The tone of the pahu was produced by striking its head with the finger-tips, or with the palm of the hand; never with a stick, so far as the writer has been able to learn. Being both heavy and unwieldly, it was allowed to rest upon the ground, and, if used alone, was placed to the front of the operator; if sounded in connection with the instrument next to be mentioned, it stood at his left side. The pahu, if not the most original, was the most important instrument used in connection with the hula. The drum, with its deep and solemn tones, is an instrument of recognized efficiency in its power to stir the heart to more vigorous pulsations, and in all ages it has been relied upon as a means of inspiring emotions of mystery, awe, terror, sublimity, or martial enthusiasm. Tradition of the most direct sort ascribes the introduction of the pahu to La’a—generally known as La’a-mai-Kahiki (La’a-from-Kahiki)—a prince who flourished about six centuries ago. He was of a volatile, adventurous disposition, a navigator of some renown, having made the long voyage between Hawaii and the archipelagoes in the southern Pacific—Kahiki—not less than twice in each direction. On his second arrival from the South he brought with him the big drum, the pahu, which he sounded as he skirted the coast quite out to sea, to the wonder and admiration of the natives on the land. La’a, being of an artistic temperament and an ardent patron of the hula, at once gave the divine art of Laka the benefit of this newly imported instrument. He traveled from place to place, instructing the teachers and inspiring them with new ideals. It was he also who introduced into the hula the kaékeéke as an instrument of music.