Come up to the wildwood, come; Let us visit Wai-kini, And gaze on Pihána-ka-lani, [Page 137] Its birds of plumage so fine; 5 Be comrade to Hale-lehua, Soul-mate to Kau’kahi-alii. O, Kaili, Kaili! Kaili, leaf of the koa, Graceful as leaf of the koa, 10 Granddaughter of goddess, Whose name is the breath of love, Darling of blooming Lehua. My lady rides with the gray foam, On the surge that enthralls the desire. 15 I pine for the sylph robed in gauze, Who rides on the surf Maka-iwa— Aye, cynosure thou of all hearts, In all of sacred Wailua. Forlorn and soul-empty the house; 20 You pleasure on the beach Ali-ó; Your love is up here in the wildwood. This mele hoipoipo, love-song, like the one previously given, is from Kauai. The proper names that abound in it, whether of places, of persons, or of winds, seem to have been mostly of Kauaian origin, furnished by its topography, its myths and legends. They have, however, become the common property of the whole group through having been interwoven in the national songs that pass current from island to island. [Page 138] XXI.—THE MUSIC AND MUSICAL INSTRUMENTS OF THE HAWAIIANS A bird is easier captured than the notes of a song. The _mele_ and _oli_ of Hawaii’s olden time have been preserved for us; but the music to which they were chanted, a less perdurable essence, has mostly exhaled. In the sudden transition from the tabu system to the new order of things that came in with the death of Kamehameha in 1819, the old fashion of song soon found itself antiquated and outdistanced. Its survival, so far as it did survive, was rather as a memorial and remembrance of the past than as a register of the living emotions of the present.