ure, the significance
would seem to be extended, making it include, perhaps, a
larger number in the traveling company. The mere extension of
the arm, the back-hand advanced, would serve the purpose of
indicating removal, travel, but in a manner less gracious and
caressing.
To represent an open level space, as of a sand-beach or of
the earth-plain, the Hawaiian very naturally extended his
arms and open hands--palms downward, of course--the degree of
his reaching effort being in a sense a measure of the scope
intended.
To represent the act of covering or protecting oneself with
clothing, the Hawaiian placed the hollow of each hand over
the opposite shoulder with a sort of hugging action. But
here, again, one can lay down no hard and fast rule. There
was differentiation; the pictorial action might well vary
according to the actor's conception of the three or more
generic forms that constituted the varieties of Hawaiian
dress, which were the _malo_ of the man, the _pa-u_ of the
woman, and the decent _kihei_, a toga-like robe, which, like
the blanket of the North American Indian, was common to both
sexes. Still another gesture, a sweeping of the hands from
the shoulder down toward the ground, would be used to
indicate that costly feather robe, the _ahuula_, which was
the regalia and prerogative of kings and chiefs.
The Hawaiian places his hands, palms up, edge to edge, so
that the little finger of one hand touches its fellow of the
other hand. By this action he means union or similarity. He
turns one palm down, so that the little finger and thumb of
opposite hands touch each other. The significance of the
action is now wholly reversed; he now means disunion,
contrariety.
To indicate death, the death of a person, the finger-tips,
placed in apposition, are drawn away from each other with a
sweeping gesture and at the same time lowered till the palms
face the ground. In this case also we find diversity. One old
man, well acquainted with hula matters, being asked to
signify in pantomimic fashion "the king is sick," went
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