly glanced over the edge to see the surf crashing on the rocks far below. With no further thought of survival, and a prayer to the creator on his lips, he threw the Rongo as far as he could out beyond the crashing waves, then jumped to his death on the rocks far below.

The sacred tablet sailed toward the sea as if it were a leaf on the wind, landing safely on the water’s surface, beginning its slow drift westward with the winds and ocean currents of the gods.

***

Approximately one year later, and over seven thousand kilometers away on an island in the western Pacific, Auka’i was awakened to the sounds of children already playing just outside the men’s hale ((house) while waiting for their morning meal. Normally by this time of the morning, Auka’i was already scouring the beaches for fish and shell fish, which he had done almost every day since he was old enough to take the trek alone down the steep winding mountain trail from the village to the nearest lagoon.

His tardiness this particular morning was a result of the festivities the night before where his life-long friend Manu took a wife, and the resulting celebration provided much food and kava (common mind altering drink). It was the kava that contributed to his later than normal rise. Over the years Manu had emerged as the island’s best sail maker. He often tried to get Auka’i interested in sail making, but his friend was too much of a dreamer, and being skilled at crafts such this was not in his future.

Grabbing a basket, his fishing spear, and a cooked yam from the night before, he headed out of the village to main path leading down the mountain to the lagoon. The village was strategically located in an inaccessible area of the island chosen by the old ones for its security in the event of an attack from the north side of the island.

The path which would only permit one person at a time to traverse contained a number of small alcoves carved into the side of the lava rock face of the mountain. These alcoves provided the villagers defensive positions where three to five defenders could hold off a number of invaders, making it virtually impossible for any unwanted visitors from ascending all the way to the top and the entrance to the village itself.

Still somewhat feeling the effects of the kava, Auka’i made his way down the path with great care as a slight misstep could result in his falling to a certain death. The trade winds, which always blew, were an additional factor as they whipped around the side of the mountain, creating howling sounds in the cracks and holes in the rocks.

It was actually longer to descend the mountain than to climb it because of the care needed to safely climb down the mostly vertical trail. At least the upward climb was supported with rock formations with which to grab on to facilitating the effort. The downward climb on the other hand required a greater degree of agility and balance to accomplish.

This day, like most days on his island, was filled with almost constant sunshine, warm temperatures, and cool trade winds from the east, with lush green vegetation everywhere except where it was separated by brilliantly colored flowers growing wild. As he approached the beach he could see and hear the surf breaking just outside the barrier reef. The sky was just a little darker than the aqua blue-green hue of the lagoon.

As a young man of thirty seasons, he was muscular, athletic, and much taller than most of his people. Many of the young girls from his village and even some from other islands in his archipelago considered him to be a good catch for a husband. Getting married was the furthest thing from his mind, however, as Auka’i was a dreamer and typically could think only of the adventure he knew awaited him somewhere in the great expanse known as the Pacific Ocean.

His seemingly endless visits to his beloved lagoon would often result in hours of sitting on the soft white sugar sand staring intently at the sea and sky as if in a trance, a state of wonderment of what lay beyond the horizon. Auka’i loved his island, his people, and his life, however, he wanted something more, but didn’t know just what it was, but knew it lay beyond Taea.

Although Auka’i’s feet were tough enough to withstand the sharp jagged rocks of the mountain trail, he was somewhat relieved when they met the soft, warm sand of the beach directly at the bottom of his climb. From the time he was a small boy he loved walking the beach. It was one of his favorite things to do. This small scale form of exploration was what fueled his desire to see more and do more in his life. He had no idea how his life was about to change. He knew his destiny could only be realized once he ventured beyond the peaceful waters of his archipelago.

His skin was embellished with a number of tataus (tattoos), designs of his choosing expressing his identity and personality social status and reference to his family clan. His first tatau of a sea turtle was done when he was in his twelfth season, when most boys undergo the rights of passage to manhood. His shoulder- length hair was as black as lava rock and glistened as if it had been saturated with coconut oil.

