And Kilohana pillows for rest
On the shoulder of Hu’e-hu’e.
This love-song—mele hoipoipo—which would be the despair of a strict literalist—what is it all about? A lover in Kahiki-nui—of the softer sex, it would appear— looks across the wind-swept channel and sends her thoughts lovingly, yearningly, over to Kona of Hawaii, which district she personifies as her lover. The mountains and plains, valleys and capes of its landscapes, are to her the parts and features of her beloved. Even in the ocean that flows between her and him, and which has often covered her nakedness as with a robe, she finds a link in the chain of association.
XVIII.—AN INTERMISSION
During the performance of a hula the halau and all the people there assembled are under a tabu, the imposition of which was accomplished by the opening prayer that had been offered before the altar. This was a serious matter and laid everyone present under the most formal obligations to commit no breach of divine etiquette; it even forbade the most innocent remarks and expressions of emotion. But when the performers, wearied of the strait-jacket, determined to unbend and indulge in social amenities, to lounge, gossip, and sing informal songs, to quaff a social bowl of awa, or to indulge in an informal dance, they secured the opportunity for this interlude, by suspending the tabu. This was accomplished by the utterance of a pule hoo-noa, a tabu-lifting prayer. If the entire force of the tabu was not thus removed, it was at least so greatly mitigated that the ordinary conversations of life might be carried on without offense. The pule was uttered by the kumu or some person who represented the whole-company:
Pule Hoo-noa
Lehua [266]] i-luna,
Lehua i-lalo,
A wawae,