pas a i .; ‘ee iy) io ah. \e rat ’ iv i fea oe ‘t i ce an: a, tae ne om a Mie ‘ 1 : 7 ! : ay yi le a “i it i TFA aia Go ae ra i v 4 Sor 7 isd a nt con 7 igs dh Ki 7 i 4 a 7 , ; Sie Re disse ia sie nar | a a it ioe an Yeas 7 Teepe Se Oe eee aes ey) ee ae Te Par ay, rig Paiva ul) o en av aol a0 ae sai mM i" eal a a kia ie a ia ua nea a , ae ie een we a 7 rin Ware Vy » ¥ Ny i I ahh I ion ay. ne my Spent oy iy Ay ae re ne, won x nL ih eK Jad) [ Ve ry Ni y a) = es mM ca Pi cm "i om a) " may! Bhi We iu ‘ ie as ’ F Mh . ae’ Dah a =”? he ee oe f a i nt yi - ay i Py hte ' j a aia x a eit ’ i 7 ie a sh) 7 , hy " i My rs bi i a Me 7 ay ys) a oar \ or Wi Oe Ses ng” dar ee nt ' i i a rh) a oy, cI of ily eh) rae, Aer tha te 4 i fe Ne i D : i a , i : o y i ay oe Py, 7] i mh i yr : j | eo fel ie ” ra . ' «eo fl a CP AE ie Gi ie oe a i. 7 Pi A i “a ar ve f ay ra a rane We ‘s at 1 fg \ Mii ai on a io ; ce ay 7 oy, cA - yi = o) Rceane Gf oan, ae ie vi ae ceo ne nme py) hv ig i ea ms cle (tan, har), nn a) a ‘iy j a ai 7 vi Net ae a cay ae v1 i y a 2 va “ BORN a: tn Bald a: fe bie a a a % ee Yi ne 7 4) ok * ey ent hn, ” ‘ iy "4 f 7 OY a Ug on ; " oe yy _ tS al AT ee e ey o a> Bu : es shy Me ca > ts ad ig, < Hf , : 7 x oe " « a a a ay, 4s ie he i im oi Fined 7h Ay it . e if il ! : —_ any) Mis i o i) 7 ae a re AY. Cte, ” Pie ro : An wi aD ou " z ; 7 a) ‘y ‘ my - - = rane i} a : , A, aie ye, { 7 Me NG dhe Law Bi A UL ve. a an 7 : ‘ye Pe a + pie Ny a }) ve van i ai ai in - \_ ‘- Aa _ 7 , 7 pa 7 om] ; : hh ge Nig ws, Z ge ima Ae f ome \ rT ¥ — 7 a ue ‘on is Tk ®) i 6 rae = er LAAN nibs ol ; ; a! a ie 7 alii ‘oe | 1a ; Mo . awe " Pr a) 5 I ae i. = ae iy si OD) HM ‘oe 6 1 it at Z a ; al ay) 7 rian ; ay a i OP cs i : ‘ : 7h : ay 7 ie oy e i ? - oH ve ; 7 : : vi ; ae ue ; oa ee Ae te Mar a a ' ¥ i i a. ” abn hy aay \ rae A v 7 A 7 i 7 ‘ 7 a! aie TAS wa) bat: 2h, ‘ 4 ue, iw P 7) Ui 7 rs ei On : : 7 ¥ . Ft - 7 ; 7 ia - L ya : pe a ww _ 7 i ¢ ; a 1) . a " un Haye ict 74, 7 ni ra it hy ) oy i . 7 a ; ‘ay | : b ee i? 7 y ni rr i. 7 Nar) 7 7 -— ; 17s % : ae ? ar \ Fade ~ i ee a ‘tl alg re: Oe i nae i, 7 an _ Pe . ee ; mY 1 7 “ 7 S, ' yy’ y : ir a. rihg Wh - ied sl uh ye iy . at : z ai a > + a 7 7 ) 4 7 j - - a i vk ; . wil ; Le en : i ei BY i ; [ ' iia ce _ - yD AY yen? 1h) pn . u ; : o M Be rr 7 7 7 ay a ye we - oF eek ma 2 ; " "se Sal . a) : aed a! iy Ay 7 7 | rae wi : A Se > "a ‘ id , > a , on 7 7) me ie rane i mie iy Tie r 7 mn! - mr Ky 7 - A : 7 : o &: 1 eae ee ai : iy ow iD) a ul ae aN : ri wie 7 io 7 a. A, rs 2 aa — 7 : ? rs : a v, tr i 1 { Aa A) ihe vn : Ay i - (ds ua 7 ay | ; a io TT aw) ij - at ‘ He ine, if nal i 7 © ; 7 on - p>, re . * 1‘ _ ‘ns vi ay AN ia - a) i ny ; Y i; A ht "T : | a mts « Bee be ee a ee, a . an Ms 7 : a @ a ny ‘ 7 a uy oe hee 7) Bf a ol Ae a : ees eri ae way ie s) ei, t oe a - ws 7 nF , : a nn i i area ar we io, r . 1h 7 E 7 ] jl i - P , ,) a a i in cae 2 cA ap i a a, ih i 7 an ‘Sa ? ae ne | j 7 - i] 7 7 |, pe if i ur j ; —e mse any , “a A yeg } Mi ep } i ay ) 7 - vi i » Wy by a 7 7 ha i, m Bi - a a 7 : ‘pe! fw 7 eit 4 wr wy, an ie s : a as / yt an ; ; : y ; 7 7 » may! ; ia mae mi a a ’ ‘ “18 i : as i Y 7 ae j a nt ee nit ) i Ay ‘ 7 G 7 re . oa Rama a) aa w ), Sa ee vat ai ‘ae cy ee oe " r ‘ , 7 ~ ne) ii "| vik 7 yy Pi of r thy lt, mI iw a a : la%, in i WA , \) ai i) : 7 7 ol oy , old ve J nat Mi tp Hl 7 as he a : i . f ie 7 Sih beneath r., al hy : fay a a oy mera’ b" 7 me Geo Te are a Mi | | 1. MI agri We eM 7 7 1 . ; : ‘ a * my! , ” ae ] : ry, +l wn ia oy ied 3 ice i : ; oe eh x 2 iar uy “Ui iii te vias ifn in I se i y WW i 7 c ine My) ; ft a rl VD ' ; A Oe re ie : rn v4 es io aes >. i ie ib aL ay i) l oe uMA Pe ia ee be hs hy ; ed ey Py ie ah rif i " - my ve i ta | a eet ae poe bei ane eo i ry: i) a ie re i ae ay i -_ a I ey ee ee on ira i ‘a ot 4 ya hs tint ( ne Re, bs nant, ee 1 ei Go, Vilma SAAR sa a ey yet tj 1 iN vil ‘ Nie TWENTY-SECOND ANNUAL REPORT OF THE BUREAU OF AMERICAN ETHNOLOGY TO THE SECRETARY OF THE SMITHSONTAN INSTITUTION LIOOSI Oi Sei OW ee, DIRECTOR NN Mavi @y Arve S li Arua 2 WASHINGTON GOVERNMENT PRINTING OFFICE 1904 ACCOMPANYING PAPERS (CONTINUED) THE HAKO: A PAWNEE CEREMONY BY ZALES IIY OL IME MIKO soa R HoupeER oF THAW FELLOWSHIP, PEABODY MusktumM, HARVARD UNIVERSITY ASSISTED BY JAMES R. MURIE MUSIC TRANSCRIBED BY EDWIN S. TRACY ONTENTS (IPreTaAcOey eee ene nee ae : miroduction= = === 45 spe Name of the ceremony - Personnel of the ceremony Requisites of the ceremony and their sy maibolicne Time of the ceremony _--- -- Scheme of the ceremony - hegHakowe see. see soee as The preparation ---_--- First division. Tal TGCS ens First ritual. Making the Hako Part I. Invoking the powers. - ---------- Part II. Preparing the feathered stems___-___- Part III. Painting the ear of corn and preparing the other sacred objects __.--- Panty lives Oferno. Ol Smoke ee=s nes] ane ee aes mene soe Second ritual. Prefiguring the journey to the Son___-___ _____- Third rituals’ Sending the messengers 2222. -2=_-- -_-=-------- TeXoyetiaiel oh Srinmnes Ge, = Pulsation of the voice. . Tracy. Transcribed by Edwin S Ho-o-o! I’ - ha-re,’ha - re, ha-re, ’ha- re, ’a he} ‘ ‘ ; : Drum. eo eo e oe « eo e e e eoee#es == —<— — — —— = SS = SUS See oe ae He-ru! A-wa_ - _ hok-shu. He! e se e 2 ry e e e ° — —— —— — —<_ I TV 1 Ho-o-o! 16 Ho-o-o! 2 hare, “hare, ’ahe! 17 Thare, “hare, ‘ahe! 3 hare, ‘hare, ‘ahe! 18 Thare, ‘hare, ‘ahe! 4 Heru! Awahokshu. He! 19 Heru! H’Uraru. He! 5 IThare, ‘hare, ‘ahe! 20 Thare, “hare, ‘ahe! II V 6 Ho-o-o! 21 Ho-o-o! 7 Thare, ‘hare, ’ahe! 22 Thare, ‘hare, ’ahe! 8 Thare, “hare, ’ahe! 23 hare, “hare, ‘ahe! 9 Heru! Hotoru. He! 24 Hern! Toharu. He! 10 Thare, ‘hare, ’ahe! 25 hare, ‘hare, ’ahe! Ill VI 11 Ho-o-o! 26 Ho-o-o! 12 Thare, “hare, ‘ahe! 27 hare, ‘hare, ‘ahe! 3 hare, ‘hare, ‘ahe! 28 Thare, ‘hare, ‘ahe! 14 Heru! Shakuru. He! 29 Heru! Chaharu. He! 15 hare, ‘hare, ’ahe! 30 Thare, ‘hare, ‘ahe! ¥ (St) i) VII 31 Ho-o-o! 32 I’hare, ‘hare, ‘ahe! 33 hare, “hare, ‘ahe! 34 Hern! Kusharu. He! 35 hare, “hare, ’ahe! VIII 36 Ho-o-o! 37 hare, “hare, ’ahe! 38 hare, ‘hare, ‘ahe! 39 Hern! H’Akaru. He! 40 hare, “hare, ’ahe! IX 41 Ho-o-o! 42 hare, “hare, ‘ahe! 43 hare, “hare, ‘ahe! 44 Heru! Keharu. He! 45 hare, ‘hare, ’ahe! 61 62 63 64 65 XIII Ho-o-o! hare, ‘hare, hare, “hare, Heru! hare, “hare, ‘ahe! THE HAKO, A PAWNEE CEREMONY Hiwaturu. x 46 Ho-o-o! 7 IThare, ‘hare, ‘ahe! 48 hare, ‘hare, ‘ahe! 49 Heru! Kataharu. He! 50 hare, “hare, ’ahe! XI 51 Ho-o-o! 52 Dhare, ‘hare, ’ahe! 53 hare, “hare, ’ahe! 54 Heru! Kekaru. He! 55 hare, *hare, ‘ahe! XII 56 Ho-o-o! 57 Thare, ‘hare, ‘ahe! 58 IWhare, *hare, ‘ahe! 59 Heru! Koritu. He! 60 hare, “hare, ’ahe! ‘ahe! ‘ahe! He! Translation of First Stanza Tlo-0-o0! hare, *hare, ’ahe! ihare! an exclamation that conveys the intimation that some- thing is presented to the mind on which one must reflect, An exclamation introductory to the song. must consider its significance and its teaching. hare! an abbreviation of the word i‘hare. -ahe! an abbreviation of the word ihare. to h is for greater ease in singing. : = Db See line 2. Heru! Awahokshu. heru! an Ile! exclamation of (ETH. ANN. The change of the r approaching something sacred. Awahokshu, a composite word; awa is a part of Tira’wa, the supernatural powers, and hokshu means sacred, holy; thus the word Awahokshu means the abode of the supernatural powers, the holy place where they dwell. he! a part of the exclamation i/hare, the change of the r to an h being for the same reason as the similar change in ’ahe. See line 2. See line 2. reverent feeling, as when one is FLETCHER] FIRST RITUAL, PART I 29 Explanation by the Ku'rahus Thare is an exclamation, as when one suddenly remembers some- thing of which he has been unmindful, because other things demanded his attention. The mind having been recalled to the subject, now appreciates its importance, gives it complete attention, and becomes absorbed by it. The word means, I remember, I perceive, I give heed. The repetition of the word as we sing ‘‘hare, *hare, ’ahe!” indi- eates that our minds are dwelling upon the subject brought to our attention. Heru is an exclamation of reverence, in recognition of a place where prayers can be sent and whence help can come to us. Awahokshu is that place—the place where Tira’wa atius, the mighty power, dwells. Below are the lesser powers, to whom man can appeal directly, whom he can see and hear and feel, and who can come near him. Tira’wahut is the great circle in the sky where these lesser powers dwell. They are like deputies or attributes of Tira’wa atius. The North Star and the Brown Eagle are among these lesser powers. A number of them are mentioned in this song and in the order in which they come near to man. We begin by calling upon Tira’wa atius, the father of all, but we do not address the power direetly; we mention the holy place where the power dwells, Awahokshu, and send our thoughts and our voice there, that our cry may reach those who have the ability to come to us and to help us. Thare, ’hare, ’ahe means that our minds are dwelling on our appeal to the powers. Translation of Second Stanza 6, 7, 8 See the first stanza, lines 1, 2, 3. 9 Heru! Hotoru. He! heru! an exclamation of reverence. See the first stanza, line 4. Hotoru, the Winds, those that stand at the four cardinal points. This term is not used in ordinary speech. It refers to the supernatural powers, the Winds. Thecommon word for wind is utawiu; windy, tihota. he! part of ihare! give heed! See the first stanza, line 4. 10 See the first stanza, line 2. Explanation by the Ku'rahus hare I have explained already. It always means the same, the arresting and fixing of the mind upon a subject of importance. Heru! Hoturu. He! we exclaim, as we callon Hotoru. Hotoru, the Winds, were the first of the lesser powers to come near to man, so they are the first to be mentioned in this appeal. They are invisi- ble, but they are very strong (efficient); they are from the breath of Tira’'wa and they give life to man. They stand at the four directions (cardinal points) and guard the paths that are there, the paths down 30 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 which the lesser powers must travel when they descend to bring help to man. In this stanza, we remember the power given by Tira’wa to the Winds, and we ery to Hotoru to come and give their help to us at this time, to give life to the sacred articles about to be prepared for the ceremony of the Hako. Thare, “hare ’ahe means, as we sing it this time, that we are reflect- ing upon Hotoru, we are thinking of all that they bring to man, the breath by which he lives. The Winds are always near us by night and by day. Translation of Third Stanza 11, 12, 13 See the first stanza, lines 1, 2, 3. 14 Heru! Shakuru. He! heru! an exclamation of reverence. See the first stanza, line 4. Shakuru, the Sun. This word is not used in ordinary speech; it refers to the supernatural power, the Sun, in its relation to man. The common term for sun is tirasakariki, sun stand- ing. he! part of ijhare! give heed! See the first stanza, line 4. 15 See the first stanza, line 2. The words in this line have special reference to the mind dwelling seriously upon Shakuru. Explanation by the Ku'rahus Shakuru, the Sun, is the first of the visible powers to be mentioned. It is very potent; it gives man health, vitality, and strength. Because of its power to make things grow, Shakuru is sometimes spoken of as atius, father. The Sun comes direct from the mighty power above; that gives it its great potency. As we sing this stanza, we think of all that the Sun can do for us and we cry to it, to come now and give potentiality to the sacred articles about to be made ready for use in this ceremony. Translation of Fourth Stanza 16, 17, 18 See the first stanza, lines 1, 2, 3. 19 Heru! H’Uraru. He! heru! an exclamation of reverence. See the first stanza, line 4. h’, the sign of breath; ‘‘ breathing life.” Uraru, the Earth. This term is not used in ordinary speech; the common name for the earth is kahoraru. H’Uraru refers to the supernatural power that belongs to the earth, the power to bring forth. he! part of hare! give heed! See the first stanza, line 4. 20 See the first stanza, line 2. In the last line of the stanza the word i/hare implies reflection: ‘‘ We reflect on H’?Uraru!” FLETCHER | FIRST RITUAL, PART I 3] Explanation by the Kw'rahus WUraru, the Earth, is the lesser power we cry to next. The Earth is very near to man; we speak of her as Atira, Mother, because she brings forth. From the Earth we get our food; we lie down on her; we live and walk on her; we could not exist without her, as we could not breathe without Hotoru (the Winds) or grow without Shakuru (the Sun). Mother Earth is very potent to help man and now we cry to her to come near and give potentiality to the sacred articles we are about to prepare. We reverently reflect upon all that Mother Earth does for us. Translation of Fifth Stanza 21, 22, 23 See the first stanza, lines 1, 2, 3. 24 Heru! Toharu. He! heru! an exclamation of reverence. See the first stanza, line 4. Toharu, the living covering of the earth, no special form being indicated; a genera! term for vegetation, but implying the supernatural power manifested therein. Katoha‘ru, trees. he! part of i/hare! give heed! See the first stanza, line 4. 