writer's text (pp. 155-156) are
inclosed in brackets. It will be seen that in the fifth verse
he gives the version _Maka'u ke kanaka i ka lehua_ instead of
the one given by the author, which is _Maka'u ka Lehua i ke
kanaka_. Each version has its advocates, and good arguments
are made in favor of each.

On reaching the end of a measure that coincided with the
close of a rhetorical phrase the singer, Kualii, made haste
to snatch, as it were, at the first word or syllable of the
succeeding phrase. This is indicated by the word
"anticipating," or "anticipatory"--written _anticip._--placed
over the syllable or word thus snatched.

It was somewhat puzzling to determine whether the tones which
this man sang were related to each other as five and three of
the major key, or as three and one of the minor key.
Continued and strained attention finally made it seem evident
that it was the major key which he intended, i.e., it was
[Music: f] and [Music: d] in the key of [Music: B-flat],
rather than [Music: f] and [Music: d] in the key of D minor.

ELOCUTION AND RHYTHMIC ACCENT IN HAWAIIAN SONG

In their ordinary speech the Hawaiians were good
elocutionists--none better. Did they adhere to this same
system of accentuation in their poetry, or did they punctuate
their phrases and words according to the notions of the
song-maker and the conceived exigencies of poetical
composition? After hearing and studying this recitation of
Kualii the author is compelled to say that he does depart in
a great measure from the accent of common speech and charge
his words with intonations and stresses peculiar to the mele.
What artificial influence has come in to produce this
result? Is it from some demand of poetic or of musical
rhythm? Which? It was observed that he substituted the soft
sound of _t_ for the stronger sound of _k_, "because," as he
explained, "the sound of the _t_ is lighter." Thus he said
_te tanata_ instead of _ke kanaka_, the man. The Hawaiian ear
has always a delicate feeling for tone-color.
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