Wahine-oma’o, lacking spiritual sight, saw nothing of this; but Hiiaka, in downright pity and goodness of impulse, plucked a hala fruit from the string about her neck and threw it so that it fell before the poor creature, who eagerly seized it and with the stumps of her hands held it up to enjoy its odor. At the sight of the woman’s pleasure Hiiaka sang: Le’a wale hoi ka wahine lima-lima ole, wawae ole, E ha ana i kana i’a, ku’i-ku’i ana i kana opihi, Wa’u-wa’u ana i kana limu, Mana-mana-ia-kalu-é-a. [Translation.] How pleased is the girl maimed of hand and foot, Groping for fish, pounding shells of opihi, Kneading her moss, Mana-mana-ia-kalu-éa! The answer of the desolate creature, grateful for Hiiaka’s recognition and kind attention, was that pretty mele appropriated by hula folk as the wreath-song, already given (p. 56), which will bear repetition: Ke lei mai la o Ka-ula i ke kai, e-e! Ke malamalama o Niihau, ua malie. A malie, pa ka Inu-wai. Ke inu mai la na hala o Naue i ke kai. 5 No Naue ka hala, no Puna ka wahine, No ka lua no i Kilauea. [Page 213] [Translation.] Kaula wreathes her brow with the ocean; Niihau shines forth in the calm. After the calm blows the Inu-wai, And the palms of Naue drink of the salt. 5 From Naue the palm, from Puna the maid, Aye, from the pit of Kilauea. The hula _mu’u-mu’u_, literally the dance of the maimed, has long been out of vogue, so that the author has met with but one person, and he not a practitioner of the hula, who has witnessed its performance. This was in Puna, Hawaii; the performance was by women only and was without instrumental accompaniment. The actors were seated in a half-reclining position, or kneeling. Their arms, as if in imitation of a maimed person, were bent at the elbows and doubled up, so that their gestures were made with the upper arms. The mele they cantillated went as follows: