Ceremonies of the Pawnee PART II: THE SOUTH BANDS JAMES R. MURIE Edited by Douglas R. Park I ^ ^ M I T H S O N I A N . C O N T R I S J T I O N TO ANJIflROPOLOGf-NU^" fi^-<\ SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTION Emphasis upon publication as a means of "diffusing knowledge" was expressed by the first Secretary of the Smithsonian. In his formal plan for the Institution, Joseph Henry outlined a program that included the following statement: " I t is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge." This theme of basic research has been adhered to through the years by thousands of titles issued in series publications under the Smithsonian imprint, commencing with Sm/tf7Son/an Contributions to Knowledge in 1848 and continuing with the following active series: Smithsonian Contributions to Anthropology Smithsonian Contributions to Astrophysics Smithsonian Contributions to Botany Smithsonian Contributions to the Earth Sciences Sm/thsonian Contnbutions to the f^arine Sciences Smithsonian Contributions to Paleobiology Smithsonian Contributions to Zoology Smithsonian Studies in Air and Space Smithsonian Studies in History and Technology In these series, the Institution publishes small papers and full-scale monographs that report the research and collections of its various museums and bureaux or of professional colleagues in the world of science and scholarship. The publications are distributed by mailing lists to libraries, universities, and similar institutions throughout the world. Papers or monographs submitted for series publication are received by the Smithsonian Institution Press, subject to its own review for format and style, only through departments of the various Smithsonian museums or bureaux, where the manuscripts are given substantive review. Press requirements for manuscript and art preparation are outlined on the inside back cover. S. Dillon Ripley Secretary Smithsonian Institution S M I T H S O N I A N C O N T R I B U T I O N S TO ANTHROPOLOGY ? NUMBER 27 Ceremonies of the Pawnee PART II: THE SOUTH BANDS James R. Murie Edited by Douglas R. Parks SMITHSONIAN INSTITUTION PRESS City of Washington 1981 Contents PART II: T H E SOUTH BANDS Page Bundles of the South Bands 183 The Chawi 183 Doctor Chief's Bundle 183 Eagle Flying Under The Heavens' Bundle 190 The Kitkahahki 195 The Pitahawirata 199 Doctors among the South Bands 201 The White Beaver Ceremony of the Chawi 201 The First Day 204 Making the Altar 204 The Tobacco Offering 204 Selection of Men To Perform the Rituals 206 Washing the Animals and the Drums 207 Blowing Breath into the Drums 208 Putting Life into the Animals 209 The Com Offering 213 The Meat Offering 214 Speech of the Leading Doctor 216 Texts of Offering Rituals 216 The Second Day 219 Proceedings of the Day 219 The Origin Myth 221 The Third Day 224 Daytime Ceremonies 224 The Sunrise Ceremony 224 Putting the Heads on the Drums 22.5 The Preliminary Feast 225 Painting and Dressing of the Doctors 226 The Animals' Smoke Offering 230 The All-Night Song and Dance Ceremony 230 The Interval 274 Second Round of the Doctors 290 Offerings 300 The Smoke Offering 300 The Corn Offering 301 Counting the Presents 302 Songs of the Young Men 303 Closing Rituals 312 The Meat Offering 312 Roaming Chief's Speech 314 Raruhwa ? ku's Speech 315 IV S.MITHSOMAN CONTRIBUTIONS TO ANTHROPOLOGY Page Chants 317 The Bear Dance of the Pitahawirata 319 The Fifth Day 321 Offerings 331 T,he Smoke Offering 331 t h e Corn Offering 331 Tlie Night of Watching 333 The Sixth Day 336 Sheeting the Cedar Tree 336 Cutting the Tree 338 Bringing in the Tree 341 Preliminaries to the Public Ceremony 343 The Public Ceremony 346 Big Star's Narrative 367 The Seventh Day 373 Final Dance of the Bear Society 373 Returning the Cedar Tree to the Timber 383 Making the Bearclaw Necklace . . . . 385 The Buffalo Dance of the Pitahawirata 394 The First Day . . 397 Offerings to the Skull 399 Purifying the Skull 399 The Smoke Offering 401 The Incensing 402 Prayers and Addresses to the Skull 402 The Corn Offering 404 The Meat Offering 405 Concluding Speeches 406 Offertory Texts 408 Nighttime Instructions 409 The Second Day 415 The Third Day 417 The Public Feast 417 Rehearsal of the Buffalo Dance 417 The Night in the Lodge 426 The Fourth Day 426 Ceremonial Preparations 426 The Buffalo Dance 431 Notes to Part II 460 Appendix 1: Discussion by Clark Wissler 465 Appendix 2: Notes on the Songs and Their Composers 467 Bibliography 471 Name Index 475 Subject Index 479 Ceremonies of the Pawnee PART II: THE SOUTH BANDS Bundles o? the South Bands The organization of the South Band divisions was relatively simple. Thus, while the Skiri were at one time composed of 13^ villages, the Pitahawirata had but two villages and the Chawi and Kitkahahki had only one each. However, about 1882 after the removal of the Pawnee to Oklahoma, the Chawi separated and formed two villages.- There were, however, some intervillage groups, the nature of which we do not fully understand. Thus, in one of the Kitkahahki villages there were four of these family(?) groups: the Real Kitkahahki, the Little Kitkahahki, the Black Heads (who wore a crow feather headdress), and the Leaders {kariki-su).^ Some general differences appear among the cere? monies of the South Band divisions. Thus, whereas among the Skiri all ceremonies are open to the on? looker, who may thus learn all that he can, among the South Bands they are not divulged to anyone other than accepted initiates. Again, these divisions seem to have maintained a system of individual bundles, since after a man had consecrated a rac? coon skin, a buffalo robe, a wildcat skin, and the skin of an eagle, he could have a bundle made up from these. In contrast to this, the Skiri consecrate the meat of a buffalo. The ritual for the wildcat skin (not recorded) is peculiar in that certain strings are tied to the skin by a secret knot that is known only to certain priests. These same priests are essen? tial for tying feathers to the pipesticks in the Calu? met Ritual. [In the following discussions of bundles and their owners, the reader is reminded that the description applies to the period between 1910-1920. It has not been possible to up-date most of the information on the status of the bundles.?DRP] The Chawi Among the Chawi we have knowledge of at least eight bundles. First is the bundle of the present chief. It seems to have been the leading bundle. Near it was kept a large bundle in which were |)laced feathers from consecrated eagles. The latter seems to have been lost, but the former is still in existence [1920]. In some of the ceremonies of this bundle, a man received the qualifications to act as the holy man in the buffalo hunt. He sat down be? fore the hunters started to make the surround and by certain waving motions of his hands symbolically swept in the buffalo (p. 99). If it was a joint hunt with the Skiri, the Chawi holy man took precedence over the Skiri holy man. The Chawi also had a special Burnt Offering Ceremony in which the meat from the back of a buffalo was burned, somewhat in the fashion of the North Star bundle ritual of the Skiri, but there are no data for it. Of the other bundles, there is one owned by Good Fox (Figure 28), one by John Louwalk, an? other by Blue Hawk, a warrior bundle owned by Real Rider Woman, and possibly the bundle now in care of Riding In. Doctor Chief's Bundle Two Chawi bundles are in the American Museum of Natural History. The more interesting one (Fig? ure 29) was secured from Doctor Chief {Kura - "* u Rare-sa-ru), a Kitkahahki whose English name was George Beaver. Under the outside cord wrapping is one raccoon skin; one wooden war club and one pipe with separate wrapping; four arrows without 183 184 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY FIGURE 28.?Good Fox, a Chawi doctor. (DeLancey Gill photograph, 1902, BAE neg. 1211-A; Smithsonian Institution, National Anthropological Archives, Bureau of American Ethnology Collection .1 NUMBER 27 185 mm- ^fmB^^KK- ^ . - r>>-. , ' ; ' ' i''^ ,^, '^ J ^.??^Mf^,.j^^?c^'"-''^^'' -"ittK^^^^mm ^ ^ ? S HHIk'-? FIGURE 29.?Chawi bundle (AMNH 50.2-193): a, front view; b, back SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY points; one stick with broken bone point (use un? known); and one paddle. The bundle proper is wrapped with a thong at each end and is enclosed in a buffalo skin bag. On top is a hoe with separate wrapping (probably new). The remaining contents of the bundle are wrapped in three pieces of cloth. The contents of the bundle proper are as fol? lows: one small bundle containing two scalps (imi? tation, probably of horsehair); one bundle contain? ing five ears of corn; one bundle containing a hawk; one bundle, tied at each end with thong, containing four large shells used for mixing paint; one bundle of counting sticks; one separate bundle containing a shell; one large arrow straightener wrapped in cloth; one small cloth package containing three fossil shells; one pebble, unwi'apped; one long braid of sweetgrass; one short braid of sweetgrass wrapped in buffalo fur; and six stems of some kind of weed. Doctor Chief related the following narrative re? garding the origin and other data referring to this bundle: Long ago there was but one Kitkahahki family whose oldest son was so mischievous he seemed be? yond the control of his parents. From time to time he even set their grass lodge on fire, necessitating the building of another. The boy continually teased and tormented his sister, who was younger than he. When the boy grew up, he was a good hunter. His father made him a bow and arrows. The arrows were of dogwood decorated with buzzard feathers tied on with deer sinew. The bowstring was of sinew from the back of a buffalo. Each time tlie boy set out on the hunt he was successful, but one night he found an animal which he could not kill. He went home, where he found everyone asleep, so he crawled under his sister's covers. When the boy awoke, his father scolded him and sent him away. He remained near the lodge, and during the night his sister provided him with dried meat and arrows. He was at a loss which way to go, but started west. Meanwhile the boy's father dreamed that the brother and sister would have to marry, so he left his lodge to follow the boy. He climbed a high hill to rest. He stood looking toward the west when sud? denly a wind came up, swung him round, and finally threw him to the ground. He lay down and slept, but before daylight someone spoke to him. He sat up. He could see the Morning Star in the sky; birds were singing and strange animals he had never before seen were moving about. As the sun came up over the horizon, he seemed to see on its face a man painted with red dust and carrying a bundle under his left arm. As the sun rose higher and higher in the heavens, the man apparently floated away through the air and disappeared. The boy's father could not explain these mysterious hap? penings and attempted to leave his place on the hill, but something seemed to hold him. He was very much frightened and, as he sat there, he dug a hole with his bow and arrows so that he could hide. Then he fainted and had a vision in which he saw birds of many kinds fly from the sky and alight in a circle around him. Four large red owls with eagles on each side of them sat in the west; swans (thunderbirds) sat on the north; hawks sat near the eagles. Crows and other birds were also in the circle. Then one of the owls said: "Kurahus and others in this circle, we are here to teach our brother sitting in the center to worship Tirawahat. Four of us, sitting in the west, represent knowledge obtained from Mother Moon; the eagles, Tirawahat; the swans, lightning and thunder; and the rest repre? sent clouds. We must give this man something that he may be reminded that Tirawahat made all things. Which of you will present the proper things to him?" At first there was silence; then they heard a buffalo bellow; finally a buffalo bull and a calf entered the circle and said, "We will furnish the covering and strings to tie the things you will give this man." Then they sat near the opening on the east side. A woman entered the circle and said, "I will fur? nish the thing which is to be kept by this man. He shall call it mother, for it is myself I will give him. I came from Tirawahat and this will be their seed and food. I will sit in front of four kurahus." She seated herself in front of the four owls. Many others came and promised to give things to make up the bundle. Thunderbirds and hawks came. The hawks promised warclub and scalp, for through their power would the enemy be overcome and scalps be taken and offered to the gods in the heavens. The hawk rose in human form, carrying a warclub. He also had a scalp tied to his wrist. The two thunder? birds promised that the bundle would have thunder and lightning in it. In the meantime everyone looked at the woman. About her throat she wore some glittering object which looked like a star. Her head was in darkness, NUMBER 27 187 but down feathers stood up straight from it, signi? fying that she was in reality a comet. The time came to offer smoke to the gods, and the animal people sat and wondered how to do it. A man cov? ered with red dust entered the circle and promised a stone to be used in the smoke offering. Since all things necessary had been promised and daylight was fast approaching, all the animals in the circle disappeared. The man stood up and looked about him. ^Vhere the owls had been sitting, he found four owl feath? ers; in the woman's place were two grains of com and a bright stone. He also found feathers of other birds, buffalo wool, and a roll of buffalo hair string. He replaced with stones all the objects he had found, made up a bundle, and set out for his home. When night overtook him on the road, he slept with the bundle under his head and tried to sing of all he had heard and seen before his dream. Usually he dreamed of the things he had obtained. Once he dreamed that first he must kill a young buffalo calf and carry it to camp on his back. Then he must skin the calf and cut up the meat, taking four pieces from the base of the tongue and four from the heart. These he was to place at the west side of the altar inside the grass lodge. Then he dreamed that he dug a square hole west of the lodge and took the pieces of heart and tongue to it. He seemed to stand near it and raise the meat diagonally to the west, place it in the hole, cover it, and return to the lodge, where he told his wife to boil the heart and tongue. At daybreak he awoke and continued his journey. When he arrived at his own lodge, he hung the bundle in one of his robes on the west wall, but did not tell anyone of the visions he had had. One winter day he hunted buffalo and killed a calf, which he carried home on his back, in accordance with his dream. His wife boiled the heart and tongue. Before eating, he cut some fat from the heart and gave it to his wife and child, telling them to be blessed by greasing their hands with it. That night the man had another vision, in which he saw a circle of animals surrounding a black eagle. Sparks of fire seemed to reach out from it to the other birds. The owls and the woman sat in the same positions as in his earlier vision. The man was frightened, for the sparks of fire seemed to touch him also. But what he thought were sparks of fire was in fact lightning, which helped him understand the significance of the things he saw. The bird in the center represented Tirawahat (the power and the fire); the owls represented the four gods in the west, each holding a gourd and singing. These men always stand. As they sang the man learned their songs. He learned that Tirawahat was the supreme being, with the exception of Morn? ing Star who is always in the east. In their songs the four gods in the west sang of the woman's wishes, of the moon, and of Tirawahat. If these men failed to stand and sing with the others, the world would come to an end. All these things the man learned in his visions. Finally the animal circle vanished. The man then kindled a fire, while he sang to him? self. The next day they ate more meat from the calf, but jerked and dried the rest in the sun. In the spring he planted the two grains of corn near their gi^ ass lodge. These two grains represented the moon and a comet. One of these could appear in the form of a woman at any time to carry out the wishes of Tirawahat. Throughout the summer the man hunted, moving from place to place, but once in a while he returned to his lodge to watch over the glowing corn. In the fall, when he had plenty of dried meat, he moved back to his grass lodge. At night he watched over the cornstalks. One night, as he watched, a woman appeared before him, seemingly