Over the years Auka’i found many things washed up on the beach. Mostly the typical flotsam comprised of various types of dead flora, some from other parts of his island chain and no doubt from other Pacific islands, too. Dead or dying sea creatures also made their way to these beaches from sea turtles to dolphins, sea birds, and even a whale. In fact, when the whale was discovered, it was still alive but in its last throes of life when it was discovered by Auka’i and a few of his boyhood friends.

When the elders were alerted to the find, most of the villagers descended on the beach, literally using every part of the animal. It was truly a treasure talked about for many seasons thereafter. Auka’i kept a tooth from the beast and hung it around his neck along with puka shells and medallions of paua (abalone) shell, his most prized possession.

He set out to begin shell fish hunting down at his favorite spot which was not far from a popular gathering place, iki’waha (small mouth blowhole). He never shared this particular location with any of his friends because he knew it would be fished out.

The villagers always looked forward to his return with a basket full of seafood, especially opihi, a small rock clinging mollusk, meaty, sweet, and loved by everyone. Many liked them raw, but others preferred them cooked over hot rocks on the morning fire.

As usual, hunting was good, and in no time his basket was almost half full. He also harvested a large crab and some small fish trapped in a tidal pool stranded by the outgoing tide. Because his basket still had room for more of the sea’s bounty, he set out down the beach for just a little more before his catch would be too heavy to manage on his way back to the village.

Thinking of how well received he would be upon his return later that morning, Auka’i almost missed a piece of wood that had just washed up with an incoming wave and was beginning to return to the sea because its buoyancy kept it from being caught by the sand. What initially caught his eye about the object was the color. It had a dark red color, not like wood ever seen. As it once again was washed ashore, he noticed something on its surface didn’t look like anything he’d ever seen. He didn’t know what it was, but felt compelled to take a closer look, so he picked it up before it again returned to the sea.

The piece of wood was roughly as long as his leg, about as wide as his leg, and slightly thicker than his hand. The ends were a bit jagged as if it had been broken from a larger piece and, he could tell it had been adrift for some time as barnacles had formed on various parts of the object. The astonishing thing about the wood was it had designs carved into it. It contained small characters in horizontal lines, one under the other.

Looking closer at the designs in the wood, he noticed some of them resembled fish, birds, people and other things recognizable to him. What was this thing? Where did it come from and, who made it and what did it mean?

A few of the engravings in the wood were somewhat similar to art seen in ceremonial decorations used by his people, similar also to tataus on many of the men. Although some of the characters were familiar, they were also somewhat different.

What had he discovered? Forgetting his catch and his reason for being at the beach in the first place, he dropped to the sand, legs folded with the strange object in his lap, studying the wood as the waves rhythmically washed into him, while his basket of fresh delicious seafood began moving seaward on the retreating waves. He became totally mesmerized by this unidentifiable treasure.

For the longest time he sat quietly in the sand studying each design over and over, mostly trying to identify what each carving represented, running his fingers over each character consecutively, over and over again. Suddenly from behind he heard someone call his name, Auka’i, what do you have there? It was one of the elders of his village.

As if he needed something, anything to bring him out of his fixation on the wood, he jerked slightly with surprise and looked around seeing the elder approach him. Uncle, (a term of endearment and respect for elders among Polynesian cultures), I don’t know what this is, I’ve never seen anything like it before. Look at it. What do you think? Auka’i responded, handing the wood to the man.

The old man squatted on the sand next to Auka’i, took the wood in his hands, and began to examine it. Without voicing an immediate opinion he carefully studied the glyphs, looking everywhere on the object. "This isn’t something from this land, Auka’i. Maybe it’s a sign from Tane (the forest god), but if it is, why did it come from the sea and not found in the forest?"

Like Auka’i, the man was a bit bewildered and perplexed with the piece of carved driftwood. The longer the two examined the wood, the more questions arose and, they realized this discovery was something the Kupua (village Shaman) needed to see, to try and determine what this thing was and what did it mean. We must take it to the kupua. He should know the answer, Auka’i assumed. With that, they both made their way back up the rocky mountain path to the village in search of Tunui, the kupua of the village.