25 See lines 2 and 20. ‘‘ We reflect on Toharu!” Explanation by the Ku'rahus Toharu means all the things that Mother Earth brings forth (all forms of vegetation); these are many. They are very necessary to man and they bring him much help. They too are lesser powers, though not so potent as some of the others. From them we get our food; from them comes the grass upon which the animals feed—the animals which supply clothing and food; from them come the trees which are very necessary to us. They have a part in this ceremony. As we sing we think upon all that Toharu gives us and we ery to this power to come near, for without the help of Toharu some of the sacred articles required for this ceremony could not be obtained. At this stanza the two men who have been selected to cut the two sticks of ash arise and go out of the lodge to perform this duty. The ash tree has been chosen beforehand, but the two men must cut the sticks when they go out at this time. We stop between the stanzas of the song that this act may be performed. 32 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 Translation of Siath Stanza > 26, 27, 28 See lines 1, 2; 3. 29 Heru! Chaharu. He! heru! an exclamation of reverence. See line 4. Chaharu, Water. This term applies to the supernatural power of the water; it is not used in ordinary speech; the common word for water is kii'tzu. he! part of i/hare! give heed! See line 4. 30 See lines 2 and 20. ‘‘We reflect on Chaharu.” EHeplanation by the Ku'rahus Chaharu, Water, is one of the lesser powers. Water is very neces- sary to the life of man and all living things. The Winds, the Sun, the Earth, the Vegetation, and the Water are the five lesser powers through which the life of our bodies is maintained. We ery to Cha- haru to come near and give life to the sacred articles about to be prepared. I told you that these stanzas are in the order of creation. The powers are mentioned in the order in which they come near to man ~ and enable him to live and to keep alive. As we sing we reflect upon our dependence on these lesser powers. Water is employed only for sacred purposes in this ceremony. It can not be used in any ordinary way from the time we begin the singing of these songs to the end of the entire ceremony. A man can drink water to sustain his life, but he can not touch it for any other purpose. He can not go swimming, nor can he step into water with- out first performing certain rites. It is difficult to abstain so long from the use of water, but it must be done or we shall suffer punish- ment for our profanation. We shall have storms, the sky will be filled with clouds, there will be obstructions between us and the place where the powers above dwell—those whom we invoke in this ceremony. I have known of instances where some of the men of the party sneaked out of the camp during this ceremony, went to a stream and washed, or jumped in and took a swim, and the result was a storm that brought great distress upon the people. Translation of Seventh Stanza 31, 32, 33 See lines 1, 2, 3. 54 Heru! Kusharu. He! heru! an exclamation of reverence. See line 4. Kusharu, a place set apart for sacred purposes and made holy. he! part of ihare! give heed! See line 4. 55 See lines 2 and 20. ‘‘ We refleet on Kusharu!” PLETCHER | FIRST RITUAL, PART I 30 Explanation by the Ku'rahus The first act of aman must be to set apart a place that can be made sacred and holy, that can be consecrated to Tira’wa; a place where a man can be quiet and think-—think about the mighty power and the place where the lesser powers dwell; a place where a man ‘an put his sacred articles, those objects which enable him to approach the powers. Kusharu means such a place. In this stanza we are taught that before a man can build a dwelling he must select a spot and make it sacred and then, about that conse- crated spot, he can erect a dwelling where his family can live peace- ably. Kusharu represents the place where a man can seek the powers and where the powers can come near to man. Such a place is neces- sary for all ceremonies. We are now to set aside a place where we shall put the sacred arti- cles we are to prepare and make it holy. We are not only thinking of the holy place where we shall lay the sacred articles, but we think of all that holy place will mean. It will represent the place where new life will be given. Translation of Eighth Stanza 36, 37, 38 See lines 1, 2, 3. 39 Heru! H’ Akaru. He! heru! an exclamation of reverence. See line 4. h’, the sign of breath, the giving of life. Akaru, a modified form of akaro,adwelling place; the earth lodge with its dome-shaped roof is likened to the stretch of land bounded by the horizon and roofed by the dome of the sky. he! part of i‘hare! give heed! See line 4. 40 See lines 2 and 20. ‘‘ We reflect on H’? Akaru!” Explanation by the Ku'rahus In this stanza we are told to think of the dwelling place Tira’wa has giventoman. Upon this place man must build a lodge in accordance with the rites given to our fathers. It is by the observance of these rites in the building of a lodge that life is given to the dwelling and it is made a place where the lesser powers can come to those who dwell therein. H’ Akaru means the giving of life to the dwelling place. Translation of Ninth Stanza 41, 42,43 See lines 1, 2, 3. 44 Heru! Keharu. He! heru! an exclamation of reverence. See line 4. Keharu, an enclosure, as a room, having walls and roof, like an earth lodge. The word does not refer to any enclosure or lodge, but is typical in its meaning. he! part of ihare! give heed! See line 4. 45 See lines 2 and 20. ‘‘ We reflect on Keharu!” 22 era—Prpr 2—04 3 34 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 Explanation by the Kw'rahus As we sing this stanza we think of the lodge erected about the holy place in accordance with the rites given to our fathers upon the earth, which Tirawa made to be our dwelling place. In such a lodge this ceremony must take place, and as we sing we ask that the lodge in which we are assembled to prepare the sacred articles may be kept free from all hurtful influences and that the lesser powers which bring life and strength may come near us as we sit within. We also think of the lodge to which we will go for the further per- formance of this ceremony, for we desire that the presence or the lesser powers may be there also. In this ceremony the lodge represents the nest, the place where the young are enclosed. They are protected by the male; the male eagle guards his nest; within its walls there is safety. Translation of Tenth Stanza 46, 47, 48 See lines 1, 2, 3. 