John Shorland Wilmington retires as postmaster of Kalaupapa, 1925.

THAT HAWAIIAN LEFT HIS POST FLAWLESSLY

This past May, John Shorland Wilmington turned in his resignation, requesting in that letter to leave the position as Postmaster of Kalaupapa, Molokai, on the 30th of June 1925.

The resignation was accepted with much regret, and Mrs. Augusta Nascimento was selected and Postmaster in his place, but because the new Postmaster was not prepared to immediately assume the position, Mr. Wilmington continued at that position until the 30th of September 1925, whereupon everything was given into the hands of the new Postmaster, and Mr. Wilmington put aside the Postmaster position which he held for 25 years and 4 months.

Wilmington was chosen as Postmaster for Kalaupapa, Molokai on the 1st of June 1900, and on the 1st of June 1925, he held the position of Postmaster of Kalaupapa for 25 years.

The Post Office of Kalaupapa was constantly rated “Excellent,” the highest rating attainable for a Postmaster for his good, accurate, and respectable carrying out of his work.

During the past great war, while War Stamps were being sold, Kalaupapa was the only Post Office in the Union that was allowed to purchase War Stamps on Credit; all of the other Post Offices were to send in the money first and then receive the Stamps; this showed that Mr. Wilmington had the full trust of his supervisors in the Department.

In the month of July 1916, Wilmington was losing his sight, but he continued at his job until he formally left the position.

KALAUPAPA

(Hoku o Hawaii, 11/10/1925, p. 2)

WAIHO IA OIWI HAWAII I KA OIHANA ME KA MAEMAE

Ka Hoku o Hawaii, Buke XIX, Helu 25, Aoao 2. Novemaba 10, 1925.

Daughter born to Mr. and Mrs. Lydia K. Keaumoku, 1876.

[Found under: “Nu Hou Kuloko.”]

A flower blossomed.—At 9 o’clock A. M. of Thursday, the 9th of this month, a daughter was born to Mr. and Mrs. Lydia K. Keaumoku, at Kapaakea, Waikiki. This is their first child gotten in their youth; but there is one regretful thing, that the husband is separated at Kalawao because of the problem; if not, they would have more offspring. The baby’s size when it was born was 9 pounds.

(Kuokoa, 3/11/1876, p. 2)

Mohala ka pua.

Ka Nupepa Kuokoa, Buke XV, Helu 11, Aoao 2. Maraki 11, 1876.

William Luther Moehonua turns back and recalls his life with Lucy Lulea Kaiamoku Muolo Moehonua, 1865.

No Lucy Lulea Kaiamoku Muolo Moehonua.

Kuu wahine i ka la lailai o Kona—e,
Oia la ulili mai i ke pi—li,
Enaena no i ka houpo o ke kai—e,
Oia kai aloha a kakou e au a—i,
Me na milimili a kaua i hala aku—la,
Huli, e huli mai kau—a—e.

Kuu wahine mai ka hale lewa i ke kai—e,
Mai kapaia ale la i ka moa—na,
E hao mai ana ke e—hu o ke kai—e,
Pulu pu no maua me kuu alo—ha,
Hoomahana aku i ka poli o kehoa—e,
Huli, e huli mai kaua—e.

Kuu wahine i ka uka o Hainoa—e,
Mai ka hale kipeapea lau—ki,
Hale piohau i ka uka o Waiaha—e,
Hoa hoolono i ka leo o na ma—nu,
O ka waiaha kawi iluna o ke kukui—e,
Huli, e huli mai kaua—e.

Kuu wahine i ka hale palai o uka—e,
Hale lipo i ke oho o ka Awapu—hi,
I ka nae mapu ala o ke Kupukupu—e,
Ua pulupe i ke kehau kewai ua maka—ni,
He makani aloha ia no ka aina—e,
Huli, e huli mai kaua—e.

Kuu wahine i ka hale kamalauki o ka mauna—e,
Mai ka hale lehua waimaka a ka ma—nu,
E o mai ana ka ua awaawa—e,
Kilika i ka pua o ka Painiu—
Inu aku i ka wai mahu a ka wahine i kalua—e,
I hookulukulu i ke oho o ke u—ki,
Huli, e huli mai kaua—e.

