Another way of dramatically picturing this same concept, that of the pali as a wall of obstacle, is by holding the forearm and hand vertically posed with the palmar aspect facing the speaker. This method of expression, while perhaps bolder and more graphic than that before mentioned, seems more purely oratorical and less graceful, less subtly pictorial and elegant than the one previously described, and therefore less adapted to the hula. For it must be borne in mind that the hula demanded the subordination of strength to grace and elegance. We may at the same time be sure that the halau showed individuality in its choice of methods, that it varied its technique and manner of expression at different times and places, according to the different conception of one or another kumu. [Page 178] Progression, as in walking or traveling, is represented by means of a forward undulatory movement of the outstretched arm and hand, palm downward, in a horizontal plane. This gesture is rhythmic and beautifully pictorial. If the other hand also is made a partner in the gesture, the significance would seem to be extended, making it include, perhaps, a larger number in the traveling company. The mere extension of the arm, the back-hand advanced, would serve the purpose of indicating removal, travel, but in a manner less gracious and caressing. To represent an open level space, as of a sand-beach or of the earth-plain, the Hawaiian very naturally extended his arms and open hands—palms downward, of course—the degree of his reaching effort being in a sense a measure of the scope intended. To represent the act of covering or protecting oneself with clothing, the Hawaiian placed the hollow of each hand over the opposite shoulder with a sort of hugging action. But here, again, one can lay down no hard and fast rule. There was differentiation; the pictorial action might well vary according to the actor’s conception of the three or more generic forms that constituted the varieties of Hawaiian dress, which were the _málo_ of the man, the _pa-ú_ of the woman, and the decent _kiheí_, a toga-like robe, which, like the blanket of the North American Indian, was common to both sexes. Still another gesture, a sweeping of the hands from the shoulder down toward the ground, would be used to indicate that costly feather robe, the _ahuula_, which was the regalia and prerogative of kings and chiefs.