49 Heru! Kataharu. He! heru! an exclamation of reverence. See line 4. Kataharu, part of the word itkataharu, fireplace. The dropping of the initial syllable, it, changes the meaning; the word here refers to the place where fire is to be kindled in the sacred manner for the performance of sacred rites. he! part of ihare! give heed! See line 4. 50 See lines 2 and 20. ‘‘ We reflect on Kataharu!” Explanation by the Ku'rahus As we sing this stanza we think of the place set apart for the kin- dling of fire after the manner taught our fathers, by rubbing two sticks together. Fire kindled in this way is sacred; if comes direct from the power granted to Toharu (Vegetation), in answer to man’s appeal as he rubs the sticks. The sticks used to make this fire are kept in a shrine. The sacred fire must come in a place set apart for it. All sacred things must have their place. Kataharu is the place set apart for the sacred fire, where it can come and bring good to man; without it he could hardly live. We make the fire in the center of the lodge, where all within can share in its benefits. As I told you, the lodge in this ceremony represents the nest where the young are cared for and protected. The male eagle protects the nest, the female eagle broods over it, and there she nourishes her young. ha-re! IJ’ - ha - re Drum. & ° ‘ eae. e ° e e ry es I’-ha-re re! H’a-re - ri; e oe oe od « a0 a le eed Se “ — — =o — — ~ _— => __ = Sat ee : a —— =ffl a= = rd oe == el Ie = a = £6 te =e 2 4 o H’ a-re-ri,’ha-re! I’ - ha-re re! H’a- re - ri; Ee ren ane, a) a6 @ 2 ar) ee p oe : (elem elie piesa ee cca ec Giese eae 72 H’areri, h’areri;: 73 H’areri, “hare! Ihare re! 74 Hareri, “hare! Ihare re! H’areri; 75 Hure-e! 76 Hareri, ‘hare! Ihare re! H’areri: 77 Hure-e! Translation 72 Wareri, h’areri. h’, an aspiration, a breathing forth. See the second song, line 67. areri, an abbreviation of the word irarihi, a particular or special place. The change in the last syllable from hi to ri is for euphony. 73 Wareri, hare! I'hare re! See lines 72 and 67. ‘hare, a part of the word i/hare; an exclamation used to indicate that something of serious import has been presented to the mind and is being reflected upon. hare re. Translated above. The doubling of the last syllable is to meet the requirements of the rhythm of the music. Wareri. See line 2. 40 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 74 IWareri, “hare! Ihare re! Hareri. All the words are trans- lated above. See lines 72 and 73. 75 Wure-e! An abbreviation of the word haurae, coming from above. The vowel changes and prolongation are for greater ease in singing and also for euphony. 77 ~=See lines 74, 75. Explanation by the Kwrahus The color green represents Toharu (Vegetation), the covering of WUraru, Mother Earth. As we sing, we ask that life be breathed into the symbol, that if may have power as we use these sacred arti- cles. ‘*‘TWareri” is a prayer that living power may be where we place this symbol of the covering of Mother Earth. We remember as we sing that the power of Mother Earth to bring forth comes from above, “* HWure-e.” The Kuwrahus paints the groove red in the same way, for the same reason as on the other ash stiek,and when he has finished he hands the green stem back to the man on his right, toward the south, who holds it. The Kurahus rubs upon his hands the sacred ointment which has been made by mixing red clay with fat from a deer or buffalo that has been consecrated to Tira’wa. Te is now ready to tie the symbolie articles upon the two painted stems. He splits long feathers, taken from the wings of an eagle, and glues them to each stem as feathers are glued upon the shaft of an arrow. He uses for this purpose pitch from the pine tree. These wing feath- ers are to remind us that the eagle flies near to Tira’wa. About one end of the stem (the mouthpiece) he fastens soft blue feathers, in color like the sky where the powers dwell. He ties a woodpecker’s head on the stem near the mouthpiece and turns the upper mandible back upon the red crest. The mandible covers the red crest and keeps it from rising. This shows that the bird may not be angry. The inner side of the mandible, which is exposed by being turned back upon the crest, is painted blue, to show that Tirawa is looking down upon the open bill as the spirit of the bird travels along the red groove to reach the people. About the middle of the stem the Ku’rahus binds feathers from the owl. The other end of the stem he thrusts through the breast, neck, and mandibles of the duck, the breast reaching to the owl feathers. The end of the stem protrudes a very little through the bill of the duck, so that the bowl of a pipe could be fitted to it. The duck’s head, therefore, is always downward, looking toward the earth and the water. All the birds on the stems are leaders: the eagle is chief of the day; the owl is chief of the night; the woodpecker is chief of the trees; the duck is chief of the water. MAXXXT Td LHOd3e TIVONNY QNO93S-ALNaML — — — — ’ . . e ASOIONHLS NVOINSWY JO Nv3IyNs FLETCHER] FIRST RITUAL, PART II 41 The Kurahus takes ten feathers from the tail of the brown eagle and prepares them so that they can be tied upon one of the stems. A buckskin thong is run through a hole punctured near the end of the quills and another is threaded through the quills, about the middle of their length, so that upon these two thongs the feathers can be spread like a fan. To the end of the thongs are fastened little balls of white down, taken from inside the thigh of the white male eagle. These balls of down represent the reproductive power. When the fan-like appendage is completed it is tied to the side of the blue- painted stem, so that it can swing when the stem is waved, to simulate the movements of an eagle. When the Kurahus takes from the man on his left, toward the north, the blue-painted stem and attaches to it the fan-like pendant made of the feathers of the brown eagle, we give thanks in our hearts as the following song is sung. THIRD SONG Words and Music M. M. RB 265 += Pulsation of the voice. Transcribed by Hdwin S. Tracy. E 3 aS SS = ie" 2 tee == ao z= = se =S55 ew ets e . — ve ore . Ha-a-a- a- al Ka-was we-rit-ta we-re rit-ta we-re; Ka - was we- rit- 2 by A A Drum. ¢ ote ee se per he! — — == —gy—— ta we-re rit-ta we-re; Ka- was we -rit-tawe-re rit - ta we - re. e 5 @ @ © @ @ nt a Say ee Ya Ya ep ieale (ele ALT et a eal al a el ge Jee ae 78 Ha-a-a-a-a! 79 Kawas weritta' were ritta were: SO Kawas weritta were ritta were; 81 Kawas weritta were ritta were. Translation 78 Ha-a-a-a-a! An introductory exclamation to the song. 9 Kawas weritta were ritta were. Kawas, the name given to the brown eagle inthis ceremony. The common name for this bird is letahkots katit; letahkots, eagle; katit, dark or brown. weritta, now hung. were, at this or that particular time. ritta, an abbreviated form of weritta, now hung. were, at this time. SO, Sl. See line 79. 