By the time they reached the village it was nearly midday. Most everyone was engrossed in the usual daily activities by that time of the morning. The villagers, mostly women were busy tending gardens containing a wide variety of fruits and vegetables, while others, both men and women, were busy at their work, be it skilled or unskilled. From cloth making to basket and mat weaving to fishing, canoe building, wood carving, hale building, the people of Atapu had the skill sets they required to productively subsist and to prosper.

Even the children had their duties, including fetching water from the nearby stream, helping in the gardens, feeding the chickens and dogs, and keeping the village tidy. Cleanliness and order was a common cultural trait of the Taean people.

As Auka’i and his elder companion entered the village, the excitement on the faces was immediately noticed by those encountered. Has anyone seen Chief Fautave?

He’s with some of the elders in the men’s hale, replied a young mother nursing her child.

Entering the men’s hale Auka’i could momentarily only make out the silhouettes of some men due to its unlit darkened interior. Once he made out the village chief he excitedly said, Matai Fautave! Look what I’ve found in the lagoon. By the time he approached the gathering of figures, he realized that his entry was less than formal and this sudden interruption could be viewed as disrespectful. Please forgive me for entering during your meeting with the elders, but I’ve discovered something you must see. Look here!

What is it Auka’i? What has you so excited? the chief asked.

I don’t know; it’s something I’ve never seen before, something not from our islands. Taking the wooden object from Auka’i, the chief tried to study it more closely but couldn’t see it well enough in the dimly lit room. It’s just a piece of waterlogged wood, Auka’i. What is special about it?

Take it outside, and you’ll see what I mean, Auka’i suggested.

When the group exited the men’s hale, they could immediately see this wasn’t just a piece of wood. The wood’s uniquely red color was the first thing they noticed, and then the glyphs were observed, extending from one end of the piece to the other, many of them in a line, one under the other.

Each glyph was seemingly different, but after closer observation they could see some glyphs were repeated. As noticed by Auka’i, some of the glyphs were of recognizable to the matai, like birds, fish, flowers, insects, and humans. Additionally, however, there were other figures that had no obvious meaning. I agree, Auka’i, this isn’t something we do. We must know what this means, Fautave declared.

The village holy man, or kupua, was visiting a small hamlet on the other side of the island, nearly a day’s trek there and back. Fautave summoned young Paki, one of his fastest runners, instructing him to find the kupua and bring him back to the village immediately. Fautave needed to seek the kupua’s wisdom and guidance to determine what the wooden object was and, what did it mean for his island and his people.

After Paki’s hasty departure, the village erupted with a din of speculation and puzzlement about the strange and mysterious object Auka’i had discovered. Soon, rumors began to arise that the wood was an evil sign Auraka, (god of death) was telling the people of Taea he was unhappy with them, and the wood was an omen of things to come. Others speculated that Tawhiri (storm god), was telling them a catastrophic typhoon was coming because the season was approaching. Of course, no one knew, but as rumors increased, so did the wild speculation about the meaning of this discovery.

It wasn’t long before Fautave ordered the simultaneous blowing of conch shells to summon the people of the village to the large stone paved porch directly in front of the matai’s sleeping hale. Within a few minutes, throngs of villagers assembled as directed, eagerly awaiting word from their matai.

Standing directly to the right of the matai as directed, Auka’i waited for his matai to speak. With the chief holding his hands upward, the crowd quickly became silent and attentive in anticipation.

"My people, today, for reasons we do not yet know, have been given a sign by the gods containing an unknown meaning. Auka’i discovered this piece of wood as he was shell fishing earlier this morning and rightfully brought it to me to determine its importance and meaning.

This event has caused many of you to think the worst about what’s in store for our people, but we don’t know what this sign is telling us, so don’t assume it’s evil, or we’re about to suffer great harm or in some way we’re in danger. The truth is we just don’t understand its meaning. It’s for this reason I’ve sent Paki to fetch our kupua to help us understand what we seek to know about this object. To help us understand where it comes from, who created it, and what it means. Tomorrow the kupua will study it and give us the answer when he returns.