Kuu wahine  mai ka malu kukui o Lilikoi—e,
Mai ka ua ulalena la i Piiho—lo,
Auau aku kaua i ka wai o Alelele—e,
Oia wai huna i ke oho o ka hinahi—na,
Aloha ia wahi a kaua e hele ai—e,
Huli, e huli mai kaua e.

Kuu wahine i ka hau anu o Kula—e,
Mai ka uka o Waiohuli i Kamao—le,
O ka pua mamane kai Koanaulu—e,
Me he lei hala la ke ahi o Kula ke a mai,
E weli nei la i kuu maka—e,
Huli, e huli mai kaua e.

Kuu wahine i ka piina ikiiki o Manowainui e,
A nui no ko aloha e uwe no au,
Kuu hoa hele o ke ala laula o Kealia—e,
E komo aku ai kaua i ka Hekuawa o Wailuku,
Wawa kupinai ke aloha i kuu manawa e,
Huli, e huli mai kaua e.

Kuu wahine i ka malu ulu o Lele—e,
Mai ka ua ula halii mai i ke pili,
Hoa nana i ka hono o na moku—e,
O ka ulu lehua i luna o Liha—u,
Ke pua’la i ke kai o Hauola—e,
Huli, e huli mai kaua e.

(Kuokoa, 11/11/1865, p. 1)

No Lucy Lulea Kaiamoku Muolo Moehonua.

Ka Nupepa Kuokoa, Buke IV, Helu 45, Aoao 1. Novemaba 11, 1865.

Kuu wahine i ke kai o Kuloloia e,
Kai nenelea i ke kuluaumo—e,
Anoano aloha ia’u Kaluaokapili e,
Kahi a kaua e nonoho ai,
Me na kini o kaua i hala aku—la,
Huli, e huli mai kaua e.

Kuu wahine i ka malu Inia—e,
Malu hele i ka la ke no—ho,
A noho e Kaiamoku—e,
E malama i na kalo Lililehu—a,
I na ia mililima a kaua—e,
Ina la i ke alo o Halania—ni,
Huli, e huli mai kaua e.

Kuu wahine i ka nani luaole a ka haole—e,
Ke ku nei la i kuu ma—ka,
Me he makamaka puka ala ke aloha e,
E koi nei i ka waimaka e hani—ni,
I ka hele o ka hoa piili he wahine e,
Huli, e huli mai kaua e.

Kuu wahine aloha i ke kaha o Mokuleia—e,
E lei mau no au i ko alo—ha,
O ka ukana ia a loko e hana nei—e,
E halia nei o ka po ke mo—e,
Hele a hia—a ka maka i ke ala—e,
Huli, e huli mai kaua e.

Kuu wahine i na ale ehukai o Kaula—e,
Mai ka ehuehukaiala o ka opi—hi,
Hoa au umauma i ke alo o Leinoai e,
Hoomaha aku i ka luna o Kaneneenee,
Neenee pono mai kaua e Kaiwaanaimaka—e,
E nana i ka lalo pali o Keanaoku—e,
Ku au kilohi ia lalo o Kaimaio e,
Ua lai malino pohu i ke kaao—e,
Huli, e huli mai kaua—e.

W. L. Moehonua.

Halaaniani, Oct. 7, 1865.

(Kuokoa, 11/11/1865, p. 2)

Kuu wahine i ke kai o Kuloloia e...

Ka Nupepa Kuokoa, Buke IV, Helu 45, Aoao 2. Novemaba 11, 1865.

A sort of kanikau for Lucy Muolo Moehonua by William Charles Lunalilo? 1865.

No ka mea i hala aku nei M. L. Moehonua.

Nau no i hana,
Nau no i lawe aku,
E aloha mai:
Ia makou nei a pau,
Kou mau kini nei,
He poe lepo no
Makou a pau.

E hilinai mau,
Ko keia ao a pau,
Ia oe no:
Ka Lunakanawai,
O na mea a pau,
Mahea e hoomaha ai,
Imua ou.

