erval--like an electrified pith-ball,
only to return and then spring away again and again until the
impulse ceased. This was more extensively employed in the oil
proper, the verses of which were longer drawn out, than in
the mele such as formed the stock pieces of the hula. These
latter were generally divided into shorter verses.

MUSICAL INSTRUMENTS

The musical instruments of the Hawaiians included many
classes, and their study can not fail to furnish substantial
data for any attempt to estimate the musical performances,
attainments, and genius of the people.

Of drums, or drumlike instruments of percussion, the
Hawaiians had four:

1. The _pahu_, or _pahu-hula_ (pl. x), was a section of
hollowed log. Breadfruit and coconut were the woods generally
used for this purpose. The tough skin of the shark was the
choice for the drumhead, which was held in place and kept
tense by tightening cords of coconut fiber, that passed down
the side of the cylinder.

The workmanship of the pahu, though rude, was of tasteful
design. So far as the author has studied them, each pahu was
constructed with a diaphragm placed about two-thirds the
distance from the head, obtained by leaving in place a cross
section of the log, thus making a closed chamber of the
drum-cavity proper, after the fashion of the kettledrum. The
lower part of the drum also was hollowed out and carved, as
will be seen in the illustration. In the carving of all the
specimens examined the artists have shown a notable fondness
for a fenestrated design representing a series of arches,
[Page 141] after the fashion of a two-storied arcade, the haunch of the
superimposed arch resting directly on the crown of that
below. In one case the lower arcade was composed of
Roman,-while the upper was of Gothic, arches. The grace of
the design and the manner of its execution are highly
pleasing, and suggest the inquiry, Whence came the
opportunity for this intimate study of the arch?

The tone of the pahu was produced by striking its head with
the finger-tips, or with t