ect
time with the rhythm of the mele.

The dance-movements performed by the olapa, as the author has
heard them described, were peculiar, not an actual rotation,
but a sort of half-turn to one side and then to the other, an
advance followed by a retreat. While doing this the olapa,
who were in two divisions, marked the time of the movement by
clinking together two pebbles which they held in each hand.

The use of the pebbles after the manner of castanets, the
division of the dancers into two sets, their advance and
retreat toward and away from each other are all suggestive of
the Spanish bolero or fandango. The resemblance went deeper
than the surface. The prime motive of the song, the mele,
also is the same, love in its different phases even to its
most frenzied manifestations.

_Mele_

Pa au i ka ihee a Kane;[326]
Nana ka maka ia Koolau;[327]
Kau ka opua[327] ma ka moana.
Lu'u a e-a, lu'u a e-a,[329]
5 Hiki i Wai-ko-loa.
Aole loa ke kula
I ka pai-lani a Kane.[330]
Ke kane[331] ia no hoi ia
Ka tula pe-pe'e
10 A ka hale ku'i.
Ku'i oe a lono Kahiki-nui;
Hoolei ia iluna o Kaua-loa,
Ka lihilihi pua o ka makemake.
Mao ole ke Koolau i ka lihilihi.
13 He lihi kuleana ia no Puna.
O ko'u puni no ia o ka ike maka.
Aohe makamaka o ka hale, ua hele oe;
Nawai la au e hookipa
I keia mahaoi ana mai nei o ka loa?
20 He makemake no au e ike maka;
I hookahi no po, le'a ke kaunu,
Ka hana mao ole a ke anu.
He anu mawaho, a he hu'i ma-loko.
A ilaila laua la, la'i pono iho.
25 Ua pono oe o kaua, ua alu ka moena;
Ka hana mau a ka Inu-wai;
Mao ole i ka nui kino.
Ku'u kino keia mauna ia ha'i.
E Ku, e hoolei la!
30 A ua noa!

[Footnote 327: _The a Kane_. The spear of Kane. What else can
this he than that old enemy to man's peace and comfort, love,
passion?]