enveloped in a yellow cloud. She said, "My name is Cawata-hat (Female Gleam Passes);^ your descendants shall come from me. They shall worship me and keep me with them always. I shall bring them life and strength. As long as I am with them, disease shall not touch them. The corn you will get from the stalk will be my? self. You must put me in your bundle and call me Female Gleam Passes." She disappeared. Then another woman appeared before him and said, "Mother Moon promised you many things, but I cannot promise much for I am a comet; that is why I wear down feathers on top of my head. Mother Moon is second to Tirawahat in power. I have power only to increase your people. My corn is white and has a tassel on the top. This will always be with your people, and my spirit and power will be with them. My name is Cire - su - rahat (Twilight Woman). You must preserve the two ears of corn and place them in the bundle, but you may dry the rest of the corn for the winter. You must keep 1! SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY some of the seed for next year's planting." When the woman disappeared the man lay down to sleep. He dreamed of the comet woman, who told him that all his visions were true. She warned him to follow all the instructions he had had in his visions. When the man awoke he still lay near the corn? stalks; he passed his hands over them and over his body, pressed them to his feet, and prayed for long life. In the meantime, the man's wife had prepared coverings for the various objects in the bundle. She Avandered over the prairie. Some mysterious influ? ence seemed to guide her to the proper weeds and roots for tanning the skins. She tanned the hide of the calf her husband had killed and plenty of buffalo skins to make a tipi to use when they were hunting game. When the corn was matured and the crop gath? ered in, the man found two ears of corn different from the others, one yellow and one white, but both lasseled. These he carefully laid away with the rest of the bundle, the woman meanwhile piling up the corn near the lodge. Occasionally she parched some of it for use; sometimes she boiled it in a skin l)ucket, while at other times she dried it on heated stones. By this time they were provided with all that was necessary for the bundle except a stone for incense (i.e., a stone pipe). Later, on the hill where he had his vision, the man found a black stone Avith a small hollow. All winter he hunted and killed buffalo. He con? tinued to have visions which were always concerned with the bundle. Early in the spring he placed the contents of his bundle on the altar, in readiness for the ceremony. Then one night he dreamed of the thunder. Tirawahat spoke to him through the thunder and told him the time had come to per? form the ceremony. Lightning flashed and thunder rolled as he spread ilie bundle objects upon the tanned hide in front of him. He burned some sweet incense over the objects and then hurriedly tied up the bundle, that the power of the lightning might remain within. Each time he killed a buffalo he offered four pieces of heart and tongue to the four gods standing in the Avest and then placed the pieces in a square dug west of the lodge. He continued his offerings for several years and was blessed with many children. One time he had a vision in which he saw a great gathering of people and four men placing a whole buffalo on a big fire. He saw the people go to the fire and allow the smoke to pass over their bodies. Then he too burned a whole buffalo. In another vision he saw a deer placed on a fire while the people let the smoke pass over them, and this he did too. He con? tinued to dream and have visions and added more and more objects and ceremonies to the bundle. One day he retired to a high hill to think about his son, whom he had driven from home, when sud? denly it came to him that it was because he had been mourning for his son that he had had so many visions and dreams. A voice carried by the wind then told him that his son would return. So he went home and ceased mourning. From this time on he thought constantly of the meaning of the bundle, for in spite of his visions he did not yet understand the significance of it all. He observed very carefully everything that grew on the earth?the grass, weeds, and timber?and watched the water, the hills and valleys, and the heavens. A voice always explained the meaning of each. Then the man composed the songs he afterwards sang. One night his son returned, carrying a skin which tlie man did not recognize, as well as many eagle feathers, and a small bag. The son had grown to manhood and did many strange things. At daylight lie always disappeared, but returned in time to eat. Sometimes he would bring with him ground beans, or artichokes, or potatoes found along the banks of streams. Then he began to bring birds of all kinds. He brought a rabbit, a fawn, and finally one morn? ing he returned with a buffalo calf. He always put the things he brought back with him into the care of his elder sister. Soon he brought a buffalo cow back with him every day. His sister prepared and tanned all the skins. The brother and sister made a framework of willows over which they spread the skins, making a tipi. The young man went into the tipi and invited his father to come in and said, "Father, it is now time to allow my sister to live in this tipi alone with me. It is the will of the gods that I live in this tipi with my sister as my wife. While I was away I was at the place where rainstorms come from. There dwells Tirawahat and there stand the four gods in the west.' "On my westward journey I was guided by a mysterious power. We journeyed for many days before we came to the place where the sun sets. I stood upon the banks of a large lake, but everywhere NUMBER 27 189 I turned there was water. My guide seemed to whis? per, 'Close your eyes, we are going through space.' I closed my eyes; a whirlwind picked me up and carried me on and on unti l I was set down. My guide whispered, 'Remember everything you see. This is where the rainstorms come from and where the four old men stand. Listen to their songs, for they are for you. You must kill the first animal com? ing out, for it is the one who controls rainstorms.' I was frightened, but went on. As I came nearer an animal ran out, climbed up, and disappeared at the top of the place, and then reappeared. I killed it with my bow and arrow. My guide whispered, 'Carry the animal into the cave.' I did as he said, threw it upon the ground near the entrance, and said, 'This animal is holy or consecrated.' T h e cave was dark, but I heard someone say, "Rawa.' T h e n I was told to sit near the entrance at the north side. Here I heard loud noises and saw lightning and dark clouds, which seemed to move around in a circle and then pass out through the opening at the top. My guide directed me to cut up the animal. The skin I brought with me was from this animal. I placed the carcass of the animal where the fire seemed to be. T h e n I heard someone say, 'My son, you must eat all of the flesh, the vitals, head, and paws. First, though, you must take four pieces of flesh, two from each shoulder and two from each hind quarter, which you must offer to the gods who dwell here. Throw these pieces toward the center.' "As I ate the animal the skin lay in front of me. The bones I was directed to throw to the center of the cave. T h e n I was told to walk around the cave. As I walked I saw a strange light at the west and four green cornstalks, near which was a parfleche with dried meat. In front of these was the object that radiated the light, but I did not know what it was. Behind the light stood four men, shaking their gourd rattles and singing low, but I under? stood their meaning. T h e n a dark cloud rolled to? ward me; when it disappeared I found this bag at my feet. I picked it up and returned to my place in the cave in darkness. Someone touched me. I reached out and took some pemmican. I ate what I wanted of this and pu t the remainder in my robe. A voice came from the direction of the light saying, 'My son, you must re turn to your father and mother; build a lodge of your own and take your sister for a wife; many people will come from you two. Your bundle will be different from any other, for you have killed and consecrated it here. This animal will always remain with the bundle. Your people can only consecrate this animal. Its color represents dark clouds. You must use its penis in dipping up boiled consecrated meat. T h e penis of the first raccoon you consecrate when you return to your people you must tie to a stick with thick sinew. Always carry this with the things we give you. T h e bag contains seeds for you and your people. T h e two things you must always bear in mind are the powers in the heavens and the powers upon the earth. You must always remember the buffalo and the corn which will strengthen your people. These will be the food of your people. Before eating, always offer these first to the gods in the heavens and then to the gods on the earth, for they come from us and we wish to be remembered by the people. When you have returned to your people we will tell you other things. Now leave this place.' "My guide directed me to take the raccoon skin and the bag, and leave. As I left I heard a great noise, but did not dare to look back. Outside I was told to circle the place by the south. I saw streams of water pouring down the sides of the hill, while vapor rose from the opening at the top. When I came to the north side of the hill, I saw a beautiful country. I saw my father and mother and brother and sisters. When I came back to the front, the whirlwind seized me again and I knew nothing more until I woke as if from a dream. I was on a high hill. Large flocks of birds flew overhead and, as feathers dropped from them, I picked them up and placed them in the raccoon skin and went east toward home. "When I came to the side of a hill north of here, my guide whispered to me to look at a tree there. I saw a raccoon sitting on a limb. Now I knew that had been my guide. I have everything ready and want you to allow me to take my sister to my own tipi as my wife. I want you to make a bundle for me and place my raccoon skin on top of it. I myself will consecrate the raccoon skin. This is my story." For a long time the young man's father sat silent; then he said, "My son, I understand all you have said. Do as the gods wish. I will make the bundle for you. Your bag has seeds of corn, squash, and beans. You must in time put an ear of corn from your field into the bundle. You must get the corn yourself, as I did. You must go to your people who 190 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY will always be known as Cakita-ru"*, or Raccoon people.^ "I consent. Set u p your tipi, and when you are ready we will sit there." T h e young man and his sister set up their tipi to the north of their father's grass lodge. T h e girl placed the things at the altar and went out. T h e father and son sat in the tipi. They looked at the seed. The re were four kernels of each color?black, red, yellow, white, and speckled. There were four squash seeds and four beans. Also in the bag were some black seeds which they afterwards found to be tobacco and which they used when making the meat offerings. T h e meat was placed on the fire and then the tobacco was burned so the smoke passed over the meat. His father told the young man to place the seeds in the bundle, but to plant them early in the spring. They built a fire and passed all the things in the bundle through sweet-smelling smoke. T h e n the bundle was wrapped up with the raccoon skin on top. T h e young man's father told him to make offerings of the heart and tongue of buffalo to the gods in the west. T h e girl brought food in and then the bundle was hung on the wall. Her father told the girl to sit near her brother, who was now her husband. T h e n the father returned to his own lodge. In the spring they moved a little to the west and planted their seed. These two people had many children, and their crops were always good. Soon another son and daughter from the man's lodge went to live together at the south, and they also became a great tribe. T h e old man made their bundle for them. In this way, three independent tribes were founded from one bundle. T h e Raccoon bundle was an independent bundle, like which there was no other. One important object in it was a raccoon bone fork, which was used in feasts and also as a warclub. Another was a raccoon skin. Raccoons, which were regarded as water ani? mals, were consecrated to the bundle. T h e Skiri, it will be recalled, consecrated buffalo, but the Chawi consecrated raccoons. This animal also falls within the provenance of the underworld powers to which the doctors pray. Thus the distinc? tion between this ritual and those of the Skiri is sharply drawn. Yet from the narrative it is appar? ent that the bundle had much in common with the Skiri cycle, since the whole corn concept is found here. Eagle Flying Under The Heavens' Bundle T h e following account refers to a warrior's bundle ( A M N H 50.1-9664), which contains one pipestem fastened on the outside; one bundle in a woven bag; one bald eagle; a small cane whistle; one bunch of wing feathers; one bunch of braided sweetgrass; one pendant of knotted buckskin; one bone whistle; one ear of corn in buffalo membrane; one ear of corn in buffalo wool; one small bundle wrapped in a flag containing an inner bundle of cloth tied with silk ribbon, in which were one piece of bone, a turtle foot, and one roll of membrane; one large bundle wrapped in a flag containing a l^undle rep? resenting a bird made of woolen cloth with feath? ers, contents unknown, but apparently containing a meteorite; one small bundle wrapped in cloth containing one glass bottle-stopper and one prism; one smooth white pebble wrapped in down and paper; one catlinite pipe wrapped in cloth; one bag containing what appears to be an oriole's nest. T h e Chawi bundle was obtained from Hiram Jake {Re-tahkac Ru - "^ uhka - ivari 'Eagle Flying Under T h e Heavens'), who was the heir to the bundle.^ He was about 40 years old. His father, Chawi Jake {Cawi- '*i), was a noted Chawi doctor, who knew the history and the ceremony of the bundle . T h e story of the bundle as given by Eagle Flying Under The Heavens is as follows: Many years ago when my giandfather was a young man, he went on the warpath. T h e leader of the \var party was Big Warrior. One time while on the warpath, the young man fell asleep and so was left behind when the others went on. He was aroused by strange sounds and rose to see the cause. He looked up to the sky and saw a flock of eagles. One bald eagle flew south, and the young man followed its flight. At dusk the eagle lit upon a tall tree. The young man continued to travel unti l he reached the top of the hill. Here he lay down, for he was very tired. He ate some parched corn, but was un? able to go to sleep. He looked up at the stars in the sky and saw a meteor. T h e longer he looked at the meteor the more it seemed to resemble the bald eagle. The meteor appeared to make a circuit and fell where the eagle had alighted. T h e young man rose and began to cry. He was frightened because he was alone and had lost his party. H e raised his hands toward the heavens and, addressing the meteor, said, NUMBER 27 191 "Father, I saw you fly from the heavens; now you are on the earth. I am poor in spirit. Father, take pity on me. I am young and do not know where I am." T h e n he lay down and fell asleep. He dreamed that standing near him was a man who wore a buffalo robe, and whose face was cov? ered with red ointment. On his forehead was marked a bird's foot. Through the man's scalplock was thrust a soft down feather and around his waist was tied a buffalo-hair rope. T h e man walked around. On his back he wore a bald eagle from under which seemed to come sparks of fire, just like the sparks he had seen when the meteor had fallen. T h e man's pipestem was thrust in his belt and stuck out from the eagle. T h e stranger walked around the young man four times, stopped to the north of him and said, "My son, I am the meteor you saw shooting through the skies. I am the child of the heavens. I control the flock of eagles. My favorite bird is the bald eagle. I sent you the eagle you saw. You must return to your people, for your war party will meet the enemy and some of its members will be killed. Follow the eagle's flight and it will guide you to your people. I am on the hillside where the eagle is. You will easily find me; take it and return home. T h e eagle will re turn to the skies after you have followed it home. Some day I will give you a bald eagle, whose