Fautave’s words and the calm manor in which he communicated them to his people created an atmosphere of relative calmness and reassurance among those who heard him speak. Auka’i, too, was able to better put things in perspective, and not assume the message from the gods, was in some way ominous or indicative of some misfortune for the people of Taea.

Even with this rational assessment of the event, Auka’i’s mind still raced with speculation as to the meaning of the glyphs on the wood. He asked Fautave if he could study the wood more before it was shown to the kupua tomorrow.

Fautave gave his permission, but ordered that it not leave the men’s hale, and Auka’i maintain total responsibility for its safety and security. This order was, of course, well received by Auka’i because he felt as though he had some ownership of the object because he was the one who had discovered it in the first place. If it wasn’t for him, it would probably have washed back out to sea and no one would have ever found it. Its meaning would have been forever lost to the sea from which it had come.

That night, after having studied every part of the object many times, he was mentally and emotionally exhausted from the events of the day. Eventually, Auka’i rolled out a sleeping mat, placing his head in a head rest. It wasn’t long before a dream began to unfold in his subconscious.

During his deep slumber he had a dream. In the dream, he was in the trunk of a huge Koa tree, being tossed back and forth in a heavy sea. He was protected however, as the tree contained large holes where he could safely keep out of the heavy wind and water spray. When the sea calmed down, Auka’i became hungry and attempted to fish. When his fishing line became entangled, he dove down to attempt to free it.

As he descended to determine what was creating the tangle, he disturbed a giant He’e (octopus), hiding in an underwater cave. Terrified at the sight the creature he yanked free his fishing line and swam quickly upward, crawling back into the safety of the tree. The huge he’e then broke the surface of the water directly in front of the tree, but made no attempt to attack, or in any way molest him.

The giant sea beast then wrapped its enormous tentacles around the front of the tree and pulled it easterly toward the rising sun.

The tree seemed as though it was flying over the surface of the ocean at great speed, leaving no wake, only surface ripples the air movement created, just below the great koa tree on top of the water. Terrified as he was, it was the ride of a lifetime for him.

With a passionate appeal to the spirit of the great sea beast, he cried out, O’ great He’e, why are you pulling me? Where are you taking me?

To this the creature replied, "Your destiny begins to the east. Allow Tangaroa, (great god of the sea), to guide your journey. In his hands you will find what you’re searching for."

The great beast then released the tree and slid slowly back to the depths from which it had emerged. The sea suddenly became calm and quiet. Auka’i then resumed his deep sleep without further dreams or interruptions.

When he awoke, Auka’i was reminded he had only consumed a yam after his late rise the day before. He was so hungry; his wooden headrest looked almost edible.

Still holding the mysterious piece of wood as the matai had ordered, he departed the men’s hale in search of food. He immediately was confronted by his good friend and companion from childhood, Manu.

Auka’i, may I see your discovery? his friend asked.

Yes, you can, but first I need to get something to eat, I haven’t eaten since early yesterday, my stomach is talking to me and it’s saying FEED ME! Auka’i emphasized. Come. My Aunty Kaimana has just finished some cassava cakes and has plenty of fresh bananas, figs, and fresh water too, more than enough to eat. Then I can inspect your find in the privacy of her hale while you are eating. Manu added.

Good, replied Auka’i, but it must not leave my sight at any time. Is that understood Manu? Manu agreed, as they entered the home of Kaimana.

Once inside, he respectfully greeted Kaimana and thanked her kindness and for the food. Unlike most of the villagers, Kaimana found little if any interest in the piece of drift wood and resumed her daily tasks just outside the hut. Sitting near the opening to the hut, Manu held the wooden object so as to allow maximum sunlight would illuminate its surface.

Auka’i could see the intense interest and bewilderment on the face of Manu as he examined the piece. He could almost hear what Manu was thinking as he observed his body language and facial expressions during the examination. So, what do you think Manu? Any idea what it is?