42 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Haplanation by the Kwrahus In this ceremony the brown eagle is called Kawas. This eagle has been made holy by being sacrificed to Tira’wa. Its feathers are tied upon the stem that has been painted blue to represent the sky. This stem was the first one painted and decorated, because it is female and the leader. It represents the night, the moon, the north, and stands for kindness and helpfulness. It will take care of the people. It is the mother. Throughout the ceremony the Ku’rahus carries this feathered stem. After the Kawas stem is prepared the Ku’rahus hands it back to the man on his left, toward the north, to hold while he prepares a pendant of seven tail feathers from the white eagle. Then he takes from the man on his right, toward the south, the stem which had been painted green and ties on it this white-eagle pendant. No song is sung while this is being done. The white eagle is not holy; it has not been sacrificed to Tira’wa. It has less power than Kawas; it is inclined to war, to hurt some one. It can not lead; it must follow. So the green stem is painted last, and all the decora- tions are put upon it after the other stem is completed. This feathered green stem represents the male, the day, the sun, and the south. During the ceremony it is carried by the assistant of the Ku‘rahus, whose place is on the right of the Ku'rahus, toward the south. When we move about the lodge waving the two feathered stems to the rhythm of the song we are singing, Kawas, the brown eagle, is sarried next the people, and the white-eagle stem on the farther side, away from the people, where it can do good by defending them and keeping away all harm. If it were carried next the Children it would bring them war and trouble. It is the brown eagle that is always kept near the people and is waved over their heads to bring them the gifts of plenty and of peace. The red and white streamers tied upon the two stems represent the sun and the moon. While the Ku’rahus still has the sacred ointment upon his hands he anoints a crotehed stick and two straight sticks, all three of which have been carefully scraped and smoothed. These sticks were cut from a plum tree, because this tree is prolific in bearing fruit. Part Ill. PaintTinG THE EAR OF CORN AND PREPARING THE OTHER SACRED OBJECTS Buplanation by the Ku'rahus The Ku'rahus now mixes in a round wooden bowl blue clay with water taken from a running stream and paints with it an ear of white corn, in the way our fathers were taught to do. During this act the following song is sung. FLETCHER] FIRST RITUAL, PART III 43 SONG Words and Music M. M. §=138. += Pulsation of the voice. Transcribed by Edwin S. Tracy. fl = SS 3 = = = LZ, . A E a5 ‘i i ek Ha - a-a -a-a! H’A-ti - ra, we-ri hra ri-ki; H’A-ti-ra,... we- ri Drum.4g o@ 6 6 p 6 & Se Aone 2 2 e od — =I ad hra_ ri ° ° A t a ® (? fae e $2. Ha-a-a-a-a! 83 H’Atira, weri hra riki; 84 H’Atira, weri hra riki; 85 H’Atira, weri hra riki; 86 H’Atira, hra riki re; 87 Weri hra riki; 88 H‘Atira, weri hra riki. II 89 Ha-a-a-a-a! 90 H’Atira, weri ruata; 91 H’Atira, weri ruata; 92 H’Atira, weri ruata; 93 H’Atira, ruata re: 94 Weri ruata; 95 H’Atira, weri ruata. I 96 Ha-a-a-a-a! 97 H Atira, weri tukuka; 98 H’Atira, weri tukuka; 99 H’Atira, weri tukuka; 100 H’Atira, tukuka re; 101 Weri tukuka; 102 H’Atira, weri tukuka. Ween! hraieniokis HOA ti -reweori hra xi) kit A eer ey) ees cee IV Ha-a-a-a-a! H’Atira, weri taiwa; H’ Atira, weri taiwa: H’ Atira, weri taiwa; H Atira, taiwa re; Weri taiwa; H’ Atira,. weri tiawa. y Ha-a-a-a-a! H Atira, weri tawawe: H’Atira, weri tawawe; HAtira, weri tawawe; H Atira, tawawe re; Weri tawawe; H’ Atira. weri tawawe. Vi Ha-a-a-a-a! H Atira, weri tawitshpa: H’Atira, weri tawitskpa; H’ Atira, weri tawitshpa: H Atira, tawitshpa re; Weri tawitshpa: H’ Atira, weri tawitshpa. 44 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 Translation of First Stanza 82. Ha-a-a-a-a! Introduction. \ An exclamation. 83 H’Atira, weri hra riki. h’, an aspiration, a breathing forth, as the giving of life. atira, mother. weri, I am. The singular pronoun refers to the party which is taking the initiative in this ceremony and not merely to the Ku'rahus. hra, an abbreviated form of the word rararit, to hold. riki, standing. This word not only refers to the position of the person who holds the ear of corn and to the position of the corn itself, but it indicates the present time, now. 84, 85 See line 83. 86 IVAtira, hra riki re. W’Atira, hra viki. See line 83. re, a sign of the plural. This plural sign indicates the imper- sonation of the ear of corn; WAtira and Kuyrahus are standing as two persons. 87 Weri hra riki. See line 83. 88 See line 83. Explanation by the Ku'rahus The ear of corn represents the supernatural power that dwells in WUraru, the earth which brings forth the food that sustains life; so we speak of the ear of corn as l’Atira, mother breathing forth life. The power in the earth which enables it to bring forth comes from above; for that reason we paint the ear of corn with blue. Blue is the color of the sky, the dwelling place of Tira’wahut. The running water with which the blue clay is mixed is put into a round, wooden bowl, not in a shell, as when we painted the stems. The bowl is of wood, taken from the trees, a part of the living cover- ing of Mother Earth, representing the power of Toharu (see explana- tion of line 24). The bowl is round, like the dome shape of the sky, and holds the blue paint, which also represents the sky. The bowl is a vessel from which we eat when we have the sacred feast of the corn. Tira’wa taught us how to get the corn. As we sing the first stanza the Ku'rahus stands in front of the bowl containing the blue paint and holds in his hand,by the butt, h’Atira, the ear of corn. Translation of Second Stanza 89 Ha-a-a-a-a! An introductory exclamation. 90 HAtira, weri ruata. h’ Atira, weri. See line 83. ruata, flying. Ruata indicates that the ear of corn is moving through the air, not touching the ground; the fact that the ear is in the hand of the Ku'rahus is ignored. Throughout this ceremony the ear of corn is a person. ETHNOLO AMERICAN BUREAU OF - it} eS wponobaunDbve babu bile a Serene wbadabbebtt SE ict DEBE Piao te - FLETCHER] FIRST RITUAL, PART IIIT 45 91, 92 See line 90. 