skin you must always wear on your back when you are on the warpath. I like your spirit and I will be with you always. I will come to you in dreams. I will make you a great warrior. Through me, you will take many scalps, count coup, and cap? ture many ponies from the enemy. TAHien you become a warrior you must dress as you see me now. Do as I have told you and go home." \Vlien the young man awoke the next morning, he saw the bald eagle flying overhead. He took a few kernels of com from his moccasins and ate them. He went down the hill while the eagle flew over? head. T h e eagle continuously circled over one spot. T h e young man went to the place and in a bunch of burnt buffalo grass found a stone which he took. He started north and traveled for several days, always following the eagle. Finally he came to his village, and the eagle disappeared in the sky. T h e young man stayed on the hill near his village until dusk and then went down to it. He entered his father's lodge. T h e women were glad to see him and took his qu i \ e r and moccasins from him and put them away. The young man sat with the other men around the fireplace. His father scolded him for returning alone, for he thought he had turned back out of cowardice. T h e men were all anxious for news of the war party, but all he could tell them was that he had been lost and returned alone. T h e young man went to his bed and placed the stone on the ground near the rim of the lodge. T h e young man was angry at his father. T h e next day he asked his mother for a piece of buffalo hide with the hair on. In the fall the war party returned, but some of its members had been killed. T h a t fall the young man, with some others, went eagle hunting. Each young man dug a hole in the ground and covered it with limbs, grass, and weeds, as a trap. Before daylight the young men went to the holes and after placing fresh meat or even a whole rabbit on the frame, crawled into the holes. They lay in them all day. T h e eagles swooped down and hopped about the boy's hole. One eagle settled on the boy's frame: he caught it and wTung its neck. Next came a golden eagle, which he also pulled in; then came a black eagle, which he killed. For a long time no more eagles came; but finally he heard a noise above, and a bald eagle hopped upon the frame. T h e boy caught it and killed it. He now had the bird he wanted. He started for the camp where the rest of the party had preceded him. They were surprised to see the young man with four birds. He skinned three of them, but hung the bald eagle on a limb. He told the others he was ready to return. They all wanted to use his hole and to know the secret for his catch? ing so many eagles, but he told them he had none. When the boy returned to his lodge, his father was surprised to see that he had so many birds, but the boy gave him nothing. T h e boy's mother wTapped the birds in a robe and hung the bundle on the wall of the lodge. T h e next morning the boy had the three skins hung on poles outside the lodge. He asked his mother to invite a certain priest to their lodge and his father to have the lodge swept and vacated by everyone. Four cushions were placed at the altar for the priest and his three assistants. The young man placed the bald eagle in front of the cushions. T h e priest and his assistants came in and sat in their proper order. T h e young man said, "Old men, I have called you together to skin this bird for me. 192 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY I have one pony and four robes to pay you. I want you to take pity on me and help me. I have a parfleche of dried buffalo meat for you to eat; my mother is preparing a kettle of corn." The old men sat silent for a long time. They did not know what to do. There was not one among them who had ever consecrated a bald eagle. They had always consecrated golden eagles. Finally they sent for Pi-tare-sa-ru"^ (Man Chief), the head chief of the Chawi, who was the only one who had con? secrated a bald eagle. He came into the lodge, was given a place, and told what was wanted. He said, "My son, it shall be as you wish, for I have con? secrated seven birds?six of different kinds and the seventh, a bald eagle." The young man's father rose, went to the chief, and passed his hands over his head and down his body, thanking him. Then the young man thanked him. The chief walked to the north side where the eagle lay. He told the priest to select a stout stick from the pile of wood and hand it to him. When the priest had the stick he said, "Young men and old men, I now lift up this stick and strike the eagle on the head." He struck the eagle. Then he said, "The last eagle I consecrated was a bald eagle. It was the god of our people for that year. We were successful on our buffalo hunts. Our crops were abundant. The enemy attacked us but once; we killed one whose head was decked with bald eagle feathers. I counted coup upon him by striking him on the head before he fell from his horse. The horse I captured from him also had bald eagle feathers upon its mane and tail. Because of this I took the name Pi - tare - sa - ru"^ (Man Chief). Now I count coup on a bald eagle again, that all the good things I have related may come to you, my son." He returned to his place. The priest filled his pipe and went through the bundle smoke ritual. He walked up to the bird and blew four whiffs of smoke to it, dumped the ashes in front of the eagle, and after passing his hands over the pipestem and the bird, gave the pipe to his assistant on the north side. The priests skinned the bird, leaving the claws and skull. The skin was then put on a tipi pole and placed outside the lodge. This is the bird now in the bundle. The young man gave one of the eagles, the robes, and a pony to the chief, who gave the four robes and the pony to the priests and kept the eagle. It was now late in the fall and time for a buffalo hunt. The young man had no cover for his eagle and stone. His mother had a tanned buffalo hide in which she wrapped up the things and carried them. Once in a while the young man would see in his dreams the strange man, who would tell him what to do. On the hunt the young man killed buffalo and had the meat dried. After their return from the buffalo hunt in the early spring, the young man had the lodge swept out and mats spread at the altar. The priest and his assistants were invited. The young man placed the meteor, which was still covered with a piece of buffalo skin, in front of the four cushions that were placed at the altar. When the priests were seated, the young man said, "Old men, I again invite you to my lodge. This time I have Father Meteor sitting in front of us. This meteor is to be with the eagle skin that I have. Take pity upon me and teach me how to offer smoke to Father Meteor." The priest now asked for the eagle and pipe. The bundle, which now contained a pipe, native tobacco,^ red dust for paint, sweetgrass, and other objects, was handed to the priest. The priest filled the pipe with native tobacco, lit it, and went through the real bundle smoke ceremony. He took the stone, handed it to the young man, and asked him to un? wrap it and place it in the position in which he found it. He unwrapped the meteor, leaving the buffalo wool over it. The meteor was placed in a bag filled with bald eagle down, while the other men held a robe over it so that it could not be seen. If anyone but the young man saw the meteor, the luck that was intended for him might pass to the person who saw the meteor. The young man placed the meteor in front of the men, the bag being open toward the south, for the meteor had been pointed that way when the young man found it. The priest took some native tobacco and said, "My son, you may now rise and come to me." The boy went to the priest, who gave him a pinch of the native tobacco and whispered to the young man, "Take this tobacco and offer it to Morning Star, slantwise to the east. Place the tobacco on the ground outside and return to me." The young man did this and returned to the priest, who gave him tobacco and asked him to offer it to the Evening Star in the west. Again he returned to the priest, who gave him some native tobacco and said, "Take this, walk to the north of the lodge, and offer this by raising your hand to the north, place the tobacco NUMBER 27 193 on the ground, and return to me." After his return to the lodge the priest again gave him tobacco and said, "Take this around to the south of the lodge, raise your arms to the south, place the tobacco upon the gTound, and return to your place in the lodge." When the young man returned to the lodge the priest said, "The offering of native tobacco to the leading minor star gods ^ is now ended. I have filled another pipe with native tobacco and the young man will rise and offer smoke to the same stars; standing west of the lodge, facing east, he will light the pipe and blow one whiff to the east, one to the west, one to the north, and the last toward the south. When he empties the ashes, he will return the pipe to me." The young man went through the smoke ritual. Then the priest said, "The gods in the heavens have received our smoke. All will be well. Whichever of the gods is the father of the meteor before us will watch over its child and its owner. I will now fill another pipe for the young man. This time he must offer smoke to Father Meteor and must make his wishes known to him." The young man rose, went to the fireplace, and after lighting the pipe, went up to the meteor. The meteor was covered so that only a little of the head was exposed. The young man blew the smoke toward it. He offered four whiffs of smoke and then emptied the ashes on the ground in front of the meteor. He returned the pipe to the priest. He knelt before the meteor and said, "Father, I am poor. Take pity upon me. Give me success when I am on the war? path. Give me many ponies. I will always see that you are seated upon good things. As you are to be with me always, keep disease away from me. I am still young and do not know what to ask, but you know my wants, so pray to your fathers in the heavens that they may grant my wishes through you." The young man returned to his place, and other men who were closely related to him were now per? mitted to approach the meteor and pray to it. The priest prayed last. Finally a feast of meat and corn was served, after which the priest said, "My son, you are favored by the gods in the heavens. You must consecrate two eagles and two wildcats; then you may have a bundle of your own. I will give you two ears of Mother Corn that can be placed in this bundle so that when you consecrate birds or animals yas ruksariki [hi] M y father where he used to s tand. C H O R U S : c iriri[-hi''] I t is there . D iriri - ki iriri [-hi''] I t is there , it is there . D iriri-hi iriri[-hi''] I t is there , it is there . D iriri-hi iriri[-hi''] I t is there , it is there . D iriri - hi iriri [-ki''] I t is there , it is the re . D iriri-ki iriri[-ki''] I t is there , it is there . D iriri-hi iriri[-ki''] I t is there , it is there . Second Stanza A wekukri-racikstat [a ka] N O W they are happy in spirit. R E F R A I N B tiwerikra ? wisa [ki hi] Since they have smoked. C H O R U S Third Stanza A [a] tiwera ? tariki [hi] N O W [as] I s tand. R E F R A I N B ati''as ruksariki [hi] M y father where he used to s tand. C H O R U S 238 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY Fourth Stanza A tiwakara-ru''at [a ka] H e called out (i.e., told of i t ) , R E F R A I N ?n ka-tuka-ru tira-sa [ha] Valley this. C H O R U S Fifth Stanza A takra-kitawira [ha] I a m control led by it, R E F R A I N B [a] rikuc ka-tuha-ru [ri] A b i rd (of) the valley. C H O R U S R E F R A I N : hiru ra-ru"'uhka"'at [a] T h e r e he flew into the woods. B atipat rikspaki''a M y grandfa thers w h a t they said. C H O R U S : c hiru ra - ru''uhka''at [a a] T h e r e he flew in to t h e woods. c hiru ra-ru''uhka''at [a a] T h e r e he flew into the woods. c hiru ra-ru''uhka''at [a ri] T h e r e he flew into the woods. D tiwera-ru''ukka''at \a a] N o w he has flown into t h e woods. c kiru ra - ru''ukka"'at [a a] T h e r e he flew into t h e woods. c hiru ra-ru"'uhka"'at [a ri] T h e r e he flew into the woods . Sixth Stanza Second Stanza A tatara-kitawira [ha] I a m d e p e n d e n t upon you, R E F R A I N B [a] cikstit raratku-ta [ha] Well t h a t I migh t live. C H O R U S A ka-ka-taka-pa-kis [u] O h , I a m indeed pi t iable , R E F R A I N B ati "'as ru - ratku - ku M y father as he listens (to m y song) . C H O R U S Seventh Stanza Third Stanza A tirakra - "'i - tawi[ra]ha This (vision) t h a t I tell of, R E F R A I N B witira-wa-ruksti"* [u hu] I t is a sacred th ing . C H O R U S Eighth Stanza A wetura-wi"'u-sik [a ka] N o w the sound (of the woodpecker) has ceased, R E F R A I N B [a] rikuc ka-tuha-ru [ri] ( T h e sound of) the b i rd (of) the valley. C H O R U S Second Song First Stanza A tiwerahra - "'i - tawiha As I n o w tell of t h e vision, R E F R A I N Ftatpaku - ri ? tawi - ''a * l^tatpaku - ri - tawi I a m quo t ing his words . C H O R U S Fourth Stanza A rawa-riki tikis [i] You, m y sons, R E F R A I N B kiriku wetatpa-ku"' Someth ing (sacred) I a m tell ing. C H O R U S Fifth Stanza A asku[r]u ratiwa-ka T h e same I do say. t weta - ti - tawi - ''a * weta - ti - tawi N o w I a m tell ing of it , NUMBER 27 239 R E F R A I N B rikuc ka-tuha-ru ti'' T h e b i rd (of) t h e valley it is. CHORUS Sixth Stanza A wete - wiku-ru-sik [c] N o w it has d i sappeared , flying, REFRAIN B rikuc ra - wakira''u T h e bird t h a t is spot ted (i.e., wonderful) . CHORUS Fox Chief, No. 2 on the south side (Figure 34), is a woodpecker dancer who also has beavers' power. He wears black moccasins and very old leggings of black-tail deerskins, painted somewhat dark. The sides are beaded and fringed with small scalplocks and eagle down feathers. He has a beaver skin in his belt. His body is smeared with the white clay mixture, except for his throat, which is painted red. This red paint is to show that he can take a stick about 214 inches wide and about 2 feet or longer and run it down his throat; when he pulls the stick out, the blood oozes out and runs down his neck. The paint also represents the blood sucked from patients. (The onlookers can tell by the dress of the different doctors what sleight-of-hand tricks each can perform and what kind of sickness he can doc? tor.) As soon as the drumming resumes he begins to sing. The second stanza is usually the time for the dancers to rise and dance. Now this dancer rises and dances in front of the altar. He inclines his body forward and moves forward, swinging his arms as if flying, for he is imitating the woodpecker. In the second stanza of the first song he sings, "Their spirits are made glad for they have now smoked," referring to the smoke ceremony before the dancing began. As he sings the eighth stanza, "Now they have ceased making noise," one of the four men yells "O . . . ho . . . o." By this they all know that he has sung the last step in the song. At the end of the chorus he walks to his seat. If he has received any presents, he places them on the south side of the animal at the altar and then takes his seat. For the second song he rises and dances as be? fore, for he is still imitating the woodpecker. He moves forward, bending over and waving his arms as if flying. In the first stanza he sings, "I will now stand where once stood my father," referring to the dancing. "There into the timber flew a bird": The meaning is that this bird led a person through the timber and took him to a place where there were many timber birds. From these birds?such as dif? ferent kinds of woodpeckers, yellowhammers, and blue jays?this man learned the mysteries of the timber birds. He also became a witch, for these birds gave him their feathers and taught him to throw the feather through the air with his breath and pierce the hearts of those he wished to kill. But he could cure people by placing the skins of these birds upon their pains. In the sixth stanza he sings, "The bird has now disappeared," indicating the end of the song. This ends the dancing and singing, for one of the criers has yelled "O . . . ho . . . o." Drums and rattles are used all the time. When the song ends, all yell. Drumming is resumed when another man begins to sing. FLYING EAGLE"S SONGS STORY.?A man was out hunting. He went far away from the village and when night overtook him he kept on. As he walked along he heard a strange noise which seemed to attract him. He went to? ward the place whence the sound came. He came to a large pond, sat down close to the water, and lis? tened to the sound. He thought he could hear what the strange sound was saying, but when he looked