Hoomaikai mau makou,
Ia oe ka Moi,
O keia ao:
Ko ahonui mau,
Ia makou nei a pau,
Na lahui nei a pau,
Nou wale no.

W. C. L.

Waikiki, Augate 18, 1865.

[For the one who passed on, M. L. Moehonua

You created,
You take away,
Give aloha:
To us all,
Your multitudes,
People from the dirt,
Are all of us.

Constantly relying,
Is this whole world,
In you:
The Judge,
Of all things,
Where are we to rest,
Before you.

We always give praise,
To you the King,
Of this world:
Your constant patience,
For all of us,
For all of the nations,
Only for you.

W. C. L.

Waikiki, August 18, 1865.]

(Kuokoa, 8/26/1865, p. 4)

No ka mea i hala aku nei M. L. Moehonua.

Ka Nupepa Kuokoa, Buke IV, Helu 34, Aoao 4. Augate 26, 1865.

Funeral of Lucy Lusia Lulea Kaiamoku Muolo Moehonua, 1865.

[Found under: “HUNAHUNA MEA HOU O HAWAII NEI.”]

Funeral Performed.—Shortly after half past 3 o’clock, the funeral procession of Mrs. Lucy L. K. Moehonua began from their home until Kawaiahao Church, in the evening of the Sabbath, the 15th of this October. A short eulogy was read by the Rev. H. H. Parker [H. H. Pareka], and after that, the Rev. M. Kuaea rose and spoke on the passage 1 Thessalonians 4:18. It was not long after he was done speaking when the congregation was soon let out and the remains of Mrs. Lucy L. K. Moehonua were taken to be placed in her crypt, Hoakalei.

This crypt [hale kupapau] is the best in the cemetery of Kawaiahao, and in all of the nation of Hawaii nei. It is an unusual sight; it has four gables [kala] fashioned in the form of a cross; one gable faces the rising sun, one to the west, and the others to the north and south. And the cost for the building was nearly $800.00.

(Kuokoa, 10/21/1865, p. 2)

Ua Hoolewaia.

Ka Nupepa Kuokoa, Buke IV, Helu 42, Aoao 2. Okatoba 21, 1865.

A Kauai procreation chant for Princess Kaiulani, 1899.

[Found under: “KANIKAU NO KAIULANI.”]

A he mai keia ea ea,
No ka Wekiulani ea ea,
Aia ko mai ea ea,
A i Polihale ea ea.

Aia ko mai ea ea,
Ka lei Kaunaoa ea ea,
Ka Wailiula ea ea,
A i Mana ea ea.

Aia ko mai ea ea,
A i Papiohuli ea ea,
A e huli aku ana ea ea,
Aia i Limaloa ea ea.

Aia ko mai ea ea,
A i Polihale ea ea,
Ke kini punohu ea ea,
Auau ke kai ea [ea].

Aia ko mai ea ea,
A i Nohili ea ea,
Haa mai na niu ea ea,
O Kaunalewa ea ea.

Aia ko mai ea ea,
A i Makaweli ea ea,
Waiulailiahi ea ea,
A o Waimea ea ea.

Haina ko mai ea ea,

O niniu i ka pua ea ea.

Composed by,

Lala Mahelona.

(Aloha Aina, 3/18/1899, p. 6)

A he mai keia ea ea,

Ke Aloha Aina, Buke V, Helu 11, Aoao 6. Maraki 18, 1899.

Hauoli La Hanau, e Kaleiohawaii! 1877.

Held with much celebration was the birthday of the Princess Victoria Kaiulani Kalaninuiahilapalapa Kaleiohawaii, the first-born daughter of Her Highness the Alii the Princess Miriam Likelike and Hon. A. S. Cleghorn, on her second birthday, on this past October 16th, at Waikiki Kai, by way of the holding of a banquet laden with much food.

This day was greatly honored by the arrival of the Alii, the King, and by the great attendance of the Officers from foreign nations, the Captains of the warships, the domestic Officers, and the prominent ones of Honolulu nei. Also present was the band of the King, which entertained folks with their songs.

(Kuokoa, 10/20/1877, p. 2)

Ua malamaia ma ke ano hoomanao mahuahua loa...

