ming;
Then to bathe in the lake of the God.
Let us look at the vale Lima-huli, look!
Now turn we and study the spinning--
That trick we must catch to be winning.

This fragment from antiquity, as the local coloring
indicates, finds its setting at Haena, the home of the famous
mythological Prince Lohiau, of whom Pele became enamored in
her spirit journey. Study of the mele suggests the occasion
to have been the feast that was given in celebration of
Lohiau's restoration to life and health through the
persevering incantations of Hiiaka, Pele's beloved sister.
The feast was also Lohiau's farewell to his friends at Haena.
At its conclusion Hiiaka started with her charge on the
journey which ended with the tragic death of Lohiau at the
brink of the volcano. Pele in her jealousy poured out her
fire and consumed the man whom she had loved.
[Page 250]

XXXIX.--THE HULA KU'I

The account of the Hawaiian hulas would be incomplete if
without mention of the hula _ku'i_. This was an invention, or
introduction, of the last quarter of the nineteenth century.
Its formal, public, appearance dates from the coronation
ceremonies of the late King Kalakaua, 1883, when it filled an
important place in the programme. Of the 262 hula
performances listed for exhibition, some 30 were of the hula
ku'i. This is perhaps the most democratic of the hulas, and
from the date' of its introduction it sprang at once into
public favor. Not many years ago one could witness its
extemporaneous performance by nonprofessionals at many an
entertainment and festive gathering. Even the
school-children took it up and might frequently be seen
innocently footing its measures on the streets. (Pl. XXIV.)

The steps and motions of the hula ku'i to the eyes of the
author resemble those of some Spanish dances. The rhythm is
in common, or double, time. One observes the following
motions:

_Figure A_.--1. A step obliquely forward with the left foot,
arms pointing the same way, body inclining to the