No, he replied, but also indicated this was probably from a place no one had ever known of or seen. A place far from the world the people of Taea had ever even conceived of.

Manu, you’re my closest friend. I trust you and like you as if you were my brother, so what I say to you I want kept between us. I want to share with you the dream I had last night as I slept with this piece of wood.

As Auka’i shared the contents of his dream and mentioned the name of Tangaroa, Manu’s focus moved from his fixation on the wood and he looked directly into Auaki’s eyes and said, Could this be a sign from Tangaroa? Maybe he’s chosen you to receive this special sign. But what does it mean? What is his plan for you?

I wish I knew the meaning of it all. We’ll have to wait for the kupua to help us solve this mystery when he returns later today, Auka’i concluded as he bolted down his third cassava cake.

During the hurried journey back to the village of Atapu, Paki explained as much as he knew regarding the reasons why Fautave had needed him back so quickly. Not knowing anymore than the limited information provided by the runner, the kupua could only speculate on the meaning of the object, but realized he must physically see it and talk with Auka’i before he made any kind of determination as to the meaning of the discovery.

Auka’i and Manu heard the commotion as the kupua and Paki entered and met them in front of the matai’s hale where Fautave was waiting with some of his elders. I’ve been summoned by you great matai. How can I help?

Come inside, I also want Auka’i to join us. All others will remain outside, the matai ordered.

When they entered the sparsely furnished but somewhat elegant hale, Fautave assumed a sitting position at one end, where a series of ceremonial intricately woven mats were arranged. He instructed the kupua to sit on his right and Auka’i to the left. Kupua, I wouldn’t have sent for you if I didn’t think this event was important and worthy of your counsel. Auka’i discovered this wooden object yesterday down by the lagoon, then gestured for Auka’i to hand it to the holy man.

We don’t know where it came from, who carved it, or what it means. Many in the village are thinking it may be a bad omen from the gods, but not knowing, I told them not be concerned until we knew more about the object. I want you to study it and tell me what you think it is and what it means.

Before actually examining the wood, only going on what he had learned from Paki on his way back to Atapu, the kupua had been ready to dismiss it as a prank from some of the younger children. But it wasn’t until he actually saw the object, its color, and its many unique and intricate carvings, he immediately knew this was something much different and much more significant than he could have imagined.

Asking Auka’i a few questions relating to exactly where, when and how the object was discovered, the kupua, told the matai he didn’t know the meaning of all this, so he must summon the gods for their guidance and wisdom. He would need to take it with him to conduct the ritual, and return only after he had an answer. Fautave agreed and the kupua departed the hale asking Auka’i to accompany him while he prepared for his special prayers for guidance.

The kupua’s name was Tunui. He was a long-time trusted friend of the matai and the son of the former Village Kupua who had died ten seasons before at which time the role of kupua was turned over to him. His responsibilities included that of a special kind of healer, magician, and psychic, spiritual advisor and priest, a visitor into the mythical and spiritual world of their gods and goddesses, but always and especially a healer.

He was good at his craft but didn’t possess near the wisdom and knowledge of his father and sometimes used his position for personal gain, making himself a bit of an opportunist. He, and only he, knew his short comings, but never shared this with anyone else on the island.

Back at his hale, as he began to assemble the things he would need for his prayer session, Tunui asked Auka’i if he’d experienced anything else relating to his discovery, anything at all, no matter how insignificant or bazaar. Auka’i hesitated to reveal his dream because the holy man might think of him as being silly or immature, but he did so anyway because the dream was related and could provide the kupua some additional information that could be helpful.

After listening to Auka’i’s account of the trees and the octopus with reference to the great god Tangaroa, he promptly dismissed it as being an interesting fantasy, but no more significant than that. With disappointment, Auka’i accepted the kupua’s interpretation of the dream because, after all, he was the kupua. It was his job to know these things.

Auka’i, help me carry my prayer materials and the mystery wood to my holy place of meditation. To this request Auka’i promptly agreed, and they set off into the forest toward the northeast slopes of Mauna Pahi, the largest mountain on Taea.

