"The divine first appears abstractly, as generative-spirit-in-itself. Only after seven epochs of the po, the long night of the world's self-generation, are the gods as such born - as siblings to mankind. God and man appear together, and in fraternal strife over the means of their reproduction: their own older sister. 

Begun in the eighth epoch of creation, this struggle makes the transition to the succeeding ages of the ao, the 'day' or world known to man. Indeed the struggle is presented as the condition of the possibility of human life in a world in which the life-giving powers are divine. The end of the eighth chant thus celebrates a victory: 'Man spread about now, man was here now; / It was day [ao].' 

And this victory gained over the god is again analogous to the triumph achieved annually over Lono at the New Year, which effects the seasonal transition, as Hawaiians note, from the time of long nights (po) to the time of long days (ao).

The older sister of god and man, La'ila'i, is the firstborn to all the eras of previous creation. By Hawaiian theory, as firstborn La'ila'i is the legitimate heir to creation; while as woman she is uniquely able to transform divine into human life. 

The issue in her brothers' struggle to possess her is accordingly cosmological in scope and political in form. Described in certain genealogies as twins, the first two brothers are named simply in the chant as 'Ki'i, a man' and 'Kane, a god'. 

But since Ki'i means 'image' and Kane means 'man', everything has already been said: the statuses of god and man are reversed by La'ila'i's actions. She 'sits sideways', meaning she takes a second husband, Ki'i, and her children by the man Ki'i are born before her children by the god Kane ...

In the succeeding generations, the victory of the human line is secured by the repeated marriages of the sons of men to the daughters of gods, to the extent that the descent of the divine Kane is totally absorbed by the heirs of Ki'i."  (Islands of History)

"... Hotu stayed in Hare Tupa Tuu. The servant (tuura) of Tuu Maheke, namely Rovi, prepared the food for Tuu Maheke. Tuu Maheke stayed in Hare Tupa Tuu because of this servant, Rovi.

The earth-oven, the lighting of fire (tumuteka; emendation te umu te ka), and the cooking (te tao) were the responsibilities of Rovi. When it was time to place (the food) into the earth-oven, to take out (the prepared food), and to take (the meal into the house) to the king, to Tuu Maheke, only Rovi was allowed to be there. He alone could supply the king, Tuu Maheke, with food. In this manner Tuu Maheke had reached (the age of) fifteen.

Rovi took the eel trap. He picked it up and went to the sea to catch eel, which were supposed to be a side dish (inaki) for King Tuu Maheke's sweet potatoes. He stayed there and went about catching eels.

But Rovi stayed late catching eels, and Tuu Maheke became hungry while he waited all by himself. Night came, and King Tuu Maheke grew hungry, he sat down inside the house and cried. He was all alone in Hare Tupa Tuu because the mother (too) had gone away to dig up sweet potatoes, and cook them in the earth-oven, and roast them, and bring them to the king.

Hotu saw Tuu Maheke's weeping. When the royal child (ariki poki) continued to cry, the father became angry because of the continued lamentation of King Tuu Maheke. King Hotu arose and went from his house to the front of the house of Tuu Maheke, which was a distance away. After he had waited there and observed the weeping of Tuu Maheke, the father called out the following, while the child continued to cry: 'Be still, you bastard (morore), you crybaby (rava tangi) day after day! One could lose one's eyebrows (i.e., one gets a headache) from this eternal crying morning after morning (? apo apo apo)!'

Tuu Maheke heard his father calling, and the child continued to cry. The father got up, went to his house, and stayed there. The mother came back from harvesting sweet potatoes. She came at the moment when the eyes of the king were still swollen from crying. The mother asked the child, 'What is wrong, oh king, that you are crying and the eyes of the king are swollen from crying.'

The boy (kope) answered the following: 'There is this person, and I am crying because of him. The bad man shouted at me (deletion) like this: 'Be sill, you bastard, you crybaby! One gets a headache from your whining day after day.' That's how it was. After he had shouted at me like this, he returned to his house and stayed there.'

The mother got up, went away, arrived, and lit the earth-oven. She roasted the sweet potatoes, took a dish, picked up (the meal), came, and entered (the house of) King Tuu Maheke from the rear.

Then she turned around, arrived, and placed the food into the earth-oven. She cooked it and finished the cooking in the earth-oven. The earth-oven of Vakai and the cooking were finished when the servant of the king, namely Rovi, arrived. He went to his earth-oven and lit is (to be able) to prepare (food) for the king in it.

Vakai arose, went away, arrived, and quarreled with Hotu in the following manner: 'Why did you shout bad things at King Tuu Maheke? This is how it is - King Tuu Maheke is not a bastard!'

Vakai added: 'You yourself are a bastard and a scabby head (puoko havahava) of Tai A Mahia! Kokiri Tuu Hongohongo was your foster father (i.e., he raised you) back (i.e., in the west) in Oti Onge (literally, 'where the hunger ends') in Hiva, because he was told to do so by Taana A Harai!'

To this speech King Hotu answered the following (analogous translation): 'Oh little mother, why did you not tell me this in Hiva, in our homeland?'

The woman arose, turned around, went back to her house, and stayed there."

(Manuscript E according to Barthel 2)