into the water, he could see nothing. After sitting there for a while the sound came toward him. He looked into the water, he could see nothing. After sitting there for a while the sound came toward him. He looked and could see light in the water. It was like fire. He watched the fire until it was close to him. The fire seemed to be under the water. The man then pulled off his moccasins and leggings and placed them in his robe. The quiver with his bow and arrows in it he also placed in the robe; then he took up the robe with the things in it. He stood up and said: "Whatever ani? mal you are, here are these things for you. Have pity upon me." As he said this he threw the robe and the things into the pond. All at once the pond began to shake and he could hear many other strange noises coming from it. All at once he had 240 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY a great desire to go into the water. As he stepped into it, the water and land seemed to shake and he could hear more noises. He kept on wading into the pond, but all at once he felt some power pulling him into the water. As he was being pulled in, he closed his eyes. He landed on the ground and someone said, "Now look." He opened his eyes and looked around. He saw men sitting around in a circle. The altar was of a large bull? frog. One of these men said, "This is a lodge of the bullfrog. We knew you were coming this way and we made you come this way. The errand man was the one who sent his voice out to you so you could come here. You saw it swimming toward you and the fire you saw was the red streaks upon its back. You threw your things into the pond and gave them to us. We have them here. We wish to be re? membered in your ceremonies by giving and offer? ing us smoke. We will now teach you our mysteries." The man looked at the people and they were all daubed with blue mud. When the men began to sing and make noises he saw that they were all bull? frogs. When they had taught him the mysteries, they gave him back his things, and told him to cover himself with the robe. This he did, and then there were great noises and the land seemed to shake. When the noises had quieted down, he looked, and he was again on the top of the ground. He became a great doctor and composed these two songs. First Song First Stanza A a-ki raratiwa - ka H e r e where I do say it, R E F R A I N : were - wakta - hu'' N o w he is croaking. B tatpaku - ri - tawi - hu'' I a m quo t ing his words. C H O R U S 1: C were - wakta ? hu'' N o w he is croaking. c were-wakta-hu"' N o w he is croaking. D rakiwahahwakta - hu A croak comes from the pond . c were-wakta-ku'' N o w he is croaking. c were ? wakta - ku'' N o w he is croaking. Second Stanza A wekukri-racikstat [a] N o w they are h a p p y in spirit . R E F R A I N B tiwerihra-wisa [ki] Since they have smoked. C H O R U S 2: c were - wakta - hu'* N o w he is c roaking . c were - wakta - hu'' N o w he is c roaking . D rahurahwakta ? hu A c roak comes from t h e g r o u n d . C were - wakta - hu'' N o w he is croaking. c were - wakta - hu'' N o w he is croaking. Third Stanza A tirikuhrihwaki [a] This is wha t they said, R E F R A I N Fsirihra - ''i - tawi - ''a " \_sirihra - i - tawiha W h e n they told h im of t h e vision. C H O R U S ^^ Fourth Stanza A rakuwakara - ru''ata W h e n he spoke out (i.e., told of), R E F R A I N B [a] tiraki-cuha-k [i] This s t ream. C H O R U S 2 Fifth Stanza A tirikukri - taku - ki This is the way they are , R E F R A I N B [a] rahu-kaka-rawara ( In ) the ponds . C H O R U S 2 Sixth Stanza A wetiha''i ? tu - sik [a] N o w it vanishes in the w a t e r , R E F R A I N NUMBER 27 241 B [a] ka-watusipakuhtu'* T h e old bullfrog. C H O R U S 2 Second Song First Stanza A asku[r]u re - tiwa - ka - hu"* T h e same I a m saying, R E F R A I N : were - ura-ru"* I t is a (special) p lace . , r , Ftihura-ra* B asku[r]u L - , \..ti hura - ru ' T h e same it is the p lace . CHORUS: c were- ura-ru'' I t is a (special) place. c were - ura - ru'' I t is a (special) p lace . D rakiwaha - ra ''iwakta - ku A croak comes from t h e pond , shaking. c were - ura - ru'' I t is a (special) p lace . c were - ura ? ru'' I t is a (special) place. Second Stanza A asku [r ]u tihura - ra * T h e same p lace . REFRAIN Vtahra - '*i'*tawi - ''a* Ltahra - "*i - tawi I ana telling of it. CHORUS Third Stanza A tiriwetihura - ra* This is now the p lace , R E F R A I N B rakura - kitawiha T o recount the way (i.e., when the d a n c e should be per formed) . CHORUS Fourth Stanza A tikutpakara - ru"'at [a] H e spoke to m e . R E F R A I N B rakura - "'i ? tawiha T o tell of (i.e., explain) the vision. C H O R U S Fifth Stanza A wetika"'i-tu-sik [a] N o w it has d isappeared in the water . R E F R A I N B [a] rakkura-wa-ruksti-"'u T h e mysterious vision. C H O R U S Flying Eagle, No. 3 on the north side (Figure 34) jumps up and dances, imitating a beaver, sometimes dancing sitting down, and again crawling, waving the eagle fan with his left hand while he holds the gourd high in the air as if about to strike some? thing. He does this to let the audience know that when he waits upon the sick he can strike the sick? ness with either his eagle wing or the gourd. Al? though he sings a beaver song and dances like a beaver, he really is dancing something else, and will let the audience know in the last stanza that he represents the bullfrog. The third stanza of the first song signifies that when he was learning, the doctor who taught him told him all the secrets and also explained the songs. He dances on as before. At the fourth stanza, he leads in the song, and at the chorus he dances. When he sings, "Now it vanishes in the water," in the sixth stanza, all know the dancer is now through. One of the four men who listen for the song's end, yells "O . . . ho . . . o," the drumming ends and they all yell, making sounds of different animals. The dancer stops and sits down at his place. If he has received any presents while dancing, he places them at the altar. Then Flying Eagle sings again. (Flying Eagle is the drummer, so when he is to dance he gives the drum to No. 2 on his right, who drums for him while he dances.) When he sings the second stanza of the second song he jumps up and dances again as before. As each stanza is sung, he leads out the song. The second song ends when one yells out "O . . . ho . . . o." Flying Eagle then sits down and all yell as the drum ceases. He now takes the drum again, giving up the gourd to the man who was drumming for him. 242 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY FANCY EAGLE'S SONGS STORY.?The man who visited Spring Hill made up this song and Fancy Eagle's father purchased the two songs from Raruhwa-ku's father, so he could take part in this particular ceremony. The first man, when he was standing on the banks of the river, saw great commotion in the water. He could see fires in the water. The other animals seemed to yell and give way to the white beaver which was swimming down the stream. It seemed to be covered with fire. This man afterwards found out that the animals were in a great procession in the water, and the white beaver led, finally leading into the hill, the other animals following. When this man was taken into the lodge of the animals all this was explained to him. The animals told him that in the fall the doctors should prepare an ani? mals' lodge and have a Twenty Day Ceremony, where they must go through the animals' grand march, going out of the lodge, one man to carry the white beaver in the lead, the doctors following in the order of the animals and all dancing according to their kind of animal. When they should return into the lodge, they should perform animal magnet? ism upon one another. First Song First Stanza A a-ki raratiwa-ka [ri] H e r e I do say, R E F R A I N : ha- wetahu-''a See, now it swims this way. B [a] iririhwaki''a W h a t they told. C H O R U S : C ha - wetahu - ''a See, now it swims this way. c ka - wetaku - ''a See, n o w it swims this way. C ka - wetahu - ''a See, now it swims this way. D wesiri - ri - tawihu [ri] W h e n they are telling of the vision. c ha - wetahu - ''a See, now it swims this way. C ha - wetahu - ''a See, now it swims this way. c ha - wetahu -'' See, now it swims this way . D wesiri - ri ? tawihu [ri] W h e n they are tell ing of the vision. Second Stanza A irikuhrihwaki''a-hu T h a t is wha t they a re saying (i.e., I have been to ld ) , R E F R A I N B kurirawa - kahu T h a t it seemed to be speaking . C H O R U S Third Stanza A wekukri-racikstat [a] N o w they a re h a p p y in spiri t . R E F R A I N B tiwerira-wisa [ki] Since they have smoked. C H O R U S Fourth Stanza A tikutpakara ?ru''at [a] I t spoke out to m e , R E F R A I N B tiraki-cuha-k [i] T h e s t ream. C H O R U S Fifth Stanza A rawa-riki tikis [i] Those (i.e., you) , m y sons, R E F R A I N B witira-wa-ruksti'' [u] T h e way is wonderful . C H O R U S Sixth Stanza A wetiha''i - tu - sik [a N o w (the vision) vanishes in t h e w a t e r . R E F R A I N B isira-wi''u T h e one t h a t he imi ta tes (i.e., the beave r ) , R E F R A I N NUMBER 27 243 c tirahpaha-''at kitu'' H e (who) is p a i n t e d red all (over). C H O R U S Second Song First Stanza A asku[r]u ratiwa-ka [ri] T h e same I do say, R E F R A I N : taku-"*a I t swims this way. B tatpaku - ri - tawu I a m quo t ing h i m (i.e., telling his s tory) . C H O R U S : C ha - taku - "'a See, it swims this way . c ha - taku - ''a See, it swims this way . c ha - taku - "'a See, it swims this way . D wesiri-ri-tawihu [ri] W h e n they a re telling of the vision. C ka - taku - "'a See, it swims this way . c ka - taku - ''a See, it swims this way. C ha ? taku - "'a See, it swims this way . D wesiri-ri-tawihu [ri] W h e n they are telling of t h e vision. Second Stanza , . , Ftihura-ra* A asku[r]u I ? , o \_tt hura - ru ' T h e same it is the p lace . R E F R A I N B [a] tiraki-cuha-k [i] (At) this s t ream. CHORUS Third Stanza A irikuhrihwaki"'a-hu T h e y were saying. R E F R A I N B rakura-kitawiha [ri] O n e should be control led by (this vision of t h e beaver ) . C H O R U S Fourth Stanza A wetiha"*i-tu-sik [a] N o w it has vanished in the water , R E F R A I N B werati - tawiha T h e one which I have described. C H O R U S Fancy Eagle, No. 3 on the south side (Figure 34), gives his drum to the man on his left. He then sings the songs of the beaver, which he represents. With the second stanza of the first song, he jumps and crawls about, imitating the beaver. Once in a while he rests upon his knees, his body forward, and waves the eagle wing and gourd over the ground as if waving them over a sick person. He sings the third stanza to let people know that the animals were offered the smoke and that he believes their spirits are made glad and will help the people. In the fourth stanza he tells that other people told him that all this happened in the streams of water. The fifth stanza, in which some young man has given him a present, tells, "What you have given me, the animals will take, and they will bless you for they are wonderful." The sixth stanza is to let everybody know that the animal vanishes in the water. When it is time to end each song, one of the yellers cries "O . . . ho . . . o." The dancer hears the sound, walks to his place, and sits down. The drumming and rattling of gourds cease, and everyone makes all kinds of noises. When the drumming and rattling of the gourds resume, he sings the second song to the same tune as the first. YOUNG BULL'S SONGS STORY.?The people were upon a buffalo hunt. The men went out to charge; when all were in line waiting for the signal to be given by the chief, one man's horse became unruly and ran a^vay, going in another direction. The man could not hold the horse back. The horse went over ridges and jumped over ravines, when all at once it stumbled, throwing the man. He fell into a buffalo wallow and lay there stunned. When he revived his horse was gone. He stood up and looked around. There was no sign of people or buffalo anywhere. He now looked at the place where he had lain in the buffalo wallow. He did not see his body's marks upon the ground, but the marks of a young buffalo bull. It was like 244 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY a picture. It being evening, he sat down in the buffalo wallow and watched the picture. When it became dark this man still sat where he was. He filled his pipe and gave a few whiffs of smoke to the picture upon the ground and said, "Father, take pity on my spirit; I am poor." After he had emptied the ashes from the pipe, he thought he heard a buffalo snorting. He looked up; there on the other side of the wallow stood a young bull, its horns straight up. He first saw the picture, then the real buffalo. The buffalo charged, but the man was not frightened. There stood before him a man wearing buffalo regalia. He invited the real man to sit down in the buffalo wallow with him. Then the strange man began to tell him about buffalo power and gave him the buffalo regalia, as well as some roots to chew when waiting upon the sick. This same root he was told to chew when in battle. The man filled his pipe, and after they had smoked together the buffalo man disappeared. Then the man gathered up his things and went home. Some time afterwards he made up these two songs and sang them in the Medicine Ceremony. These songs are never sung in the Buffalo Ceremony. First Song First Stanza c ra - rasuhu - ru - "'ata Those tracks yonder . Second Stanza A irikuhrikwaki''a This is w h a t they said, a rakura - kitawi - hu W h e n the vision failed h im. C H O R U S Third Stanza A wekukri-racikstat [a] N o w they are h a p p y in spirit, B tiwerikra ? wisa [ki ] Since they have smoked. C H O R U S Fourth Stanza A rakuwakara ? ru''ata W h e n one would speak of it, B tirahura - rawara This ea r th he reabou t (i.e., ce r t a in places) . C H O R U S Fifth Stanza A a-ki raratiwa ? ka H e r e I do say (i.e., tell) , B rakura - kitawika A vision tha t failed h i m . ' " C H O R U S : C ra - rasuhu-ru-''ata Those tracks y o n d e r . " c ra - rasuhu - ru - ''ata Those tracks yonder . C ra ? rasuhu - ru - ''ata Those tracks yonde r . D ru"'irakrurakwisa - ru Yonder where the impr in t is. c ra ? rasuhu - ru ? "'ata Those tracks yonder . c ra - rasuhu - ru ? ''ata Those tracks yonder . c ra ? rasuku - ru - "'ata Those tracks yonder . D ru''irahrurahwisa - ru Yonder where the impr in t is. ti''iri- hawa tiwa-ku'* This again he spoke (of), rakura - kitawiha A vision tha t failed h im. C H O R U S Sixth Stanza A ha- weti''u - re - rik [a] See, n o w it has s topped, B tiwerati - tawiha Thi s tha t I describe. C H O R U S Second Song First Stanza A asku[r]u raratkuwa-ka T h e same I do say, B [a] ratpaku-ri-tawiha I tell of his teachings. NUMBER 27 245 C H O R U S : C ra - rasuku - ru - ''ata Those tracks yonder . c ra - rasuhu - ru - ''ata Those tracks yonder . C ra - rasuhu - ru - "'ata Those tracks yonder . D iriweraka - "'isa - ru Yonder where the impr in t is. c ra - rasuku - ru - ''ata Those tracks yonder . C ra - rasuku - ru - "'ata Those tracks yonder . C ra - rasuhu - ru - "'ata Those tracks yonder . D iriweraka - ''isa ? ru Yonder where t h e impr in t is. C ra - rasuku - ru - "'ata Those tracks yonder . Second Stanza ctutatika-pa-kis [u] I a m so p i t iable , [a ] tatpaku - ri - tawi - ku (As) I tell of his teachings . CHORUS T h i r d Stanza ka-kasta-wa-ruksti'' [u] I t was indeed wonderful (or myster ious) , ratukra-''e-rika W h a t I saw (i.e., the vision I saw) . C H O R U S Fourth Stanza A [ta]weti''u-re-rik [a] N o w he has s topped, B tiru - rariktakcawi These horns sticking u p (i.e., the buffalo). C H O R U S Young Bull, No. 4 on the north side (Figure 34), wears the buffalo regalia. Before he rises to dance he whistles four times on his reed. Then he rises and walks majestically toward the open place be? tween the altar and the fireplace. When he sings the second stanza and the chorus is taken up by the others, he begins to walk and then dance by loping. For each stanza he dances in the same fashion. People from the outside begin to walk in and give him many presents. When the last stanza is sung one of the men yells " O . . .ho . . .o ." He continues loping toward his seat until the song ends, then sits down. When he sings the second song, he dances as before, and when the last stanza is sung and the second " O . . . h o . . . o " is shouted, he lopes toward his seat. When the yelling ceases, he places the gifts at the altar; the money he gives to the old men, to the two errand men, and to Raruhwa-ku; then he takes his seat. T H I E F ' S SONGS STORY.?A doctor joined a war party. They were gone for some time. This man made up his mind that he would go home, for it was