he oli,
its chief employment was in serenading and serving the young
folk in breathing their extemporized songs and uttering their
love-talk--_hoipoipo_. By using a peculiar lingo or secret
talk of their own invention, two lovers could hold private
conversation in public and pour their loves and longings into
each other's ears without fear of detection--a thing most
reprehensible in savages. This display of ingenuity has been
the occasion for outpouring many vials of wrath upon the
sinful ukeke.

Experiment with the ukeke impresses one with the wonderful
change in the tone of the instrument that takes place when
its lifeless strings are brought into close relation with the
cavity of the mouth. Let anyone having normal organs of
speech contract his lips into the shape of an O, make his
cheeks tense, and then, with the pulp of his finger as a
plectrum, slap the center of his cheek and mark the tone that
is produced. Practice will soon enable him to render a full
octave with fair accuracy and to perform a simple melody that
shall be recognizable at a short distance. The power and
range thus acquired will, of course, be limited by the skill
of the operator. One secret of the performance lies in a
proper management of the tongue. This function of the mouth
[Page 149] familiarly illustrated in the jew's-harp. The author is again
indebted to Miss Elsner for the following comments on the
ukeke:

"The strings of this ukeke, the Hawaiian fiddle, are tuned to
[=e]; to [=b] and to [=d]. These three strings are struck
nearly simultaneously, but the sound being very feeble, it is
only the first which, receiving the sharp impact of the blow,
gives out enough volume to make a decided impression."

III--The Ukeke (as played by Keaonaloa)
Arranged by JENNIE ELSNER
[Music]

The early visitors to these islands, as a rule, either held
the music of the savages in contempt or they were unqualified
to report on its character and to make record of it.

We know that in ancient times the voices of t