gratified with the performance, which continued until the evening. (Vol. IV, 100–101, London, Fisher, Son & Jackson, 1831.) NOTE BY THE AUTHOR.—At the time of Mr. Ellis’ visit to Hawaii the orthography of the Hawaiian language was still in a formative stage, and it is said that his counsels had influence in shaping it. His use of _r_ instead of _l_ in the words _hula, alaapapa_, and _palaoa_ may, therefore, be ascribed to the fact of his previous acquaintance with the dialects of southern Polynesia, in which the sound of _r_ to a large extent substitutes that of _l_, and to the probability that for that reason his ear was already attuned to the prevailing southern fashion, and his judgment prepossessed in that direction. [Illustration: PLATE VII IPU HULA, GOURD DRUM] [Page 73] X.—THE HULA PA-ÍPU, OR KUÓLO The _pa-ípu_, called also the _kuólo_, was a hula of dignified character, in which all the performers maintained the kneeling position and accompanied their songs with the solemn tones of the _ípu_ (pl. vii), with which each one was provided. The proper handling of this drumlike instrument in concert with the cantillation of the mele made such demands upon the artist, who was both singer and instrumentalist, that only persons of the most approved skill and experience were chosen to take part in the performance of this hula. The manner of treating the ípu in this hula differed somewhat from that employed in the ala’a-papa, being subdued and quiet in that, whereas in the pa-ípu it was at times marked with great vigor and demonstrativeness, so that in moments of excitement and for the expression of passion, fierce joy, or grief the ípu might be lifted on high and wildly brandished. It thus made good its title as the most important instrument of the Hawaiian orchestra. In the pa-ípu, as in the hulas generally, while the actors were sometimes grouped according to sex, they were quite as often distributed indiscriminately, the place for the leader, the kumu, being the center.