now summertime. When the war party had left home, it was winter. So this doctor left the war party and started for home. After he had journeyed for several days, he came to a big stream of water. Here he lay down, for it was now night. In the night he heard noises as if someone were breaking limbs and dragging them. He became scared. He watched and listened and made up his mind that some kinds of animals Avere about. When he woke up in the morning, he looked along the stream and saw beaver dams and lodges, limbs with leaves upon them sticking out. He stood up and saw these dams all along the river. He then went to the bank of the river and there, where the grass hung down from the banks, lay a big beaver. T h e beaver would .now and then move away where the grass hung and again would swim toward it. Finally it disappeared under the bank. This man then filled his pipe and smoked, giving a few whiffs to the beaver. After he emptied the ashes from the pipe, he started for home. When he lay down in the night, he had a dream. He saw in his dream a man covered with soft down feathers. This man said to the dreamer: "I thought you were poor. You did not follow me into my lodge. Therefore I will not give you any power. But when you wait upon the sick or dance, put mud all over your body, as you see me, and I will help you." This was all that was said to him, and he woke up. As he lay upon the ground he began to make up these two songs? how he saw the beaver dams and how the limbs 246 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY Stuck out; also the grass hanging over the bank and how the beaver swam around the hanging grass. First Song First Stanza A a-ki raratiwa - ka H e r e I do say. R E F R A I N : ra - karakka - wa - wi '* Those dwellings wi thin . B iririkspaki"'a W h a t they said. C H O R U S : c ra - karakka - wa - wi Those dwellings wi thin . c ra - karakka - wa - wi Those dwellings wi th in . C ra - karakka - wa - wi Those dwellings wi th in . c ra - karakka - wa - wi Those dwellings wi thin . D raka - kawa - wi Branches a re projecting from the water . c ra - karakka - wa - wi Those dwellings wi thin . C ra - karakka - wa - wi Those dwellings wi thin . c ra - karakka - wa - wi Those dwellings wi th in . c ra - karakka - wa ? wi Those dwellings v\athin. Second Stanza A asku[r]u tikwaki"' [a] T h e same they said, R E F R A I N B [a] kurirawaku-ru T h e voice seemed to speak. C H O R U S Fourth Stanza A te-kara-ru-sik [a] T h e lodges have vanished, R E F R A I N B [a] ka-tuka-ru tira-sa Field this. C H O R U S Second Song First Stanza A asku[r]u ratiwa-ka T h e same I do say, R E F R A I N : raki - ra - rawi Grass on the bank , d ipp ing into t h e s t ream. Ftatpaku - ri - tawi - ''a * \_tatpaku - ri ? tawi I a m telling of his teachings . C H O R U S : c raki-ra-rawi Grass on the bank , d ipp ing into the s t ream. D raki - ri - tiku Grass d ipp ing in a n d out . G raki - ra - rawi Grass on the bank , d ipp ing in to the s t r eam. D raki - ri - tiku Grass d ipping in a n d out . C raki - ra - rawi Grass on the bank , d ipp ing into t h e s t ream. D raki - ri - tiku Grass d ipping in a n d out . c raki - ra - rawi Grass on the bank , d ipp ing in to the s t r eam. Second Stanza A ti "'iritutpakura - ra These are the words he spoke. R E F R A I N B [a] ratpaku-ri-tawika As I q u o t e the words . C H O R U S A tiwakara-ru"'at | He spoke of it, REFRAIN B [a] ka-tuka-ru Field [a] tira this. Third Stanza ?sa C H O R U S Third Stanza A ka-ka-taka-pa-kis [u] O h , I a m indeed p i t iab le , R E F R A I N B ratura - hu - ratku - ku As I listen to the teachings (of the beave r ) . C H O R U S NUMBER 27 247 Fourth Stanza A wewititi - ratku - ku"' N o w they hear their own ( teachings) , R E F R A I N B ratkaha - ru rawica T h e n ight t h a t has a r r ived (i.e., ton igh t ) . C H O R U S Fifth Stanza A wetiha''i-tu-sik [a] N o w (the vision) has vanished in the wa te r ; R E F R A I N B taku ru - tetkawa -wu-ku'' Here he is listening. CHORUS Thief, No. 4 on the south side (Figure 34), sings his two songs while dancing the beaver dance. As he approaches the open area, he gets down on his knees and dances. As he sings the last stanza of each song, the yell " O . . . ho . . . o " is given, at which points each song ends and Thief rises and walks to his seat. BUFFALO CHIEF'S SONGS STORV.?A war party went out into the enemy's country. Three men were sent out to scout. In the evening they came to fine bottomland and here they sat down to smoke. While they were sitting down, they heard the neigh of a horse. They all got up and walked to wheie the neighing came from and there they found an old gray horse dying of old age. Two of these men went away while the other man stayed with the horse. He would pull grass and feed it to the horse, but the horse died in the night. T h e man lay down by the animal. When the man went to sleep, he had a dream, in which he saw a man standing by him. This man had a buffalo-hair rope around his left shoulder and was daubed with white clay all over his body. He had a bunch of eagle feathers on the top of his head and wore a horsetail. This man said, "I am the horse that you fed and were so kind to, and I am thank? ful to you. I will make you a great man. I will always be with you. Take the tail of the horse lying there and also part of the mane. Take them home and keep them wrapped and tied tightly, for my spirit will be in them. I will also give you a horse that you must keep for yourself. I will appear to you in your dreams and will tell you what you must get to have power to overcome your enemies. I am gone." T h e man woke up, so he stood and cried by the horse. T h e next day he cut the tail and the mane as he had been told to do. Then he started for home. Two days after he got home he had a dream that a fine white horse came to the village and that it came to his door. When he woke up he went outside the village and stood there crying. As the dawn showed in the east, he heard the neigh of a horse. He saw a white horse coming toward him, neighing as it loped along. T h e horse went around the man, then started off again, neighing as it went. When it came back, the man caught it. He kept his horse and through it was able to kill buffalo and consecrate them to Tirawahat. Also he could kill the enemy, taking scalps and offering them to Tirawahat. He made up these songs about this horse coming to him. First Song First Stanza A a-ki raratiwa - ka Here I do say. R E F R A I N : were - ra were - ra N O W he is coming; now he is coming. B werakra - ''i - tawiha As I tell of the vision. C H O R U S : C were - ra were ? ra N O W he is coming; now he is coming. D rakiskatawakta ? hu T h e one tha t is neighing. E were - ra Now he is coming. F ise - rure - ''a Clearly he comes. c were - ra were - ra N o w he is coming; now he is coming. D rakiskatawakta - hu T h e one tha t is neighing. E were ? ra N o w he is coming. Second Stanza tirikukrikspaki''a - hu This they used to say, 248 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY R E F R A I N B [a] taku kurakura - waku ? ru'^ (Of) someone's vision. C H O R U S Third Stanza A rakuwakara - ru ''ata As he speaks out (he tells of i t ) . R E F R A I N B ictaha-ru tira-sa (On) the outskirts (of the village) these. C H O R U S Fourth Stanza A taweta ? ti - tawi - hu'' N o w I a m telling of h im, R E F R A I N B [a ] pi - ta irata -ka-ru A m a n t h a t one who is whi te . C H O R U S Fifth Stanza A raweti''u-re-rik [a] N o w he has s topped, R E F R A I N B aru - sa rata -ka-ru T h e horse t h a t is whi te . C H O R U S Second Song First Stanza A asku{r]u ratiwa-ka T h e same I do say. R E F R A I N : wera - ta wera ? ta As he wen t away , as he wen t away. , . . Ftihura-ra'^ B asku\r\u ,? , T \_tt hura-ru T h e same it is the place. C H O R U S : c wera - ta wera - ta As he went away, as he wen t away. D rakiskatawakta - hu T h e one tha t is neighing. E wera ? ta As he went away. F pahi-tu ra-ti''at [a] Slowly he mere ly went . c wera - ta wera - ta As he went away , as he wen t away . D rakiskatawakta - hu T h e one t h a t is ne igh ing . E wera - ta As he wen t away . Second Stanza A wekiru tiwa - ka - ku'' N o w thus he was telling (me) , R E F R A I N B [a] ckara raku''akra Alone (i.e., himself) (this) being. C H O R U S Third Stanza A ka-ka- taka -pa - kis [u ] O h , I a m indeed pi t iable , R E F R A I N B ati''as tu - ratku - ku'' (As) m y father is l istening (to m y song) . C H O R U S Fourth Stanza A iritaruhkita [wi] I t is because of h i m . R E F R A I N B [a] cikstit raratku-ta Well t h a t I n o w do . C H O R U S Fifth Stanza A rawa-riki cu-''at [i] You, m y daugh te r s . R E F R A I N B witira - wa - ruksti'' [u] This is a sacred way . C H O R U S Sixth Stanza A rawa ruksu-re-rik [a] N o w let h i m s top . R E F R A I N B [a] pi-ta ire- cari - su T h e m a n t h a t is angry (i.e., a va l ian t s ta l l ion) . C H O R U S NUMBER 27 249 Buffalo Chief, No. 5 on the north side (Figure 34), is a horse dancer. He wears the horsetail and a bunch of feathers on his head to represent the top mane. As he sings the second stanza of the first song, he jumps and trots out to the open space, whistling as if neighing. When the chorus is re? peated he lopes, and at the end of the song he again trots along, whistling. He is a fine dancer, receiving many presents. When the last stanza is sung and the yell "O . . . ho . . . o" given, he dances to his seat, sits down, and is ready to sing the second song to the same tune. As the drumming ceases and the yelling quiets down after the second song, he walks to the altar and places the presents on the north side of the animal. The money he hands to Beaver, who receives it and gives it to Raruhwa - ku. WALKING SUN'S SONGS STORY.?On a buffalo hunt one man looking for buffalo saw some horses roving about in a valley. They ran and roamed about on the tops of hills. He returned to the village and told a few men among his own relatives. These men went out on horseback and captured the wild horses. Among these was a stallion, which the finder kept. This stallion was a mean horse and no one could handle it but the owner. Then people found out that the horse and man talked together. A a-ki Here REFRAIN: First Song First Stanza ratu-re-rik [a ri] I stood. rakruri - wi Those roving abou t . B ati"*as ruksariki *? M y father where he stood (before me) C H O R U S : c rakruri-wi [i] Those roving abou t . D kiru irahruri ? wi T h e r e those roving abou t yonder . E ra- [a] rakruri-wi [i] See, those roving abou t . F hiru rakruri-wi [ri i] T h e r e those roving abou t . c rakruri-wi [i] Those roving abou t . D hiru irahruri - wi T h e r e those roving abou t yonder . E ra- [a] rakruri-wi [i] See, those roving abou t . Second Stanza A wekukri-racikstat [a] N o w they are happy in spirit, R E F R A I N B tiwerira - wisa [kiri] Since they have smoked. C H O R U S Third Stanza A tiwakara-iu''at [a] H e tells of it. R E F R A I N B tirahura - rawara This ear th hereabout (i.e., these fields). C H O R U S Fourth Stanza A rutati''u - re - rik [a] T h e r e I stood. R E F R A I N B rakukura - rap a - ru ( In) a concealed place. '" C H O R U S Fifth Stanza A rawa-riki tikis [i\ You (standing), my sons. R E F R A I N B kiriku wetatpa - ku"* Something (sacred) I now tell of. C H O R U S Sixth Stanza A wetiwa''u - re - rik [a] N o w they have s topped. R E F R A I N B ra - rurahkuhuri - wi (The wild horses) merely roving about over yonder . C H O R U S 250 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY Second Song First Stanza A asku[r]u ratiwa-ka [ri] T h e same I do say, R E F R A I N : rakruri ? wi Those roving abou t . , , , Ftikura-ra* [ri] B asku\r\u ? , o \_ti hura-ru' T h e same it is the place. C H O R U S : C rakruri-wi [i] Those roving abou t . D iru irahruri - wi T h e r e those roving abou t yonder . C rakruri-wi [i i] Those roving abou t . E rakitakruri - wi [ri i] Those roving abou t on the plains. c rakruri-wi [i] Those roving about . D iru irakruri - wi T h e r e those roving abou t yonder . C rakruri-wi [i i] Those roving abou t . Second Stanza A ka-ka- taka -pa - kis [u ] O h , I a m indeed pi t iable , R E F R A I N B ati''as tu-ratku ?ku'' (For) m y father is listening (to m y song). C H O R U S Third Stanza A wetakra-ki-tawi-''a'^ [ri] N o w I tell of the incidents . R E F R A I N B ra-hurakacis pakuhtu"* A lost way (i.e., vision) old. C H O R U S Fourth Stanza A wetiwa''u - re - rik [a] N o w they have s topped . R E F R A I N B [a] ra-rurahkuhuri-wi As they mere ly rove a b o u t yonder . C H O R U S Walking Sun, No. 5 on the south side (Figure 34), jumps up and dances when he sings the second stanza of each song, trotting out into the open space. When the chorus is repeated he lopes, and he trots when the song is ended. He dances as a bay horse. He is painted red over his body, but is daubed with mud on the joints. He dances harder than the other men, for he represents a stallion. He receives presents, and at the last stanza of the first song, when one yells out "O . . . ho . . . o," he trots along to his seat. After the second song he trots to the altar and leaves the presents there. GOOD BUFFALO'S SONGS STORY.?While on a buffalo hunt, one man wandered away from the main party. He came to a small hill. As he ascended it, he saw many eagle feathers scattered around. He picked up some of the feathers; then he looked around to see where they could come from. He began to mourn, but before sunset went home. Later, when the people were returning to their village, they camped close lo the hill where this man had found the feathers. He went to the hill and there found more feathers. He picked up many of them, then went to the top of the hill, and there found a big hole. He looked down into the hole and saw two old eagles sitting in the den. Toward evening, while he stood there, he saw flocks of eagles coming from all directions. He became scared and went home. When the people arrived at their permanent village, this man went out to a hill, taking with him his robe and the feathers that he had picked up. He sat down on the hill and stuck the eagle feathers through the wool of the robe, so that when he finished, the robe was covered with eagle feathers. He then walked down the hill wearing the robe. He went to the place where the men played the javelin game. He sat down at one end so that the men might look at him. After that, every day he always sat at the same place where the men were playing. Men who saw him thought he was wonderful be? cause of the many feathers stuck through his robe. In the fall the people again ^vent on a buffalo hunt. When they had reached the place where the eagle den was and made camp, this man stole his 3-year-old nephew and carried him to the eagle den. Wlien he arrived at the top, he threw his nephew into the den and said, "Eagles, I give you NUMBER 27 251 my nephew that you may eat him. I want you to take pity on me. I will not stay, but will return at some future time, when I will stand here and mourn." He returned to the camp as soon as he could, went to his tipi, and lay down. There was great commotion in the camp, for the mother was hunting for her child. She went to her brother and asked if the boy was with him. The man said that he had not seen the child. The child was considered lost. The people broke camp and journeyed on, but the parents of the child stayed behind. A day later, they moved on and caught up with the main party. Some time later they returned to their village. When they were close to the den, the man went there and stayed for several days and nights, but the eagles would pay no attention to him. He finally went home. When the boy had been thrown into the den, all the eagles were there. They looked at the boy and some of them were ready to claw him. One of the elder eagles said, "Brothers, this little boy was thrown in for us to eat. We have plenty. We feed our father and mother; they have plenty. The child is poor, and we do not want to feast upon him. His own uncle brought him here. It is wrong. Let us leave it to our father and mother, and whatever they say we will do." There sat, at a place by them? selves, two old eagles, with scarcely any feathers upon them. The mother eagle said, "My son spoke well. That man stole his own nephew and threw him to us to eat that we might take pity upon him. He needs no pity from us. We will save the child and take pity upon it. We will call it our child and you, my children, will call it your brother. Take him and lay him to one side that he may sleep." The eagles were glad to hear this, so they laid the boy on a lot of feathers. Every day the eagles flew out of the den; in the afternoon they would return with fish, rabbits, and other game, which they threw into the den. Some of the eagles fed the boy with raw meat, A few days after the boy was left in the den, the mother eagle said, "My children, it is now time that you help the boy. He is human. He cannot eat fresh meat. I turn him over to you. Help him that he may become one of us." The eagles then gathered around him and began to throw feathers at the boy. There were the screeching cries of eagles and great commotion. There was a great dust raised in the den. The dust flew up out of the hole as smoke. When the eagles flew off from the boy, he sat there, a young eagle. They had turned him into an eagle. For a long time the boy eagle did not try to fly out. Then one time the eagles tried to help him fly. When he did fly out the other eagles began to yell: "Now he flies," "Yonder he flies," "There yonder he flies on." This is what the boy eagle heard and used in composing his songs after he became human again. When the boy eagle grew to be a large bird, the eagles gathered together and planned to get the man who had brought the boy to the den. So all the eagles flew out of the den, the boy eagle taking the lead. They flew up into the skies and toward the east. When they were over the place where the men were playing the javelin game, the eagles saw the man sitting by himself. They swooped down toward him. The players felt the wind; they looked up and there in the skies they saw a great flock of eagles, and they ran away. The eagles took the man up and flew away with him. When they came to their den, they dropped him into the hole and killed him. The two old eagles feasted upon his carcass for many days. A few years after this happened, the eagles sat down and agreed to let the boy go home, for now he knew all their mysteries. They also wanted him to go home so that he might offer them smoke. The boy composed many songs. First Song First Stanza A ka- tiwakara-ru''at [a] Hear , he shouts (i.e., tells), R E F R A I N : wera - ru"'ata N o w he flies (away) . B atipat rakuwa-ka ** M y grandfather saying it. C H O R U S : c wera - riPata N o w he flies (away) . c wera-ru'ata [a a a a a] N o w he flies (away). c wera - ru''ata N o w he flies (away). D kiru ra - ru"'ata [e e a] T h e r e he goes flying. E ta-tu-tuku-re-rik P I see h im as he flies. 