93 WAtira ruata re. All the words have been translated. See lines 85, 86, and 90. 94 Weriruata. See lines $3 and 90, 95 See line 90. Kxplanation by the Ku'rahus As we sing this stanza the Ku'rahus, holding the ear of corn in his hand by the butt, moves it slowly toward the bowl containing the blue paint. The bowl and the blue paint represent the blue sky, where the powers above dwell, so we sing that the mother is flying (ruata) toward the heavens to reach these powers. The spirit of the corn and the spirit of the Ku’rahus are now flying together (see line 86 for translation of the plural sign, re, and its significance ). Translation of Third Stanza 96 See line 82. 97 HW Atira, weri tukuka. h’Atira, weri. See line 85. tukuka, now touches, or touching. 98, 99 See line 97. 100 H’Atira, tukuka re. See lines 83, 56, and 97. 101 Weri tukuka. See lines 85 and 97. 102 See line 97. Explanation by the Ku'rahus As this stanza is sung the Ku’rahus dips his finger in the blue paint and touches (tukuka) the ear of corn with it. This act means that Mother Corn in her flight toward the sky now touches the place where the sky begins. Translation of Fourth Stanza 103 See line 82. 104 H’Ativa, weri taiwa. h’Atira, weri. See line 83. taiwa, to rub downward or mark. 105, 106 See line 104. 107. IVAtira taiwa re. See lines 85, 86, and 104. 108 Weritaiwa. See lines 83 and 104. 109 See line 104. Explanation by the Ku'rahus As we sing this stanza the Ku’rahus marks with his finger four equidistant lines of blue paint on the ear of corn. THe begins at the tip of the ear and rubs his finger down (taiwa) about halfway to the butt on the four sides of the ear. 46 THE HAKO, A PAWNEE CEREMONY [ETH, ANN. 22 The four blue lines represent the four paths at the four directions (cardinal points), near which the winds stand-as guards. Down these paths the powers descend to bring help to man. The blue paint came down one of these paths, but I was not taught which one. Translation of Fifth Stanza 110 Ha-a-a-a-a! An introductory exclamation. 111 IWAtira, weri tawawe. h’Atira, weri. See line 83. tawawe, to spread. 112, 113 See line 111. 114 HAtira tawawe re. See lines 83, 86, and 111. 115 Weri tawawe. See lines 83 and 111. 116 See line 111. Explanation by the Ku'rahus As we sing this stanza the Ku'rahus spreads (tawawe) with his finger the blue paint over the tip of the ear of corn, to represent the blue dome of the sky, where the powers dwell, above whom is the mighty Tira’wa atius, the father of all. This act signifies that Mother Corn has reached the abode of Tira’ wahut, where she will receive authority to lead in this ceremony. Translation of Sixth Stanza 117 Ha-a-a-a-a! An introductory exclamation. 118 H’Atira, weri tawitshpa. l’Atira, weri. See line 83. tawitshpa, the attainment of an object; the completion of an undertaking; the end reached. 119, 120 See line 118. 121 WAtira tawitshpa re. See lines 83, 86, and 118. 122. Weri tawitshpa. See lines 83 and 118. 123 See line 118. Explanation by the Ku'rahus Mother Corn having reached the blue dome where dwells the great circle of powers, Tira’wahut, and having gained what she went for, tawitshpa, authority to lead in the ceremony, she descends to earth by the four paths. : The blue paint having now been put on the ear of corn, this part of the ceremony is completed. In all that is to follow l’Atira, Mother Corn breathing forth life, is to lead. She came forth from Mother Earth, who knows all places and all that happens among men, so she knows all places and all men, and can direct us where to go when we carry the sacred articles which give plenty and peace. BUREAU OF AMERICAN ETHNOLOGY TWENTY-SECOND ANNUAL REPORT PL THE RATGHEES (TO ILLUSTRATE “HAKO,A PAWNEE CEREMONY,” BY A.C FLETCHER | FIRST RITUAL, PART III AT When we have finished singing this song the Kurahus takes one of the plum-tree sticks, which has been anointed with red clay mixed with fat, and ties on it with a thread of sinew a downy eagle feather. This stick is bound to the ear of corn so as to project a hand’s breadth above the tip end, letting the downy feather wave above Mother Corn. This feather represents Tira'wa. It is always moving as if breathing. The Ku'rahus then binds the other plum-tree stick to the corn so that it extends below the butt. When the corn is placed in ceremo- nial position this end of the stick is thrust in the ground so that the ear will stand upright without touching the earth. Both sticks are bound to the ear of corn by a braided band of hair taken from the head of a buffalo. The braided band signifies the gift of animal food and the provision of skin clothing. (The Skidi band of the Pawnees tie a bit of buffalo wool, such as is shed by the animal in the spring, together with a braid of sweet grass, to the ear of corn.) The two gourd rattles, which represent the squash given us by Tira’wa, and also the breasts of the mother, are each painted with a blue cirele about the middle, with four equidistant lines from the circle to the bottom of the gourd. The cirele represents the wall or boundary of the dome of the sky; the four lines are for the four paths at the four directions down which the powers descend. No song is sung while this painting is being done. All the sacred articles are laid at rest on a wildeat skin when they are not being used ceremonially, and it is a cover for them in which they are all wrapped together at the close of the ceremony. Theskin is never tanned, and the ears of the animal, the skin of the head, the feet, and the claws must all be intact. Tira’wa made the wildeat to live in the forest. He has much skill and ingenuity. The wildcat shows us that we must think, we must use tact, and be shrewd when we set out to do anything. If we wish to approach a person we should not do it bluntly; we should not rush at him; that might offend him so that he would not receive us or the gifts we desired to offer him. The wildeat does not make enemies by rash action. He is observant, quiet, and tactful, and he always gains his end. In this ceremony we are to carry the sacred articles to one not of our kindred in order to bind him to us bya sacred and strong tie; we are to ask for him many good gifts, long life, health, and children, and we should receive gifts from him in return. If we would succeed we must learn of the wildcat, and be wise as he is wise. The wildeat is one of the sacred animals. A man who killed a wildeat could sacrifice it to Tira’wahut. The man who brought such an offering had the right to ask the priest to teach him some of the mysteries that belong to the sacred shrine. Many years ago two men took the Hako to the