Ka Nupepa Kuokoa, Buke XVI, Helu 42, Aoao 2. Okatoba 20, 1877.

Inez Ashdown and the Paniolo, 1939.

Cowboys of Hawaii Nei

By INEZ ASHDOWN

There are numerous books about cowboys. Some are written by the cowboys themselves, others were compiled by admiring friends. Whatever the manuscripts, all were written by those who wished to keep alive the old traditions and the romance of the western United States.

Yet while some of the finest American cowboys are those born and raised in Hawaii, no one has ever written about the native paniola and little is heard of them except for occasional news items, or, as during the recent Hoolaulea, one or tow are included in the general publicity.

Who were the first cowboys in Hawaii, who are the cowboys of today, where do they live and what do they do other than rope cattle and ride broncos?

To answer these questions research similar to that done by David Malo and the first missionaries when they endeavored to separate legend from actuality, would have to be followed. Yet who, in this modern day, can remember some long-forgotten mele telling of the first cowboys to visit this group of islands?

That they are Mexican or Spanish is known, because the name “paniola” is a derivation of the term “Espanol.” Some of the present day cowboys will tell about a father or grandfather who was of the Latin people.

Jack Aina, one of Maui’s most popular knights of the saddle, will say “Ai. My father Mexican. Those first paniola bring noho (saddles), kaula (rope), kaula waha (bridle), kipa (spurs), and all the things we get today.”

Aina is past 60, but is still the fastest shipping man and one of the best ropers on the island, and younger men will stand watching and shouting “Aina! Hu ka makani!” (Aina, go like the wind!) as he dashes out of a corral on his big shipping horse, a bawling crow-hopping steer at the end of his 20 foot manilla line, and into the sea with a fountain of spray.

The larger his audience the better he works and laughs and indulges in horse-play, particularly if there be present any malihini. Later, after he has washed and oiled his saddle and bridle, and done himself up in fancy shirt, chaps, boots and kipa pele (jingly spurs) and topped all the finery with a ten-gallon hat he enjoys singing and dancing the Hula for his Boss and guests.

He is now horsebreaker and trainer for Angus MacPhee at the Maui Agricultural Company’s Keahua stables where the Kahoolawe and company horses are kept. He is a master at braiding kaula ili (rawhide ropes) and uses most of his spare time for this and for putting fancy work on saddle or bridle, for he takes pride in his “jewelry” and “watches his shadow” as all fancy cowboys do.

He worked at Ulupalakua ranch when Mr. MacPhee was manager there, in company with the famous roping champion, Ikua Purdy, who is foreman of the ranch. Ikua who knows ranch work from A to Z, who jogs quietly along but seems to know by instict where the pipi ahiu (wild cattle) will be hiding. Then as they “scare” he and his horse unwind like clockwork, to rope and tie like lightning.

Aina knew old Hapakuka, now dead, whose sons quietly carry on his famous work and name. And Kinau, who looked like an ancient time warrior, and who brought to mind that first noted horseman, Kamehameha the Great, whose horses and cattle, the first in Hawaii, were brought as gifts by Vancouver and Cleveland in 1793–4.

Those first animals were placed under a ten year tabu by the Hawaiian monarch, and that tabu was probably the beginning of the wild cattle which roamed the mountain slopes of Hawaii and Maui until ranchmen who wished to have pure bred cattle and thoroughbred horsses, killed them off. Today’s roping does not need the wild riding, the pinning of roped animals to pipi kauo (pin oxen), any more than kaa pipi (bullock wagons) are needed for hauling.

George Davis of Hawaii was another of the ranch’s finest, working with Willie Purdy and his brothers, Moku Smythe, George Swift, and many others who have moved away or have died, but who remain unknown although their stories would equal, and, in some instances, surpass, many stories told of heroes of the old West.

There is another paniola man on Maui who is an artist as well as a cowboy. This Hawaiian Charlie Russel is called John Lihau Kaaihue and is foreman of the cattle work at Honolulu ranch. He is 41 years old, was married in Kaupo in 1919 and is proud of his fine wife and nine children. Six husky boys and three pretty girls who help Father with the chores, or Mother with housework or the preparing and weaving of lauhala.

Lihau can make a fine saddle tree and cover it to perfection, can strip and scrape a green hide for braiding a fine kaula ili, makes his own ili kalapu (knee leggings), ordinary leggings, or chaps; repairs the family shoes when they need half-soling, makes most of the household furniture, and can repair anything from a pan to a roof.

He makes canoes and boats, fish nets, lauhala hats or mats, and likes to employ old Hawaiian methods whenever possible. But in those akamai (clever) fingers, according to trained artists who have seen his carvings, is genius.

Charlie Russel, famous cowboy artist, liked to fashion little figures of men, horses or other things from candle wax as he yarned with the cowboys in a Wyoming bunk-house. His picture, The Last Stand, according to an old story, was given by him to a saloon owner in payment of a board-and-keep bill, and the owner later refused an offer of several thousand dollars for the now famous picture. Yet Russel did not, as he joked and worked with the men, believe he would someday be famous.

Nor did Lihau, a few months ago, think that he was doing exceptional carving with his pen-knife. He often does carving for friends just to please them. But some weeks ago he found a friend who was very much disturbed. The vocational school at Kahului had made a fine table of monkey pod wood and the owner desired that the legs of the table be carved as an akua (god or idol).

The only artist available for the carving had asked a prohibitive amount, others had no time or honestly admitted that they did not believe they could do justice to the exceptionally fine piece of wood.

Lihau inspected the table, looked at a drawing made by the owner, studied some old history pictures of ancient idols, and finally said quietly that he could do the work.

At the friend’s glance of incredulity Mrs. Lihau nodded and announced that indeed John could carve anything, when he had spare time.

Two weeks later they brought the table back to town from their ranch home. It was taken by the enthusiastic owner to the vocational school principal, Ernest Hood, whose own beautiful native-wood furniture is famous. At the school the coffee table was polished and completed, and people from all parts of Maui have called at the owner’s home to see that and other carvings done by Lihau, and mats made by his wife.

One and all agree that genius created this masterpiece of art and legend, for with a few deft lines the wraith of an akua rises from the “flames” of the wood-grain.

Lihau listens to their praises, accepts their congratulations, while his wife smiles proudly, and returns home to his family and his work wondering why they all give him so much attention, for he is a quiet unassuming man who does not look for attention but who does things because they are his jobs or because he wants to. And he would not be guilty of turning out poor work of any sort.

Is he a throw-back to those old ancestors who carved idols from forest trees for the ancient temples? Or is it just simply that real cowboys must use their heads and hands to such a degree that they can do anything they wish to do?

Lihau has had very little schoolhouse training, no one has ever taught him of Art and its principles, and he does most of his carving with his knife, although he does have a few tools now which were lent by a friend.

While he works at his hobby he teaches his boys also just as he teaches them to rope and to ride and to save time a trouble by learning to think quickly, such as at the time of the big flood at Punalau.

He was driving a truck-load of laborers home from the pineapple fields but when they came to the gulch the road was impassible. He could take the men back to the main camp where they might be able to stop with friends or get food at the ranch store and sleep in the big garage used for trucks, but that meant a lot of bother for everyone concerned, and the use of a great deal more gasoline.

Why not swim? But eighteen of the men could not swim enough to breast those swirling waters rushing to an angry sea.

Eighteen times Lihau swam back and forth across the flood to take the non-swimmers to a spot from which they could easily reach home, while others stood grouped about watching and wondering just how long the man could stand the strain.

When the last man was across Lihau turned his truck, drove it back to the garage and arrived home a little late for supper. He was bothered a bit by hunger because his habit is to eat breakfast, skip lunch, and eat a hearty meal at evening.

Ranch work and its life are always varied, interesting and romantic. Other walks of life may be as exciting, or so much more dangerous that all the fun is lacking, but for sheer freedom and soaring of the spirit no other work is more satisfying than that done by the cowboy. And of all the cowboys in the world there are none who are more joyously reckless, more dependable in tight spots, more full of song and versatility than the paniola of Hawaii.

