transference from one to another religious use.

The hula pahu was preeminently a performance of formal and
dignified character, not such as would be extemporized for
the amusement of an irreverent company. Like all the formal
hulas, it was tabu, by which the Hawaiians meant that it was
a religious service, or so closely associated with the notion
of worship as to make it an irreverence to trifle with it.
For this reason as well as for its intrinsic dignity its
performance was reserved for the most distinguished guests
and the most notable occasions.

Both classes of actors took part in the performance of the
hula pahu, the olapa contributing the mele as they stood and
went through the motions of the dance, while the hoopaa
maintained the kneeling position and operated the big drum
with the left hand. While his left hand was thus engaged, the
[Page 104] musician with a thong held in his right hand struck a tiny
drum, the _pu-niu_, that was conveniently strapped to the
thigh of the same side. As its name signifies, the pu-niu was
made from coconut shell, being headed with fish-skin.

The harmonious and rhythmic timing of these two instruments
called for strict attention on the part of the performer. The
pahu, having a tone of lower pitch and greater volume than
the other, was naturally sounded at longer intervals, while
the pu-niu delivered its sharp crisp tones in closer order.

_Mele_

(Ko'i-honua)

O Hilo oe, Hilo, muliwai a ka ua i ka lani,
I hana ia Hilo, ko-i ana e ka ua.
E halo ko Hilo ma i-o, i-anei;
Lenalena Hilo e, panopano i ka ua.
5 Ua lono Pili-keko o Hilo i ka wai;
O-kakala ka hulu o Hilo i ke anu;
Ua ku o ka paka a ka ua i ke one;
Ua moe oni ole Hilo i-luna ke alo;
Ua hana ka uluna lehu o Hana-kahi.
10 Haule ka onohi Hilo o ka ua i ke one;
Loku kapa ka hi-hilo kai o Pai-kaka.
Ha, e!

2

A Puna au, i Kuki'i au, i Ha'eha'e,
Ike au i ke a kino-la