Hawaiian Legends of Volcanoes (mythology) Collected and translated from the Hawaiian — Themes and Context

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In Category - Myths Legends
Westervelt, W. D. (William Drake), 1849-1939 Project Gutenberg 2021 Not confirmed
Legends -- Hawaii; Volcanoes -- Hawaii Readers of public-domain and historical texts
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Words 51,210
Reading time 223 min
Text sections 25

The source record for Hawaiian Legends of Volcanoes (mythology) Collected and translated from the Hawaiian — Themes and Context measures this digital text at 51,210 words, 3 hr 43 min estimated reading time, and 25 detected text sections.

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W. D. Westervelt's collection of Hawaiian volcano myths, translated from native sources, with a scientific foreword linking geology to legend. The excerpts show Pele's sister Hiiaka journeying, weeping for a friend, and chasing a ghost, revealing a structure that alternates between cosmic framing and intimate, human-scale episodes.
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back the boat to her brother, the shark-god. It is said that after a time he brought all the brothers and sisters to Hawaii.

Pele was welcomed and entertained. Soon she went over to Kauai, the large, beautiful garden island of the Hawaiian group. There is a story of her appearance as a dream maiden before the king of Kauai, whose name was Lohiau, whom she married, but with whom she could not stay until she had found a place where she could build a permanent home for herself and all who belonged to her.

She had a magic digging tool, Pa-oa. When she struck this down into the earth it made a fire-pit. It was with this Pa-oa that she was to build a home for herself and Lohiau. She dug along the lowlands of Kauai, but water drowned the fires she kindled, so she went from island to island but could only dig along the beach near the sea. All her fire-pits were so near the water that they burst out in great explosions of steam and sand, and quickly died, until at last she found Kilauea on the large island of Hawaii. There she built a mighty enduring palace of fire, but her dream marriage was at an end. The little sister Hiiaka, after many adventures, married Lohiau and lived on Kauai.

Another story says that Pele was the daughter of Kane-hoa-lani and Hina. The oldest and most authoritative legends say that Kane-hoa-lani was her brother and that Hina was the creator of a flood or great tidal wave which drove Pele from place to place over the ocean. This story says that Pele had a husband, Wahioloa, who ran away from her with a sister named Pele-kumu-ka-lani, and that Pele searched the islands of the great ocean as she followed them, but never found them. At last Pele came to Hawaii and escaped the flood by finding a home in Kilauea. In this story she was said to have a son Menehune and a daughter Laka. There is very little foundation for this legend. Wahioloa was a chief, well known in the legends, of a famous family of New Zealand and other South Sea islands. Laka was his son, who cut down trees by day which were set up again at night by the fairies. The Menehunes were the fairy folk of Hawaii. The story of Pele’s search for a husband has been widely accepted by foreigners but not by the early Hawaiian writers.

The most authoritative story of the coming of Pele to Hawaii was published in the Hoku-o-ka-Pakipika (Star of the Pacific), in the story of Aukele-nui-aiku, in 1861, and in another Hawaiian paper, Ke Kuokoa, in 1864, and again in 1865. Again and again the legends give Ku-waha-ilo as the father and Haumea as the mother of the Pele family. Hina is sometimes said to be Ku-waha-ilo’s sister in these legends. She quarrelled with him because he devoured all the people. The Hawaiians as a nation, even in their traditions, have never been cannibals, although their legends give many individual instances of cannibalism. The Pele stories say that “Ku-waha-ilo was a cannibal,” and “Haumea was a pali [precipice or a prominent part of the earth].”

The Hawaiians, it is safe to say, had no idea of reading nature-thoughts into these expressions, thus making them “nature-myths.” They probably did not understand that Ku-waha-ilo might mean destructive earth forces, and Haumea might mean the earth itself from whom Pele, the goddess of fire, and Na-maka-o-ka-hai, the goddess of the sea, were born. It is, however, interesting to note that this is the fact in the legends, and that it was in a conflict between the two sisters that Na-maka-o-ka-hai drove Pele to the Hawaiian Islands.

W. D. Westervelt opens Hawaiian Legends of Volcanoes with a scientific foreword that draws an analogy between lunar lava rings and the Hawaiian island chain, describing Mauna Loa and Kilauea as the easternmost vents of a migrating volcanic crack. This geological framing gives way to narratives centered on Pele, the volcano goddess, and her sister Hiiaka, the goddess of ferns. The excerpts reveal a distinctive structural pattern: the legends move between broad, explanatory passages and tightly focused scenes of personal emotion and supernatural intervention.

Geology as Prologue

The foreword situates the Hawaiian Islands within a global volcanic context, describing them as a “curved ridge” built by lava overflows along a migrating crack. Westervelt notes that the last activity moved “from west to east” over thousands of years, leaving two live volcanoes at the eastern end. This scientific introduction does not merely preface the myths; it establishes a vocabulary of molten rock, gas, and circular ramparts that recurs in the legends themselves. The reader encounters Pele’s fire-anger and lava flows not as abstract supernatural forces but as extensions of the same earth processes described in the opening pages.

Hiiaka’s Journey and the Weight of Names

In the excerpt from chapter XV, Hiiaka travels with her companion Wahine-omao. When Wahine-omao asks why Hiiaka weeps, the goddess replies that the smoke from Pele’s anger is falling toward her friend Hopoe. A discussion of names follows: the friend is also called Nana-huki, meaning “eyes like a cord pulling you to her,” but Hiiaka prefers Hopoe, which may mean “one encircled” with wreaths or loving arms. This moment reveals how the narrative layers personal affection over formal naming, and how Hiiaka’s divine perspective allows her to see danger from afar while still expressing human-like grief.

Ghost Chasing and the Boundaries of Life

Later in the same chapter, Hiiaka encounters two girls whose father has drowned. She sees his spirit returning from the beach with a calabash over his shoulder and chases it “from place to place” until it returns to the body. The episode is structured as a pursuit: the ghost wanders aimlessly, afraid of strangers, and Hiiaka drives it back. The narrative dwells on the physical details—the calabash, the reef, the canoe filling with water—while the supernatural action unfolds matter-of-factly. This blend of mundane and magical is characteristic of the collection’s treatment of death and the spirit world.

Recurring Images: Smoke, Ferns, and the Sea

Across the excerpts, certain images recur: smoke from Pele’s anger, the “sweet-scented hala wreaths,” and the sea as both a source of food and a site of drowning. Hiiaka is identified as the goddess of ferns, a detail that ties her to the lush vegetation of the Hawaiian landscape. The movement between scenes is often marked by a shift in vantage point—from the uplands overlooking Hilo Bay to the distant seacoast, from the forest to the reef. These transitions reinforce a geography that is both literal and mythic, where gods and humans share the same terrain and where a glance can span miles.

Readers approaching Hawaiian Legends of Volcanoes will find that the collection rewards attention to its structural rhythms: the alternation between scientific framing and mythic narrative, the way personal names carry multiple meanings, and the recurring movement between high vantage points and intimate encounters. Westervelt’s translations preserve a voice that is direct and unadorned, letting the legends speak through concrete images rather than elaborate commentary.

Reading how Hiiaka weeps for her friend, I remembered sitting by the Delaware once, wondering if the river remembered its own old stories. That other collection, Myths and Legends of Our Own Land — Volume 03 : on and near the Delaware — Text and Context, felt similar—landscape holding grief and ghost together, quietly. Both books make distance feel intimate, like listening to someone else’s ache and finding it familiar.

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