As they approached his Marae (open air stone temple), and to keep its location a complete secret from everyone, the kupua instructed Auka’i to put everything down and he would carry on from this point. Auka’i obediently agreed. I’ll return to the village before the sun sets tomorrow, the kupua concluded.

Looking back, Auka’i observed the holy man gather up all his sacred objects, including the main reason for this special meeting with the gods, the wood, and watched him disappear up the trail.

He then turned and made his way back to the village, all the way trying to imagine what the kupua would say when he returned. The trail to the marae was overgrown and somewhat difficult to negotiate, and wasn’t a place the kupua visited frequently, only when significant events required its use, such as the discovery of the wooden object.

The location was relatively high on the northeast side of the mountain. His father had used this place for many years; in fact, he would accompany him here many times when he was growing up. His father said he was led to this spot by Laka (forest goddess).

The area was roughly the size of an average size village hale, covered and protected on three sides by thick tropical vegetation of lianas (vines), mosses and ferns, and on the fourth side by an open panoramic view of the windward side of Taea’s northeastern coastal region. In the center of the holy place, the ground was covered with mosaic of flat rocks with one large table size rock in the middle on which the kupua would sit or stand during his meditational prayers and rituals.

From this point he could see the rising sun off to his right. The location also allowed him to hear the surf crashing far below, to feel the wind, to see the sea birds and, during periods of deep meditation and in periods of deep introspect, to hear himself breathe and the beat of his own heart.

In spite of the fact he didn’t come there often, it was one of his favorite places. He loved the opportunity to be alone in this place to meditate either with a specific purpose or just for him. This sacred place was kapu to all others unless they were invited as part of the ritual or prayer or ceremony.

He chose not to include Auka’i in this ceremony because he felt he knew enough about the wood and, the circumstances surrounding its discovery he could approach the deities alone, thus keeping the session holy and sacred, allowing him to summon the spirits in complete privacy which he felt would also please the gods.

All night long, the kupua fasted and meditated waiting for his opportunity to begin his dialogue with the spirits during the dawn of the next day. He had wrapped himself in a white robe of pounded tree bark and took a seat on the large rock in the middle of the sanctuary. From a woven raffia pouch he selected a stone carved fish representing Tangaroa, a wooden object resembling tree roots which symbolized Laka, goddess of the forest, and last, a coconut oil lamp contained in a conch shell representing Maui (demi-god of sun and light).

As the brilliant rays of the morning sun began to break over the distant horizon, the kupua anointed each of the objects with sacred monoi (scented oil).With the mysterious wooden object in his outstretched arms, the kupua began his prayer for guidance,

"O’ great earth spirits hear my prayers.

O’ great Tangaroa, O’ great Laka, O’ great Maui, please hear my prayers.

Open my mind to the meaning of this wooden object that has sent to our shores.

Help me understand its meaning and what you expect of us.

Help us to understand the huna of the wood."

Over and over he repeated the same prayer chant to be sure he was heard by the spirits. Entering a dreamlike trance, the kupua began to understand at least a part of the mystery surrounding the red piece of driftwood. In his trance, the silhouette of a huge canoe was approaching him through the breakwater directly in front of the rising sun.

Standing erectly in the bow of the massive vessel was Tangaroa, his tongue extended, his nostrils flared and, his piercing green eyes focused directly on the shaman. Great fear and trepidation overcame the kupua at that moment as he fell to the earth prostrating himself with his arms outstretched, almost in a complete state of terror not knowing what to expect next. The deity then spoke,

"Fear not holy man, no harm will come to you this day.

It’s not I, but my brother Rongo the fisher of Islands,

Inventor of tall ships who has sent you this sign.

He is instructing you to search out the true

huna (secret) represented by this wood, to explore new lands, and new peoples.

The answer is beyond the reef, into the wind toward the rising sun,

Great mana will come to those who understand the huna."

Quickly the image disappeared as the kupua awoke in a state of near exhaustion after what seemed like hours in his trance. With tears of great emotion running down his face, he realized this experience was the most real,