252 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY G wera-ru"'ata N o w he flies (away) . C wera-ru"'ata [a a a a a] N o w he flies (away) . c wera - ru"'ata N o w he flies (away) . n kiru ra-ru"'ata [e e a] T h e r e he goes flying. Second Stanza A wekukri-racikstat [a ri] N o w they are h a p p y in spirit, R E F R A I N B tiwerira-wisa [ki] Since they have smoked. C H O R U S Third Stanza A tatpakara-ru"*at [a] I tell of i t , R E F R A I N B [a] tirakura-rawara This g round he reabou t (i.e., g a m e g r o u n d ) . C H O R U S Fourth Stanza t ta - tuhu - ri - tawi - "'a * [ri] ta-tuhu-ri-tawi I a m describing his flight, R E F R A I N , , Fra-wakira* B re - lahkac , ? o \_ra-wakira'u T h e eagle spot ted (i.e., wonder fu l ) . C H O R U S Fifth Stanza A wete - wiku-ru-sik [a] N o w he vanishes in his flight, R E F R A I N B re ? takkac raka - ti - tu T h e eagle who is black. C H O R U S Second Song First Stanza A asku[r]u ratiwa-ka [ri] T h e same I do say, R E F R A I N : wera-ru"'ata N o w he flies ( away) . , r T Ftikura-ra* [ri] B asku\r]u ? , o \_ti hura-ru T h e same it is t h e p lace . C H O R U S : * ' G wera-ru''ata [a a] N o w he flies ( away) . D hiru ra - ru''ata T h e r e he goes flying. c wera-ru'ata [a a] N o w he flies (away) . E we[he]ra-ru'ata [i i a i i a] N o w he flies (away) . Second Stanza A atipat rutiwa-ku [ri] M y grandfa the r said, R E F R A I N B rakura-ra"'u-sik [a ri] "Be careful (in per forming this c e r emony cor rec t ly ) ! " C H O R U S Third Stanza A tatpakara-ru''at [a ri] I shouted ou t (i.e., told of), R E F R A I N B re-tahkac ra-raka-wi [ri] T h e eagle's den . C H O R U S Fourth Stanza A ta - tuhu-ri-tawi-hu [ri] I a m tell ing of its flight, R E F R A I N B re - tahkac ra - wakira * T h e eagle tha t is unusua l (i.e., wonderful ) . C H O R U S Fifth Stanza A wete - wiku - ru - sik [a ri ] N o w it has vanished in its flight, R E F R A I N ?1 werukra"'u-ru-kuku [ri] N o w it has c a u g h t it(s p r e y ) . C H O R U S NUMBER 27 253 Good Buffalo, No. 6 on the north side (Figure 34), is an eagle dancer. Before singing, he takes a bone whistle and whistles. He has two eagle wings and holds them in his hands, fixes his eagle cap upon his head, tail hanging down, and sings the first song. As he sings the second stanza he jumps u p and walks into the open space, waving his arms as if flying. He holds the two eagle wings in each hand, so that it seems that he is flying. As soon as the chorus is repeated, and the drums beat faster, he gets down upon his feet and moves along fast, whistling as he goes. T h e n he again stands and walks as if flying along. He receives many presents. When the yell " O . . . ho . . . o" is given, he sits down and gets ready to sing the second song. The second song he dances as before, but the time is faster. When he sings the last verse and the criers notice that the flying is ended, one of them yells "O . . . ho . . . o." He quits dancing and walks to his seat. BIG CROW'S SONGS STORY.?A doctor was sitting in his lodge when a woman came in crying. She went up to him, passed her hands over his head, and told him that her husband was very sick. T h e woman returned to her lodge. T h e doctor then took u p his medicine bag and went to the patient's lodge. When he got there the ill man was rolling around with a great pain in his stomach. T h e doctor took some herbs in his mouth and began to suck the patient's stomach. Then he placed his hand upon the man's stomach and pressed down hard; and when he removed his hand someone had to strike it, for it was drawn up. When the hand was struck, a small stone dropped from it. Th is revived the patient and he became well. T h e next day the woman moved the flap of the entrance of the doctor's lodge and told him that she had brought a pony for his fee, because her husband was now well. T h e doctor received the pony and then made u p these two songs. B ati"'as rihwaki''a M y fathers as they said. C H O R U S : C rati-ra rati-ra rati-ra I come, I come, I come. D wera-ri ?hi'' rati-ra [ha] N o w there is the place (to which) I come. C rati-ra rati-ra rati-ra I come, I come, I come. D wera-ri-hi"* rati-ra [ha] N o w there is the place (to which) I come. Second Stanza A ruta-ti'*at [a] I then went there , R E F R A I N B sirakukuta - wi ? sa W h e n they came and touched me (i.e., called m e ) . C H O R U S Thi rd Stanza A rakuhra ? ''uhtawi ? ''u Although it is very difficult. R E F R A I N B [a] cikstit ratalu-ta Well I have done. C H O R U S Fourth Stanza A ruratkuwarika When I a imed at it, R E F R A I N B [a] cikstit ratatu-ta Well I did. C H O R U S Fifth Stanza REFRAIN : First Song First Stanza a-ki ratu-re-rik [a] H e r e I stood, rati - ra rati - ra I come, I come. A weti''i - tu - siksat [a] N o w it (i.e., his illness) has disappeared, R E F R A I N B a cikstit rawitu-ta [a] A n d well he lives. C H O R U S 254 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY Second Song First Stanza asku[r]u ratiwa-ka T h e same I do say, R E F R A I N : rasi ?ra rasi-ra Y O U come, you come. B asku[r]u T h e same C H O R U S : c rasi-ra You come, D wera - ri - hi'' N o w there Ftikura-ra'^ \_ti kura-ru'' it is the place. rasi-ra rasi - ra you come, you come. rasi-ra [ka] is the place (to which) you come. C rasi-ra rasi-ra rasi-ra You come, you come, you come. D wera-ri-hi'' rasi-ra [ha] N o w there is the place (to which) you come. Second Stanza A ka-ka- taka -pa - kis [u ] O h , I a m indeed pi t iable , R E F R A I N B cakriks ratu-te-rik [a] T h e person when I saw her.''' ' C H O R U S Third Stanza A wetiwakta - ku N o w he was groaning , R E F R A I N B weratkuwarika W h e n I a imed at it (i.e., t r ied to extract the pa in ) . C H O R U S Fourth Stanza A weti'*i - tu - siksat [a] N o w it (i.e., his illness) has d isappeared , R E F R A I N B raki - watu - rawe - wari A n d t h e door a t the en t r ance (to the ea r th lodge) is flapping. C H O R U S Big Crow, No. 6 on the south side (Figure 34), sings the first song. From the song the people know that he must have been doctoring, and that is what he will tell them about. When he dances he sits around in the open space waving the eagle wings over the ground and lifting the gourd high, as if he had a patient lying on the ground. When he sings the final stanza of each song and the yell is given, he sits down. The second song is sung to the same tune. CHEYENNE CHIEF'S SONGS STORY.?A long time ago when the Skiri lived in their old village of earthlodges on the banks of the Loup River, there was a man who thought a great deal of dogs. He built an earthlodge by himself and there he lived with his wife. They had no children; but they had many dogs. This man would not let any family live with him. What the family had in the lodge to eat they shared with the dogs. When the people went on a buffalo hunt, the man took the dogs with him. When the people killed buffalo, he gathered scraps of meat people threw away, as well as the buffalo meat he had killed him? self. When he arrived home he would feed the dogs from the scraps. One winter when they returned home and the man had settled in the lodge, he noticed that two of the sluts were about to have pups. So he took some hay and made beds for them in the lodge. Whenever his wife prepared food for herself and her husband, she cooked plenty of buffalo meat to feed the dogs. The dogs ate at the same time the man and woman ate. Some time later the sluts had pups. The man was glad of it. Every day he patted the young pups, of which there were five. One slut had two and the other had three. They were all males. At every meal the man fed the sluts and gave soup to the young pups. When the pups were about three months old, they would run out of the lodge in the night and stay out for some time. The man did not like this, so he cut rawhide strings and tied the pups every night. One night the man had a dream in which he saw a fine-look? ing young man who told him always to let the pups go out at night and not tie them up, but leave the strings on them. The next morning he untied the pups and let them go. The next night the pups went out of the lodge and stayed out all night. In the morning only four dogs returned. After the dogs were fed, the man went out and looked for the missing one. He could not find it, so he returned to his lodge. The man was very much disliked by NUMBER 27 255 the people, for he would feed dogs but would not notice people. In the night the other dogs went out, and about midnight there was noise in the entrance. The man woke up and heard someone whistling. When he listened he found that the whistling Avas the screaming of one of the dogs. He arose from his bed and made a fire. When the dogs came in, he saw among them the missing one. Somebody had struck the dog on the head with a club. The blood was running down on the side of the dog's head and the string was covered with blood. The man took up the dog and carried it around the lodge. After a while he took him and placed him among the other dogs. Then he went to bed. He was restless and could not go to sleep, for he was thinking of his dog being hurt. He also knew that someone had intended to eat it. At that time Indians were great dog-eaters. When he went to sleep, he saw his dog in a dream. He saw a man hit the dog on the head and knock it clown. When the dog-killer went to gather weeds to scorch it, the dog got up and ran away. Again the man saw his dog come into the lodge, and when it stood in the entrance the dog screamed; it sounded like a whistle. When the man looked where the scream came from, he saw a young man standing there with a string over his left shoulder. The string was red with blood. The young man said, "My father, I am one of your children. Someone tried to kill me, but I have power and the people cannot kill me. See how I stand. Some day you will stand as I stand, and will have great power." Just then the man woke up. He heard the dogs whining. They were licking the dog that was hurt. The next day the dogs all stayed in the lodge, but at night the five pups disappeared. East of the village the people heard strange singing. The sing? ing went around the village by way of the south to the west, then west to the north and from the north to the east. This singing continued until the singers had gone around the village five times. Then the singing seemed to go to the man's lodge, where it stopped. The man was sitting on his bed. The dogs came in and went to their beds and lay down. For four nights this singing was kept up. The fifth time the singing came into the lodge, and there were six of them: five young men and one mature man. They went around the fireplace and stood west, facing the east; then they began to sing. The mature man was the only dancer. One of the young men who was singing walked over to where the human man was sitting. He took him by the arm and led him out to where the man was dancing. The human man was placed on the south side, while the dancer was on the north side. The boys now sang louder. They had rattles of buffalo hoofs at? tached to a stick about a foot [0.3 m] long, and these they shook as they sang. As they sang, the north dancer danced toward the man in the south, and finally the dancer on the north side placed a bone whistle around the man's neck. Next time a piece of rawhide rope was placed upon his left shoulder. When this was done the boys began to sing, "We now see our father dragging the string; we now see our father making dust where he goes." When they sang, "Yonder there he comes" they all began to dance, imitating dogs. When they were through dancing the leader said, "Father, you must watch this dance, for it is your dance. You have been kind to the dogs and so we will give you this dance. We will dance with you for several days; then we will turn the dance over to you." Now the young men began to sing and went out of the lodge. The man lay down and soon the dogs came in. Then he knew it was the dogs who were singing and dancing in his lodge. When he went to sleep he had wonder? ful dreams. In this way the man received this song and the Young Dog Dance. First Song First Stanza A ha- tiwa-ku [u] H e a r , he speaks. R E F R A I N : ati''as [i i] M y father. B rakura ? ''i - tawiha Tell ing of his vision. C H O R U S : C ati''as [i i] M y father. D were - hasta - rustawari - ''usa N O W he comes, dragging a string tha t moves to a n d fro. c ati''as [i i i i a] M y father. E ati"*as tatu-te-rik [a] M y father I saw. c ati''as [i i] M y father. 