s of the mele, the _inoa_, the _kanikau_
(threnody), the _pule_, and that unnamed variety of mele in
which the poet dealt with historic or mythologic subjects, is
to be found almost wholly in the mood of the singer. In
truth, the Hawaiians not unfrequently applied the term pule
to compositions which we moderns find it hard to bring within
our definitions of prayer. For to our understanding the
Hawaiian pule often contains neither petition, nor entreaty,
nor aspiration, as we measure such things.
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The oli from, its very name (_oli-oli_, joyful) conveys the
notion of gladness, and therefore of song. It does not often
run to such length as the more formal varieties of the mele;
it is more likely to be pitched to the key of lyric and
unconventional delight, and, as it seems to the writer, more
often than other forms attains a gratifying unity by reason
of closer adherence to some central thought or mood; albeit,
when not so labeled, one might well be at a loss whether in
any given case he should term the composition mele or oli.

It may not be entirely without significance that the first
and second examples here given come from Kauai, the island
which most vividly has retained a memory of the southern
lands that were the homes of the people until they came as
emigrants to Hawaii.

The story on which this song is founded relates that the
comely Pamaho'a was so fond of her husband during his life
that at his death she was unwilling to part with his bones.
Having cleaned and wrapped them in a bundle, she carried them
with her wherever she went. In the indiscretion begotten of
her ill-balanced state of mind she committed the mortal
offense of entering the royal residence while thus
encumbered, where was Kaahumanu, favorite wife of Kamehameha
I. The king detailed two constables (_ilamuku_) to remove the
woman and put her to death. When they had reached a safe
distance, moved with pity, the men said: "Our orders were to
slay; but what hinders you to escape?" The woman took the
hint and fled hot-foot.

_Oli_