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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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