256 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY D were - hasta ? rustawari ? ''usa N O W he comes, dragging a string tha t moves to a n d fro. c ati'*as [i i i i a] M y father. Second Stanza A wekukri-racikstat [a] N o w they are h a p p y in spirit. R E F R A I N B tiwerira-wisa [ki i] Since they have smoked. C H O R U S T h i r d Stanza A raki^ri"* weta-tarik [i] Finally I now s tand (i.e., occupy the position in the d a n c e ) , R E F R A I N B ati"*as ruksariki [ki] M y father where he stood. C H O R U S Fourth Stanza A wetahra ?"'i ? tawi ? hu '' Now I am telling of the vision; R E F R A I N B lirahpaha-''al kitu [u] H e is pa in ted red all (over) . C H O R U S Fifth Stanza A wetakra ? '*i - tawi - ku "* N o w I a m telling of the vision, R E F R A I N B ra-kure ta-tarik [i i] F a r (from the scene of it) (as) I s tand. C H O R U S Sixth Stanza A weti''u-re-rik [a a] N o w he has s topped, R E F R A I N B tirakasta ? rustahra T h e one dragging the string. C H O R U S Second Song A ha ? ira - ''a See, yonder he comes ; ha - ira - "'o see, yonder he comes ; A ha - ira - ''a See, yonder he comes ; ha ? ira - ''a see, yonder he comes ; B ha ? ira - 'a See, yonder he comes ; ha ? ira ? ''a see, yonder he comes ; c ha ? ira - ''o See, yonder he comes ; ha - ira - "'a see, y o n d e r he c ome s ; ha - ira - ''a see, yonde r he comes. ka - ira - ''a see, yonde r he c ome s ; ka ? ira - ''a see, yonder he comes. ha - ira - ''a see, yonder he comes ; [hu a] ira - ''a yonder he comes. [hu a] ira - ''a [ke i i i] yonde r he comes. Cheyenne Chief, No. 7 on the nor th side (Figure 34), is a dog dancer. When he sings the second stanza of the first song, he jumps u p and dances. He is painted red all over and has a red sash decked with down feathers over his right shoulder. He has a bunch of owl feathers on his head and a bone whistle on his breast. He dances around the open place imitating a dog. When one of the criers calls, "O . . . ho . . . o," he stops dancing and walks to his seat. He then gets ready to sing the second song, which is different from the others. It is a Young Dog Dance song, which is sung four times to complete the song. All through the song he dances in a kind of whirl, leaning over and whistling all the time. When line c is sung for the fourth time, completing the song, one of the men yells, "Oh . . . ho . . . o," and Cheyenne Chief then takes his seat. SUN EAGLE'S SONGS STORY.?He had just cured someone and it was his right to sing these two songs. These songs are not of animals but about the doctor's power. This man was sitting in his lodge, smoking, when a man entered and went u p to him, passed his hands down his head, and said, "I am poor, I want you to take pity on me; the bay horse I own came after you to wait upon my sick wife." When the man had left the lodge, the doctor told his wife to take down his medicine bundle . T h e doctor then changed his blanket, took his buffalo rope, opened his medicine bundle, and smeared himself with the blue mud . He also placed soft down feathers upon his head. H e then took u p his NUMBER 27 257 gourd, eagle wing, and his small medicine bag and walked to the lodge where the sick woman was. As he entered and saw the sick woman, he felt his weakness, but thought of his grandfathers' saying. He took courage and doctored the patient. As he doctored her, the woman recovered. Another man in the lodge spoke, "Truly you came along and our patient was made better." The man went home. For two days he waited upon the sick woman, and the patient herself said, "I am now well." So the doctor left and went to his home. The next day the woman's husband took the horse to the doctor. He tied the horse outside and moved the door flap and told the doctor that he had brought the promised horse. The doctor made up the two songs. R E F R A I N B atipat ralira-ru [u ku] M y grandfathers those who are mine . C H O R U S Fourth Stanza A ka - ka - suhra-''uhtawi [u hu] O h , it was indeed difficult, R E F R A I N B cakriks ratu-te-rik [a a ha] T h e person (i.e., the when I saw her. sick woman) CHORUS Fifth Stanza A a-ki H e r e R E F R A I N : First Song First Stanza raratiwa - ka [hu ka ] I do say. rati - ra I come. atipat rikspaki''a [a ka] M y grandfathers wha t they said (i.e., to ld) . C H O R U S : c rati - ra I come, D kawa Again D kawa Again D kawa Again D hawa Again ti''iri - rati ? I come. ti''iri-rati I come. ti''iri-rati I come. ti''iri-rati I come . ra ?ra -ra -ra Second Stanza A wekukri-racikstat [a ha] N o w they are h a p p y in spirit, R E F R A I N B tiwerira - wisa [ki i] Since they have smoked. C H O R U S Third Stanza A wetakra-ki-tawi-''a* [ha] N o w I tell of their teachings, A tatuhra-''istiraku [ka] I h a d faith in (my power ) . R E F R A I N B weratkuwarika [a ka] W h e n I a imed at it (i.e., tried to extract the pa in ) . C H O R U S Sixth Stanza A wetira - ku - reave -t [a a ka] N o w (her illness) has ended. R E F R A I N B a cikstit rurakuwicata And well she has become. C H O R U S Second Song First Stanza A asku[r]u re - tiwa - ka[a]hu'' T h e same I a m saying. R E F R A I N : rasi-ra You come. , , , Ftihura-ra* [u hu] B asku[r\u \ .? i o \_ti kura ? ru T h e same it is the place. C H O R U S : C rasi?ra You come. D kawa ti''iri ? rasi ? ra Again you come. n kawa ti "'iri ? rasi - ra Again you come. 258 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY D kawa ti ''iri - rasi - ra Again you come. D hawa ti''iri-rasi-ra Again you come. Second Stanza the otterskin over the ground, as if a pat ient were lying upon the ground, while he holds the gourd high as if to strike. These two songs are different from others; they are about the doctors and not the animals. When the "O , . , ho . . . o" is given the man sits down in his place. A rut ati''at [a a ka] T h e n I w e n t the re . R E F R A I N B wesirikutawi - sa [a ha] W h e n they c a m e a n d touched me (i.e., called m e ) . C H O R U S T h i r d Stanza A ka-ka-taka-pa-kis [u u ku] O h , I a m indeed pi t iable , R E F R A I N B atipat ruratku-ku [a ka] (For) my grandfa ther is l is tening (to m y song) . C H O R U S Fourth Stanza A a cikstit ratatu-ta [a ha] A n d well I did (i.e., succeeded) , R E F R A I N B weratkuwarika [a ha] W h e n I a imed (i.e., t r ied to extract the p a i n ) . C H O R U S Fifth Stanza A wetira - ku - rawe -1 [a a ka] N o w (her illness) has ended ; R E F R A I N B raki-watu-rawe-t [a a ka] T h e door a t the en t rance is flapping. C H O R U S Sun Eagle, No. 7 on the south side (Figure 34), dances as an otter. He carries an otter and eagle wing in his left hand and a gourd in his right. T h e otterskin has red and white ribbons in its mouth to breathe through the water and make its breath appear like fire. When the last stanza is sung and "O . . . ho . . . o" is given, he walks to his seat and sits down. T h e second song is sung to the same tune as the first. He again dances as before, but this time he squats down and waves the eagle wing and W H I T E EAGLE'S SONGS STORY.?A young man was ou t hun t ing with his bow and arrows. He went into thick timber. First he saw a magpie that he shot at many times, but never hit. T h e bird led him on unti l the boy found himself upon an island in the Platte River. T h e young man was lost. He slept on this island. The next morning he got u p and walked on. He saw a strange being. Sometimes it would be a woman and then again a small deer. This deer we call cta-taciks. This is a small deer and has wonderful ways. T h e young man then tried to shoot the deer. Every time he shot at it, it would only wave its tail and walk along. T h e boy would then hun t for his arrow, and again the deer would come through the timber toward him. He would again shoot at the deer, but would never hit it. T h e young man be? came scared. Nevertheless he followed it around unti l night, when he was led to a pond with bul? rush reeds and flag root. Here the young man lay down. T h e deer also sat down. When the young man went to sleep, he saw a strange woman stand? ing by him singing these songs. T h e young man stayed on the island for several days following the deer around. T h e deer led him out of the timber and let h im go to his home. T h e young man remembered the songs and sang them to himself. When the doctors had their mysterious sleight-of- hand performances, the young m a n went in and performed some tricks that the older doctors could not understand, for the young man was not a doctor. While performing the tricks, he sang these two songs that were also new to the people. The young man became a great doctor and cured many people, always singing these two songs when doctor- ing.45 First Song First Stanza A tiwaka - ku'' H e was saying. NUMBER 27 259 R E F R A I N : raka-ku [ri] She comes danc ing from the woods. B rakura-"'i-tawuka [ri] Tel l ing of his vision. C H O R U S : c raka - ku She comes danc ing from the woods. C raka-hu [ri] She comes danc ing from the woods. D a / irikutati - warik [a ri] A n d there I a imed a t her . c raka-ku [ri] She comes danc ing from the woods. E tikakurikiwi [ra a ri] I t is different t imber (i.e., she is a s t range an imal ) . c raka-ku She comes danc ing from the woods. c raka-ku [ri] She comes danc ing from the woods. r> a hirikutati - warik [a ri] And there I a imed at her. c raka-hu [ri] She comes danc ing from the woods. Second Stanza A wirikutiki"' [u] N o w this is the p lace , R E F R A I N B raruraku"'ahisata Where she merely lives. '" C H O R U S Third Stanza A tatkakuri - tawuku"* [ri] I a m telling of (the one in) the woods. R E F R A I N B capat ru'kiwira [a ri] T h e w o m a n s t range. C H O R U S Fifth Stanza witika"*u-ri-rik [a ka] N o w she stands in the woods. R E F R A I N ta witi^u-sit capat ti"' [ri] T h e deer has vanished; a w o m a n it is (i.e., has become) . C H O R U S Second Song First Stanza A asku [r]u ri- tiwaka - ku"' T h e same I a m saying. R E F R A I N : raka-hu [ri] She comes dancing from the woods. B asku[r]u ti hura-ru [ri] T h e same it is the place. C H O R U S : C raka - hu She comes dancing from the woods. G raka-ku [ri] She comes dancing from the woods. D a hirikutati - warik [a ri] A n d there I a imed at her . c raka-hu [ri] She comes dancing from the woods. t taka-hu ritkasa-ru [ri] I t comes in the woods the d r e a m (i.e., I d r eamed in the woods). c raka - hu She comes danc ing from the woods. 0 raka-ku [ri] She comes danc ing from the woods. D a kirikutati-warik [a ri] A n d there I a imed at her . c raka-hu [ri] She comes danc ing from the woods. Fourth Stanza A ka-kaskuriru''a [ra ha] O h , how frightened I became , R E F R A I N B [hi] ratiwarika [a ri] W h e n I a i m e d a t it. C H O R U S Second Stanza A tatpakara-ru"'at [a ha] I tell of it, R E F R A I N B ru''iri - rawa - haku [si ri] A cer ta in island. C H O R U S 260 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY T h i r d Stanza A tatkakuri ?tawuku"' [ri] I a m telling of the one in the woods. R E F R A I N B ti capat ru^kiwira [a ri] I t is a w o m a n s t range. C H O R U S Fourth Stanza A witikakuru-sik [a ha] N o w she has vanished in the woods, R E F R A I N B [a ] cturakutkasa - ru [ri ] In (my) wonderful d ream. C H O R U S White Eagle, No. 8 on the north side (Figure 34), dances like a deer. He is painted up like a fawn, and carries a fawnskin. At the nostrils of the fawnskin is tied a wooden whistle which makes a noise like a fawn. There are several black-tailed deer tails as well as a bird's nest tried to the skin. When the last stanza is sung and the "O . . . ho . . o" is given, the man hops toward his seat. T h e second song is sung to the same tune. W H I T E THUNDER'S SONGS STORY.?A man in olden times had a dream that he was taken into an animal lodge. Some time later he was out alone and came to a big lake where he lay down on dry bulrushes and went to sleep. When he woke up he was in an animals' lodge again. He saw that the lodge was the same lodge he had seen in his dream, for it was made of willows and cot? tonwood and was partit ioned in many places, so that each kind of animal had a place to itself. After he was taught their mysteries, he was placed upon the bank and was told to watch the lake. I t was dusk. He stood upon the bank and saw a great commotion in the water. He could hear great noises and yelling. There were many fires, it appeared to the man, and he saw a procession swimming along with a beaver toward the animals' lodge. This beaver had a sharp stick stuck through the body, and was taken into the lodge. T h e man was again taken into the lodge too, so that he could see the trick of sticking a sharp willow stick through the body of the beaver. He saw the trick and learned how to do it. So the man made u p the two songs: first of the lodge; then the trick upon the beaver, the noises being in the water. First Song 7^ First Stanza A a-ki raratiwa - ka H e r e I do say, B wetahra - ''i - tawi - hu"' I a m telling of the vision. C H O R U S : c iriweta-raka [-ra] T h e r e seems to be a lodge D ka- ra-ka- wi ra-ka- wi See, a lodge ha- ra-ka- wi see, a lodge! iriwekuta - raka [-ra] a lodge! T h e r e seems to be a lodge the re . C iriweta - raka [-ra] ha^ ra-ka- wi T h e r e seems to be a lodge; see, a lodge! Second Stanza A wekukri-racikstat [a] N o w they are h a p p y in spir i t , n tiwerira - wisa [ki] Since they have smoked. C H O R U S T h i r d Stanza tatpakara ?ru''at [a] I tell of it, [a] tiraki - cuka ? k [i] This s t ream. C H O R U S Fourth Stanza A ta-taka-ri-tawi-hu"' I a m telling of the lodge, B [a] kituks aka-ru"' T h e beaver C H O R U S lodge. Fifth Stanza A wete -ka-ru^ siksat [a ] N o w the lodge has d i sappeared , B ruta - ka ? ruktawa ? wi T h e lodges t h a t a re connec ted , C rahaklaru ? kitawi Those wi th sticks p r o t r u d i n g from t h e m . C H O R U S NUMBER 27 261 Second Song First Stanza A a-ki raratiwa-ka [ka] H e r e I do say, R E F R A I N : sire-raku-"'a [ha kiri kiri] T h e y a re br inging it t h r o u g h the water . B ati''as ruksariki M y father where he used to s tand (i.e., his position in the dance ) . C H O R U S : C sire - rahu - ''a sire - rahu - "'a T h e y a re br inging they a re br inging it t h rough the wa te r ; it t h rough the water . D rawaka - rawihasa Shout ing in t h e water . E sire-raku-''a [ka kiri kiri ka kiri hi] T h e y a re br inging it t h r o u g h the water . c sire - rahu - ''a sire - rahu ? "'a T h e y are br inging they a re br inging it t h rough t h e wa te r ; it t h rough the water . D rawaka - rawihasa Shout ing in the water . E sire-raku-''a [ka kiri kiri] T h e y a re br inging it t h rough the water . Second Stanza A tiriwerari -''u-ta N o w at this t ime . R E F R A I N B tatpaku - ri -tawi-hu"* I a m telling his teachings. C H O R U S T h i r d Stanza A ka-ka-taka-pa-kis [u] O h , I a m indeed pi t iable , R E F R A I N B ati''as tu - ratku-ku'' (For) m y father is listening. C H O R U S Fourth Stanza A wetata "'i - tawi - ku'' I a m telling of you, R E F R A I N B [a] cikstit raratku-ta [ha] Well t h a t I m a y do. C H O R U S Fifth Stanza A wetika''i-tu-sik [a] N o w it has vanished in the water , R E F R A I N [a] kituks T h e beaver 's rahrura - ru place (i.e., lodge). C H O R U S White Thunder , No. 8 on the south side (Figure 34), is a beaver and owl dancer. He wears the otter cap, has an owl upon his breast, otter bands around his shins, and a skunk tobacco pouch hanging from his right belt. T h e skunk pouch shows that he un? derstands how to cure people if they are struck by lightning. He selects two beaver songs instead of owl songs, so he dances as a beaver. When he sings the second stanza of the first song and all join in the chorus, he rises and dances. In his dancing he moves forward and then backward, all the while imitating the beaver. When he sings the last stanza, the "O . . . ho . . . o" is given and he dances to his seat. When the noises and yelling have quieted down, he sings the second song. As he sings the last stanza, he dances toward his seat; and when the "O . . . ho . . . o" is given, he walks toward his seat and sits down. H I G H EAGLE'S SONG STORY.?^A man was out on the plains alone when he felt strange. He looked around expecting to see an enemy coming to kill him; but on looking up a ravine, he saw an animal approaching. As it came near the strange feeling increased. He found himself trembling and shaking; He looked at the animal and knew it to be an antelope. As the antelope came nearer, the man began to imitate it. After a while the antelope started off in a lope, the man follow? ing. T h e antelope led the man around the prairie (for now the man did not know anything) and took him to where there were plants with different kinds of roots. T h e antelope did not speak to him, but something within his bosom told the man what each plant and root was good for. T h e whole day the man followed the antelope around the prairie. To? ward evening the antelope led the man to a ravine and there he lay down, for he was very tired. T h e antelope also squatted down upon the ground. When the man was asleep, he dreamed that a woman stood by him and said, "I am the woman 262 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY who led you around. All the plants I took you to are good for you. Remember them and do not for? get them. I brought you to this place for I like your spirit. My spirit will always be with you." The man awoke and sat up. He saw that the antelope was still sitting at the same place. When day came the antelope got up and began to tremble all over. So did the man. Then the antelope started off again, the man following. For several days they roved over the prairie together. At last the queer feeling wore off from the man and he saw the antelope he had been following standing there. It was a female ante? lope. The antelope started off and disappeared. The man then started for home; on the way he made up several songs. The first two songs follow. First Song First Stanza A a-ki raratiwa - ka H e r e I do say (i.e., tell) , R E F R A I N : kiri{ru) re-ra T r e m b l i n g , she comes. B atipat rikspaki"'a M y grandfathers wha t they said (i.e., to ld) . C H O R U S : C kiri{ru) re-ra T r e m b l i n g , she comes. D ka- re-ra [a a] See, she comes. c kiri{ru) re-ra T r e m b l i n g , she comes. D ha- re-ra [a o] See, she comes. c kiri{ru) re-ra T r e m b l i n g , she comes. D ha- re-ra [a a] See, she comes. c kirir{ru) re-ra T r e m b l i n g , she comes. Second Stanza A wekukri-racikstat [a] N o w they are h a p p y in spirit , R E F R A I N B tiwerira-wisa [ki] Since they have smoked. C H O R U S Third Stanza A tikutpakara-ru''at [a] She spoke to me , R E F R A I N B