Outstanding among them are always Eben Parker Low and Ikua Purdy, whose names and skill are known far and wide even as of their haole friend, Angus MacPhee of Wyoming, whose champion roping record of 1907 still holds first place, and who is a kamaaina here.

These men are known, but there are many fine paniola whose names have never been heard outside their home ranches or islands, and among these is Lihau, the cowboy-artist of Maui.

(Hoku o Hawaii, 4/26/1939, p. 6)

Cowboys Of Hawaii Nei

Ka Hoku o Hawaii, Volume XXXIII, Number 52, Page 6. Aperila 26, 1939.

Inez Ashdown and Queen Liliuokalani, 1939.

Was Friend of Liliuokalani

INEZ ASHDOWN

Ka Hoku’s Maui Corresponent.

This picture was taken at the time Mrs. Ashdown’s father Angus MacPhee was manager of the Ulupalakua ranch for Dr. Raymond. She had just returned from Dana Hall school at Wellesley and, as she says, “‘rarin’ to be a cowboy like him and all his Hawaiian paniola.”

“My people brought me here in 1907 when Dad was champion roper of the world and came to take part in Eben Low’s first wild west show,” writes Mrs. Ashdown. “Ikua went back to Cheyenne, our home town, the following year and took the title for that year, but no one has ever broken Dad’s time for that sort of roping. The first year we were here my parents were guests many times at the home of Queen Liliuokalani and I loved her very much. I was only a kid, but even then it made me boil because the people had taken her crown away.”

Mrs. Ashdown has lived on Maui most of the time since 1907, except for the years she was away at school. Her husband, C. W. Ashdown, is office manager for the Baldwin Packers at Lahaina. They have two sons and writing is Mrs. Ashdown’s hobby. She hopes some day to write some real good novels. She used to rope wild cattle, ride race horses and break colts, but says “that was a long time ago.”

(Hoku o Hawaii, 4/26/1939, p. 6)

Was Friend of Liliuokalani

Ka Hoku o Hawaii, Volume XXXIII, Number 52, Aoao 6. Aperila 26, 1939.

Pretty darned romantic, 1881.

Kalakaua to Kapiolani!

The King of the Archipelago to His Queen.

Composed aboard the Oceanic, Feb. 16, 1881.

On the Meridian of Honolulu,

At 33° Latitude, 157° 30′ Longitude.

O ka ike lihi aku i na ae one ma o,
Ka ko’u mau maka e ake nei,
Me ka pule e hoea hou au ilaila,
Mai ae i ka’u upu e ko ole!

O na nalu huakea lelehuna,
O ia ae one; he aloha au,
A ke huli kuu alo no ka huakai home,
E nalo na manao hele auwana.

E kuu aloha e kali ala, nou ko’u haupu,
Me ka lei maile ma kou a-i!
O, e hai mai, e ke kai kupikio inaina,
A hea pau kau kokohi ana ia’u?

Ano, o ka hui me oe, he mea hiki ole,
Oiai ua okia e ke kai nui,
E puana aku nae au e ka ipo aloha,
He manaolana ko’u e hui hou kaua.

O kou aloha me ka manao oiaio,
Ke kiai ma ko’u alahele,
A ke ike au i ka poepoe honua,
I makana na’u ia aloha.

[A glimpse of the sandy strand beyond,
Is what my eyes now long for,
With a prayer that I arrive there once more,
Do not allow my hopes to go unfulfilled!

The white misting waves,
Of that sandy shore; is my love,
I turn and face the road home,
Gone are my thoughts of roaming.

O My dear that waits, for you are my recollections,
With a maile lei about your neck!
Oh, tell me, O Angry wild sea,
When will you stop restraining me?

I cannot be with you right now,
For we are separated by the great ocean,
But I proclaim, O Dear sweetheart,
I hope to be with you again.

Your aloha and your faith,
Guide me on my path,
And as I see the world,
A gift to me is that aloha.]

(Elele Poakolu, 4/20/1881, p. 5)

Kalakaua ia Kapiolani!

Ka Elele Poakolu, Buke II, Helu 7, Aoao 5. Aperila 20, 1881.