outward sweep of the hand, the back of the
hand being turned to the applicant. Such a gesture, when
addressed to a huckster or a beggar--a rare bird, by the way,
in old Hawaii--was accepted as final.

There was another method of signifying a most emphatic, even
contemptuous, no. In this the tongue is protruded and allowed
to hang down flat and wide like the flaming banner of a
panting hound. A friend states that the Maoris made great use
of gestures with the tongue in their dances, especially in
the war-dance, sometimes letting it hang down broad, flat,
and long, directly in front, sometimes curving it to right or
left, and sometimes stuffing it into the hollow of the cheek
and puffing out one side of the face. This manner--these
methods it might be said--of facial expression, so far as
observed and so far as can be learned, were chiefly of
feminine practice. The very last gesture--that of the
protruded tongue--is not mentioned as one likely to be
employed on the stage in the halau, certainly not in the
performance of what one would call the serious hulas. But it
might well have been employed in the hula ki'i (see p. 91),
which was devoted, as we have seen, to the portrayal of the
lighter and more comic aspects of daily life.

It is somewhat difficult to interpret the meaning of the
various attitudes and movements of the feet and legs. Their
remoteness from the centers of emotional control, their
detachment from the vortices of excitement, and their seeming
restriction to mechanical functions make them seem but
slightly sympathetic with those tides of emotion that speed
through the vital parts of the frame. But, though somewhat
aloof from, they are still under the dominion of, the same
emotional laws that govern the more central parts.

Man is all sympathy one part with another;
For head with, heart hath joyful amity,
And both with moon and tides.

The illustrations brought to illuminate this division of the
subject will necessarily be of the most general application
and will seem to belong rather to the domain o