The hall-mark of Hawaiian music is rhythm, for the Hawaiians belong to that class of people who can not move hand or foot or perform any action except they do it rhythmically. Not alone in poetry and music and the dance do we find this recurring accent of pleasure, but in every action of life it seems to enter as a timekeeper and regulator, whether it be the movement of a fingerful of poi to the mouth or the swing of a _kahili_ through the incense-laden air at the burial of a chief. The typical Hawaiian rhythm is a measure of four beats, varied at times by a 2–rhythm, or changed by syncopation into a 3–rhythm. These people have an emotional susceptibility and a sympathy with environment that belongs to the artistic temperament; but their feelings, though easily stirred, are not persistent and ideally centered; they readily wander away from any example or pattern. In this way may be explained their inclination to lapse from their own standard of rhythm into inexplicable syncopations. As an instance of sympathy with environment, an experience with a hula dancer may be mentioned. Wishing to observe the movement of the dance in time with the singing of the mele, the author asked him to perform the two at one time. He made the attempt, but failed. At length, bethinking himself, he drew off his coat and bound it about his loins after the fashion of a pa-ú, such as is worn by hula dancers. He at once caught inspiration, and was thus enabled to perform the double rôle of dancer and singer. It has been often remarked by musical teachers who have had experience with these islanders that as singers they are prone to flat the tone and to drag the time, yet under the stimulus of emotion they show the ability to acquit themselves in these respects with great credit. The native [Page 172] inertia of their being demands the spur of excitement to keep them up to the mark. While human nature everywhere shares in this weakness, the tendency seems to be greater in the Hawaiian than in some other races of no higher intellectual and esthetic advancement. Another quality of the Hawaiian character which reenforces this tendency is their spirit of communal sympathy. That is but another way of saying that they need the stimulus of the crowd, as well as of the occasion, even to make them keep step to the rhythm of their own music. In all of these points they are but an epitome of humanity.