tirahura - rawara (As I w a n d e r e d on) these plains . C H O R U S Fourth Stanza A tirakra - ''i - tawiha As I tell of the vision. R E F R A I N B atipat tu - ratku - ku'* M y grandfa the r is l is tening (to m y song) . C H O R U S Fifth Stanza A rutikura - ri - tawi - ku"' H e is telling of the p lace , R E F R A I N B rurikatu - sawe - ta At t h e end of the rav ine . C H O R U S Sixth Stanza A wetika''u - re - rik [a] N o w she has s topped a m o n g the t rees . R E F R A I N B arikatus capat T h e an te lope female. C H O R U S Second Song First Stanza A asku[r]u ratiwa-ka T h e s a m e I tell of, R E F R A I N : h^- ira-"'a ira-"'a See, yonder she comes ; yonde r she comes . , r , Ftikura-ra* B asku[r\u ? , o Lit kura - ru T h e same it is the p lace . C H O R U S : G ka- ira-''a ira-''a See, yonder she comes; y o n d e r she comes. D ka- ira-"'a ira-''a See, yonder she comes; yonde r she comes ; NUMBER 27 263 ira - 'a yonder she comes. E ka ? ire - ra See, yonder she is coming . C ha- ira-"'a ira-"'a See, yonder she comes; yonder she comes. D ha- ira-"'a ira-"'a See, yonder she comes; yonder she comes; ira - ''a yonder she comes. E ha - ire - ra See, yonder she is coming . C ka - ira ? "'a ira - "'a See, yonder she comes; yonder she comes. D ka- ira-"'a ira-"'a See, yonder she comes; yonder she comes; ira - "'a yonder she comes. E ha - ire - ra See, yonder she is coming . Second Stanza A tirakra ? "'i - tawika While I tell of his vision, R E F R A I N B atipat ru - ratku - ku'' M y grandfa ther is l istening. C H O R U S Third Stanza A ruwiti''u - rawe - riku T h e n she would s top. R E F R A I N B we'*akri - le - rika W h e n she saw h im. CHORUS Fourth Stanza A witikriruhahku'* She frightened h im, R E F R A I N B ahra - cu - sawa - ku She w h o snorts. CHORUS A weti''u-re-rik [a] N o w she s topped . Fifth Stanza R E F R A I N B weratura - karu - ku As I imi ta ted her ways. C H O R U S High Eagle, No. 9 on the north side (Figure 34), is an antelope dancer and has two eagle feathers stuck into his scalplock so that they look like the ears of an antelope. Over his right shoulder he also has a buffalo-hair rope, with deer ears and tails tied here and there upon it. When he sings the second stanza of the first song he jumps out into the open space and dances, imitating the antelope, keeping time with the drumming. He bends over and walks, then lopes, then all at once stops and looks around. This is the way he dances until at the last stanza of each song the "O . . . ho . . . o" is called out. Each time, he continues to dance as he goes toward his seat amid the yelling and noises. LITTLE SUN'S SONGS STORY.?In a valley, a man was found standing in the center of a circle of buffalo skulls. He stayed there for several days and people wondered why he was there. When he came home, he acted strangely. He was always painted with red dust and wore buffalo wool upon his head. He smeared buffalo urine mud over his mouth. People won? dered at him and wondered what powers he had. Now among the Pawnee there was a buffalo tipi that was painted black, with buffalo and a buffalo skull painted upon it, buffalo tails hung upon each pole, and buffalo hoofs strung along its side, so that when the wind blew the hoofs would rattle. While the Buffalo Society was having its ceremonies in this tipi, one of the leading buffalo men became sick, going into a trance. As he fell over, the men in the tipi first thought that they should send for this new buffalo man. They went after him. He came, doctored the sick man, and cured him. After he went home he lay down upon the bed, which was close to a buffalo skull, and began to sing. He made up these two songs and sang them through the night. People outside heard him and thought he was a marvelous man. This man started a new buffalo society known as the "Small Medicine Buf? falo." *^ Afterwards it was learned that this man received his powers from a buffalo that came from the .sun. The buffalo had great powers to change 264 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY itself into a man and talked with this man. An eagle also helped the buffalo to talk with this man. First Song First Stanza A a-ki raratiwa-ka [a] H e r e I do say, R E F R A I N : sirikuturi''a When they s u m m o n e d me . B atipat rikspaki''a M y grandfathers wha t they said (i.e., to ld) . C H O R U S : c sirikuturi''a W h e n they s u m m o n e d me . C sirikuturi''a W h e n they s u m m o n e d me . D taraka ra-ka- wi (To) the buffalo lodge. c sirikuturi''a W h e n they s u m m o n e d me . G sirikuturPa W h e n they s u m m o n e d me . C sirikuturPa W h e n they s u m m o n e d me . D taraka ra-ka- wi (To) the buffalo lodge. Second Stanza A wekukri-racikstat [a] N o w they are h a p p y in spirit, R E F R A I N B tiwerira - wisa [ki ] Since they have smoked. C H O R U S Third Stanza A tiriwerari -''u-ta N o w at this t ime. R E F R A I N B tatpaku-ri-tawi-ku'' I a m telling his story. C H O R U S Fourth Stanza A ruciksla - wa''u - ki T h e wonderful things tha t happened , R E F R A I N B atipat ruksariki M y grandfa the r whe re he s tood. C H O R U S Fifth Stanza A wetahra - ''i - tawi - hu'' N o w I a m telling of the vision. R E F R A I N B [a] cikstit raratku-ta Well (so) t ha t I m a y do . C H O R U S Sixth Stanza A wete -ka-ru-siksat [a] N O W the lodge has d i sappea red . R E F R A I N B raritku''u ra - raka - wi (With buff'alo) tails (on it) t h e lodge. C H O R U S Second Song First Stanza A asku[r]u ratiwa-ka T h e same I do say, R E F R A I N : keru re-ti''at [a] T h e r e I went . , , , Ftikura-ra* B asku[r]u I , - , o \_ti hura ? ru ' T h e same it is the p lace . C H O R U S : c heru T h e r e G heru T h e r e D taraha re-ti''at [a] I went . re-ti"'at [a] I went . ra-ka- wd (To) the buffalo lodge. ke-ci rure-ti''at [a] A n d the re I wen t . G heru T h e r e c heru T h e r e D taraha re-ti"'at [a] I went . re-ti''at [a] I went. ra-ka- wi (To) the buffalo lodge. Second Stanza wetakra ? ki ? tawi - ku "* N o w I a m recoun t ing the w a y of t h e m , NUMBER 27 265 R E F R A I N B rarahkirahwakta - ku (Of) those t h a t ra t t le (i.e., buffalo hoofs). C H O R U S T h i r d Stanza A la - taka - ri - tawi - ku'' I a m tell ing of a t ipi , R E F R A I N B aka - ra - wiskati - tu A t ipi pa in t ed black. C H O R U S Fourth Stanza A tiriwerari -"'u-ta Now at this t ime . R E F R A I N B tatpaku - ri - tawi - ku"* I a m telling his story. CHORUS Fifth Stanza A sitikrahu - rawe -1 [a] Now they have d i sappeared , R E F R A I N B ra - wira - rukatasa T h e images, one on the o ther (i.e., consecutive visions). CHORUS Little Sun, No. 9 on the south side (Figure 34), is a young man who has buffalo wool upon his head and a buffalo tail upon his back. He is a buffalo dancer and sings at the beginning of each stanza of the old man from whom he learned the secrets. He dances like a buffalo, first walking in the open space; then as the song is repeated, he lopes along. When the last stanzas are sung and the cry "O . . . ho . . . o" is given, he lopes along to his seat. T h e end of each song is followed by drumming and the noise. At the end of his singing, he sits down, takes off his regalia, and places them upon the ground in front of him. SKIDI JAKE'S SONGS STORY.?A man had been in a strange land. He had been in swamps and timber. He had been in the animals' lodge where the beavers were leaders. and was led out of the lodge by one of the beavers, who taught him many strange ways. One of these was the gnawing of timber. T h e beaver gnawed at a young cottonwood. While the beaver was gnaw? ing at the tree, the man saw that the tree was waver? ing and that it was a young girl. The tree seemed to scream when it was about to fall. The man noticed that as the tree was about to fall, instead of wavering it began to move backward and that it was turning into a real woman. When the woman fell the man could see that she was fall? ing upon her back, but when she fell she was a tree. T h e beaver then taught the man how to cut green timber with his teeth. In the night the man had a dream. He saw the woman he had seen in the tree. She spoke to him, "Brother, the timber you see are like people. Some are men and some are women. Be careful how you cut timber. You must first talk to the tree before you cut it. Some trees become angry at the people and send a lot of trouble to them. They either cut their fingers or feet, or some accident befalls them. Sometimes the timber sends sickness among the people." When the man went home he made up these two songs about the trees. Trees are called "mothers" by Indians rather than "fathers." First Song First Stanza A ta-ki raratiwa-ka [ri] H e r e I do say, R E F R A I N : i [k]atira'' Yonder , my mother . B rakura-''i-tawuka [ri] Tell ing of his vision. C H O R U S : G i [k]atira'' Yonder , m y mother . D ruka - ka''iwu T h e r e the tree is shaking. G i [k]atira"' Yonder , m y mother . c i [h]atira'' Yonder , my mother . D ruka - ka'*iwu T h e r e the tree is shaking. c / [k]atira'' Yonder , my mother . 266 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY Second Stanza c t A wikuka-racikstat [a] N o w they are h a p p y in spirit . R E F R A I N B tiwirira-wisa [ki] Since they have smoked. C H O R U S Thi rd Stanza A tatpakara-ru''at [a ri] I tell of it, R E F R A I N B ka-tuka-ru ru-"'ata [ri\ A valley extending. C H O R U S Fourth Stanza A tatura - raciktis [i] I was suspicious. R E F R A I N B rakuka ? paktaku [ri] (As I hea rd ) the sound the tree m a d e . C H O R U S Fifth Stanza witika-ku-ru-sik [a ri] N o w the tree has vanished, R E F R A I N rakuka - kukacu T h e t ree tha t is cu t (i.e., felled). C H O R U S Second Song First Stanza A asku[r]u ratiwa-ka [ri] T h e same I do say, R E F R A I N : i [k]atira'' Yonder , m y mothe r . , , , Ftikura-ra* [ri] B asku[r\u ? , o Lti kura - ru T h e same it is the place. C H O R U S : c i [h]atira"' Yonder , m y mo the r . D wirikatakka''iwu"* N o w she falls upon her back. G i [k]atira"* Y o n d e r , m y mothe r . 2 [k]atira"' Yonder , m y mo the r . D wirikatakka"'iwu'' N o w she falls u p o n her back. c i [h]atira"' Yonder , m y mo the r . G i [k]atira'' Yonder , m y mo the r . D wirikatahka''iwu"* N o w she falls u p o n her back. G i [h]atira'' ' Yonder , m y m o t h e r . Second Stanza A tiriwirari-''u-ta [ri] N o w at this t ime . R E F R A I N B tatpaku - ri - tawuku [ri] I a m telling his story. C H O R U S T h i r d Stanza A ka - kaskuriru''a [ri] O h , how fr ightened I b e c a m e . R E F R A I N B rakuka ? kispakarakca [ri] As the t ree lay sc reaming . C H O R U S Fourth Stanza A witika-ku-ru-sik [a] N o w the t ree has vanished, R E F R A I N B capat ka-tuka-ru [ri] ( I t is) the w o m a n (of) the valley. C H O R U S Skidi Jake, No. 10 on the nor th side (Figure 34), dances with his buffalo robe on. Although he is covered with m u d and is a beaver dancer, he sings about a tree. When the cry "O . . ho . . . o" is given, he sits down. T h e second song has the same tune with a slight change in the words. Skidi Jake is a Skiri; therefore his songs are in that dialect. GOOD EAGLE'S SONGS STORY.?The man who made u p these two songs saw the serpent in the Missouri River, through the NUMBER 27 267 magpie. The magpie, the errand man for the ani? mals' lodge, was sent to the man to guide him to the river where he should see the serpent. The man followed the magpie until it took him to the banks of the Missouri, where he saw it. The serpent, with its powerful breath, drew the man into the river and into the animals' lodge. There the man was taught the secrets of the animals. This is a Skiri story. It seems to have been the original of all animals' lodges, and other peoples seem to have copied the Skiri. The Skiri used to have a serpent in their Medicine Lodge (p. 174). First Song *? First Stanza A ta - ki raratiwa - ka H e r e I do say. R E F R A I N : rahu-''a [ra] H e swims this way . B tirikurikspaki"*a [u] Of w h a t they said. R E F R A I N C H O R U S : c wira - "'a wira - "'a raku - "'a Now he comes, now he comes, he swims this way. D aka - wirahu -"'a [a a] See, now he swims this way . c wira - ''a wira - ''a rahu - '*a Now he comes, now he comes, he swims this way. c wira - "*a wira - "'a raku - "'a Now he comes, now he comes, he swims this way. D aka - wirahu - '*a [a a] See, now he swims this way, D aka - wirahu - '*a [a a] See, now he swims this way . c wira - "'a wira - '*a raku - '*a N o w he comes , now he comes, he swims this way. D aha - wirahu -"*a [a a] See, now he swims this way . A tatpakara-ru"*at [a] I tell of it. R E F R A I N B tiraki - cuka - k [i] This s t ream. R E F R A I N C H O R U S A witati - tawuku'' N o w I a m telling R E F R A I N B ratara - wiskari '*u T h e one of m a n y R E F R A I N C H O R U S A witaka - "'i ? tawuku'' N o w I a m telling R E F R A I N B [a] cikstit raratku Well tha t I R E F R A I N C H O R U S Third Stanza Fourth Stanza of it, colors. Fifth Stanza of the vision. -ta m a y do. Sixth Stanza witika''i-tu-sik [a] N o w it has vanished in the water . R E F R A I N raki - cakuskati - tu T h e one who has a black m a n e . R E F R A I N C H O R U S Second Song First Stanza Second Stanza A tiwira - ri ?'*u-ta N o w a t this t ime . R E F R A I N B tatpaku-ri-tawuku"* I a m tell ing his story. R E F R A I N C H O R U S . A ta ? ki raratiwa ? ka H e r e I do say. R E F R A I N : n-ru'*a I t flies this way. B tirikurikspaki''a This tha t they said. C H O R U S : G ri ? ru"'a I t flies this way. 268 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY D ri I t ru'a flies this way. ru''ahu is flying this way. ru''a flies this way. ru"'a flies this way . ru''aku is flying this way. ru'*a flies this way. ru"*a flies this way. ?ru''aku is flying this way. -ru"'a flies this way. Second Stanza A ka-ka-taka-pa-kis [u] O h , I was indeed humble , R E F R A I N B raturakurakuku As I hea rd the story. C H O R U S T h i r d Stanza A witati - tawuku"* N o w I a m telling of it, R E F R A I N B [a] rikuc ra-wakira A bird pecul iar (i.e., wonderful) . C H O R U S Fourth Stanza A tu - tuku - wi''u"' [a] I t flew toward it . R E F R A I N B [a] iriratariki W h e r e I stood. C H O R U S Fifth Stanza A witi ? wiku ? ru - sik [a ] N O W it has vanished, flying. R E F R A I N B ti"'iri-raki-cuha-k [i] T h e r e where the s t ream is (i.e., in t h e s t r eam) . C H O R U S Good Eagle, No. 10 on the south side (Figure 34), represents the water monster. When he sings the second stanza, he rises, gets into the open space, and there dances in a crawling manner, as if he were swimming. When he sings the last stanza and the cry "O . . . ho . . . o" is given, he goes to his seat. His second song is of a magpie; therefore, his gestures imitate a bird. Good Eagle is a Skiri and his animal lodge was in the Missouri River. He was the errand man for the Skiri Medicine Lodge where the monster was kept. At the time of this ceremony (early 1900s), he was the keeper of the Skiri Medicine Ceremony and had the right to sing any song. Since Good Eagle is a Skiri, his songs are in that dialect. DOG CHIEF 'S SONGS STORY.?This man while hun t ing came upon a deer in a marshy place. He was finally led up a hill densely timbered and in the center was a group of cedar trees. Here he stayed with the deer until he learned its secrets. While there among the cedars, after the deer had left him, he made u p these two songs. First Song First Stanza A ta - ki raratiwa -ka [u a a] H e r e I do say, R E F R A I N : wi{hi)ru riwaka-ta [a a a] N o w there was a sound in t h e t imber . B rakura ? "'i ? tawuha As he told of his vision. C H O R U S : c (wihiru) riwaka-ta [a a a + ] ^^ N o w there was a sound in the t imber . c (wihiru) riwaka-ta [a a a -\-] N o w there was a sound in the t imber . c (wihiru) riwaka-ta [a a a -\-] N o w there was a sound in t h e t imber . D ratawakca-ka"'i-ta [a a a] A m o n g the cedars . C (wihiru) riwaka-ta [a a a + ] N o w there was a sound in the t imber . NUMBER 27 269 C (wihiru) riwaka-ta [a a a + ] N o w there was a sound in the t imber . C (wihiru) riwaka-ta [a a a + ] N o w t h e r e was a sound in the t imber . Second Stanza A a tiwirari -"'u-ta And n o w a t this t ime, R E F R A I N B tatpaku-ri-tawuku [a] I a m telling his story. C H O R U S Third Stanza A tiraha-''i-tawuku [a a] H e r e I tell of t h e vision, R E F R A I N B rakuri ta-tarik [i i i] (Though) far off I s t and (from where it h a p p e n e d ) . C H O R U S Fourth Stanza A tatkakuri-tawuku [a a] I tell of the one in the t imber ; R E F R A I N B ati"'as tu-ti-rik [a a a] M y father saw it. CHORUS Fifth Stanza A witika"'u-ri-rik [a a a] I t stood in the t imber , R E F R A I N B ta-wa"*us A female deer C H O R U S ti'' capat ti [i i] it is;