e god
of love as a shark? As a bird, yes; but as a shark! What a
light this fierce idyl casts on the imagination of the people
of ancient Hawaii!
[Page 223]

XXXII.--THE HULA ILIO

The dog took his part and played his enthusiastic role in the
domestic life of every Hawaiian. He did not starve in a
fool's paradise, a neglected object of man's superstitious
regard, as in Constantinople; nor did he vie with kings and
queens in the length and purity of his pedigree, as in
England; but in Hawaii he entered with full heart of sympathy
into all of man's enterprises, and at his death bequeathed
his body a sacrifice to men and gods. It was fitting that the
Hawaiian poet should celebrate the dog and his altogether
virtuous and altruistic services to mankind. The hula _ilio_
may be considered as part of Hawaii's tribute to man's most
faithful friend, the dog.

The hula ilio was a classic performance that demanded of the
actors much physical stir; they shifted their position, now
sitting, now standing; they moved from place to place;
indulged in many gestures, sometimes as if imitating the
motions of the dog. This hula has long been out of
commission. Like the two animal-hulas previously mentioned,
it was performed without the aid of instrumental
accompaniment.

The allusions in this mele are to the mythical story that
tells of Kane's drinking, revels on the heights about Waipi'o
valley; how he and his fellows by the noise of their furious
conching disturbed the prayers and rituals of King Liloa and
his priests, Kane himself being the chief offender by his
blowing on the conch-shell Kihapu, stolen from Liloa's temple
of Paka'alana: its recovery by the wit and dramatic action of
the gifted dog Puapua-lenalena. (See p. 131.)

_Mele_

Ku e, nana e!
Makole[421] o Ku!
Hoolei ia ka lei,[422]
I lei no Puapua-lenalena,
5 He lei hinano no Kahili,[423]
He wehiwehi no Niho-ku[424]
[Page 224] Kaanini ka lani,[425] uwe ka honua:
A