Omaha tribe. On the journey one of them killed a wildeat. I said to the man: ‘*I am 48 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 glad Mother Corn is here leading us, and the wildcat goes with the Hako.” But the man who killed it said: ‘‘No, this skin will not go with the Tako! Iam going to take it to the priest for sacrifice that IT may learn some of the mysteries.” But he did wrong and suffered for it, because that wildcat belonged with the Hako, for it was killed while we were being led by Mother Corn. The sacred articles having been completed are now laid at cere- monial rest. The wildeat skin is spread upon the earth in the holy place, which is in the west part of the lodge opposite the entrance, a little way back from the fireplace. The head of the skin is placed toward the east; the crotched plum-tree stick is thrust into the ground close to the head; the two feathered stems are laid in the crotch, the brown-eagle stem first, then the white-eagle stem on the top or outside. The eagle buildsits nest in the crotch of a tree, so these eagle-feathered stems are laid in the crotch of the plum-tree stick. The ends which are thrust through the duck’s head rest upon the wildeat, and under the wing-like pendants the gourd rattles are placed. Directly in front of the crotched stick stands Mother Corn. Part IV. OFFERING OF SMOKE Explanation by the Kwrahus The time has now come for the offering of smoke to Tira’wa. The priest of the Rain shrine must be present with the pipe belong- ing to that shrine and he must conduct the ceremony. After he has filled the pipe with native tobaceo the Ku'rahus tells the people that the time has come to offer smoke to Tira’wa, the father and the giver of all things. He selects from the company a man to act as pipe bearer during the ceremony of offering smoke. The pipe bearer must be one who has made sacrifices at the sacred tents where the shrines are kept and has been annointed, and who in consequence has been prospered in his undertakings. The prayers of such a man are thought to be more acceptable to the powers than those of a man who has never made sacrifices. In old times men did not smoke for pleasure as they do now, but only in religious ceremonies. The white people have taught the Pawnees to profane the use of tobacco. Each of the sacred shrines of the tribe has a pipe, and its priest knows the proper order in which the pipe should be offered to Tira’- wahut. [am not a priest, so I do not know the order in which the Rain pipe is offered, nor can I tell you the ceremony; the knowledge of that belongs to its priest and not to me. Up to this point (the conelusion of the ceremony of smoking) all the people present have been obliged to remain quiet in their places; now they are at liberty to move about or to leave the lodge. =THNOLOGY F OF AMERICAN 3UREAU FLETCHER] INITIAL RITES 49 SECOND RITUAL. PREFIGURING THE JOURNEY TO THE SON Explanation by the Ku'rahus Honor is conferred upon a man who leads a Hako party to a dis- tant tribe and there makes a Son, while to the Son help is given from all the powers represented by the sacred objects. Between the Father EAST Fic. 172. Diagram of the Father’s lodge during the second ritual. 1, the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the dome-shaped roof; 4, the Ku’rahus; 5, his assistant; 6, the Father (a chief); 7, the server; 8, the wildeat skin, on which are the feathered stems and rattles; 9, the eagle wings; 10, the ear of corn; 11, members ot the Hako party. and the Son and their immediate families a relationship similar to that which exists between kindred is established through this cere- mony. It isa sacred relationship, for it is made by the supernatural powers that are with the Hako. 22 eta—pr 2—04——4 50 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Beeause of the sacred and binding character of this relationship, and the gifts brought by it to the Son, namely, long life and many children to make his family strong, the selection of a man to be made a Son is regarded as a serious and important act, one in which the chiefs and the leading men of the Father’s tribe must have a voice. The Son should be a chief or a man who has the respect of the lead- ing men of his tribe, and whom the Father's tribe would be glad to have bound to them by the tie of Son. While the Father has been gathering the materials necessary for this ceremony, which may have taken him a year or more, he has had some particular person in his mind whom he desired to make a Son, When everything is ready he mentions this particular person to the chiefs and leading men, and when we are gathered together to sing this song we think of this chosen man and we ask the assistance of Mother Corn, and if he is the right person she will lead us to him. The selection of the Son takes place soon after the preparation of the sacred objects, frequently on the night of the same day. It must always be in the night time, because the spirits can travel best at night. The spirit of the corn and the spirits of the people present in the lodge at this time are to decide who shall be the Son, and Mother Corn is to lead us to him. The same persons are present at this ceremony that were present at the preparation of the Hako. In the west of the lodge, facing the east, sit the Ku’rahus, his assist- ant, and the Father. Before them are the sacred objects arranged as at ceremonial rest. A little way in front of the crotehed stick stands the ear of corn which has been painted in the sacred manner (see figure 172). It is held in position by one of the sticks to which it is tied being thrust into the ground. This ear of corn is the mother, and upon her everyone present must fix his mind. The singing of the following stanzas occupies most of the night; they do not follow each other quickly, for we must pause after each one. SONG Words and Music M. M. §=182. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. SS Ha-a-a-a! H’A-ti - ra ha-ri, h’A-ti-ra ha-ri! He! Chix-u ti Drum. @e—e0 * e oe ee e e e ea \e Tey) e Py e eo. Rattles.) \a! 1 { ec) \ | t I ye f h Se 5-3" = = cat a I = SS ee zt : SSE SS 5 whi-ti-ka ha-ri! H’ A-ti- ra ha-ri! H’A-ti- ra ha-ri, h’A- ti- ra. Ha! ocoseepee 8 6 6 @ a ca ee ae men ee Ca gh ad gree ee ete =e fh 2 FLETCHER] SECOND RITUAL 51 I V 124 Ha-a-a-a! 144 Ha-a-a-a! 125 H’Atira hari, h’Atira hari! 145 H’Atira hari, h’Atira hari! 126 He! Chixu ti whitika hari! ~ 146 He! Chixu ti whichata hari! 127 H’Atira hari! 147 H’Atira hari! 128 H’Atira hari, h’Atira. Ha! 148 H’Atira hari, h’Atira. Ha! ‘ IL VI 129 Ha-a-a-a! 149 Ha-a-a-a! 130 H’Atira hari, h’Atira hari! 150 H’Atira hari, h’Atira hari! 131 He! Chixu ti uchitika hari! 151 He! Chixu tih itchahka wara hari! 132 H’Atira hari! 152 H’Atira hari! 133 H’Atira hari, h’Atira. Ha! 153 H’Atira hari. h’Atira. Ha! Il VII 134 Ha-a-a-a! 154. Ha-a-a-a! 135 H’Atira hari, h’Atira hari! 153 H’Atira hari, h’Atira hari! 136 He! Chixu uti hiata hari! 156 He! Chixu ti itwhichata hari! 137 H’Atira hari! 57 H’Atira hari! 138 H’Atira hari, h’Atira. Ha! 158 H’Atira hari, h’Atira. Ha! IV VIII 139 Ha-a-a-a! 159 Ha-a-a-a! 140 H’Atira hari, h’Atira hari! 160 H’Atira hari, h’Atira hari! 141 He! Chixu tih whichuru hari! 161 He! Chixu ti tokoka hari! 142 H’Atira hari! 162 H’Atira hari! 143. H’Atira hari, h’Atira. Ha! 163 H’Atira hari, h’Atira. Ha! Translation of First Stanza 124 Ha-a-a-a! An introductory exclamation. 125 H’Atira hari, h’Atira hari. h’, the sign of an inspiration, a breath, the symbol of giving forth life. atira, mother. The term is here applied to the ear of corn, the life-giving product of h’Uraru, the Earth. hari, a part of the word iha’ri, young, the young of animals; also a general term for children. 126 He! Chixu ti whitika hari. he! an exclamation, as when bidding one to look at some- thing. chixu, the spirit or mind of a person or thing. ti, have, in the sense of having done something, accomplished a purpose or carried out a plan. whitika, converged, come together and united for a given purpose. hari, part of the word iha’ri, offspring. The word here refers to the Son. 127 H’Atira hari! The words have been translated. See line 125. 128 H?Atira hari, h’Atira. Ha! h’Atira hari. See line 125. ha! an exclamation, calling attention. bo bo 52 THE HAKO, A PAWNEEK CEREMONY [ETH. ANN. 22 Explanation by the Ku'rahus As we sing this stanza everyone bends his mind toward the ear of corn, for our spirits (chixu) and the spirit (chixu) of the corn must converge (whitika), must come together and unite for the purpose of finding the Son. The ear of corn is a part of h°Uraru (see line 19), Mother Earth, the mother of all things, so we call the ear of corn Mother Corn; and because she supports our life through food, we speak of her as h’Atira, mother giving forth life. All things live on the earth, Mother Corn knows and can reach all things, can reach all men, so her spirit is to lead our spirits in this search over the earth. When Mother Corn went up to Tira’ wahut at the time she was painted (see lines 82 to 123), power was given her to lead the spirits of all things in the air and to command the birds and the animals connected with the Hako. Endowed with power from Tira’ wahut above and from W’Uraru (Mother Earth) below, Mother Corn leads and we must follow her, our spirits must follow her spirit. We must fix our minds upon Mother Corn and upon the Son, who is the object of our search. It is a very difficult thing to do. All our spirits must become united as one spirit, and as one spirit we must approach the spirit of Mother Corn. This is a very hard thing to do. Translation of Second Stanza 129 Ha-a-a-a! An introductory exclamation. 130 H?’Atira hari, h’Atira hari. h’Atira, Mother breathing forth life. See line 125. hari, part of the word iha’ri, offspring, children. 131 He! Chixu ti uchitika hari. he! look! behold! chixu, spirit of a person or thing. ti, have. See line 126. uchitika, meditating on; turning over a subject in one’s mind and considering it in all its aspects. hari, part of iha’ri, young; refers to the Son. 132 WAtira hari! See line 130. 133 IVAtira hari, h’Atira. Ha! See lines 128, 130. Explanation by the Kwrahus When we sing this stanza our spirits and the spirit of Mother Corn have come together. Now we are all to meditate. We sit with bowed heads, and Mother Corn sits with bowed head. We are all to think over and consider (uchitika) who shall be the Son. We must all agree upon the choice, Mother Corn and all. It is very difficult for all to unite, but we must do so before we can follow Mother Corn where she determines to lead us. It often takes a long time. FLETCHER] SECOND RITUAL i>. Translation of Third Stanza 134 Ha-a-a-a! An introductory exclamation. 135 H’Atira hari, h’Atira hari. IVAtira, mother breathing forth life. See line 125, hari, part of the word iha’ri, young; refers to the Son. 136 He! Chixu uti hiata hari. he! look! behold! chixu, the spirit. See line 126. uti, moving. hiata, the air. Uti hiata refers to the spirits moving through the air. hari, part of iha’ri, young; refers to the Son. 137 WAtira hari! See line 135. 188 H’Atira hari, h’Atira. Ha! See lines 135, 128. EHaplanation by the Ku'rahus When we sing this stanza the decision has been made. Mother Corn lifts her head and stands erect. Then she moves through the air (uti hiata), flying on her journey to the Son, and we follow. It is not the ear of corn that travels through the air, nor do our bodies follow, it is the spirit (chixu) of the corn that moves, and it is our spirits (chixu) that follow, that travel with her to the land of the Son. The path now opened by the spirit of Mother Corn we, the Fathers, will take, when we in our bodies journey to the Son, but the way must first be opened and the path prepared by the spirit of Mother Corn. This she is about to do. Translation of Fourth Stanza 139,140 See lines 134, 135. 141 He! Chixu tih whichuru hari; he! look! behold! chixu, the spirit of a person or a thing. tih, are in the, act of. whichuru, approaching, drawing near to a place. hari, part of iha’ri, children. 142,143 See lines 127, 128. Eaplanation by the Kw'rahus As we sit and sing this stanza our spirits follow the spirit of Mother Corn, and now we are approaching (tih whichuru), drawing near to the village where the Son lives. We see it all (in the spirit) as with Mother Corn we approach the place where the Son dwells. 54 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Translation of Fifth Stanza 144,145 See lines 124, 125. 146 He! Chixu ti whichata hari. he! look! behold! chixu, the spirit of a person or thing. ti, have, in the sense of having accomplished a purpose or carried out a plan. whichata, reached one’s destination, the end of one’s journey. hari, part of iha'ri, young, children. 147,148 See lines 127, 128. Explanation by the Ku'rahus As we sing this stanza Mother Corn reaches her destination (ti whichata). The journey across the country is nowatanend. Mother Corn has opened the way from the tribe of the Fathers to the tribe of the Children. We shall now be able to travel safely along that path, for she has made it straight, she has removed all evil influences from it, so that we shall be happy when we pass over this path she has made. Here Mother Corn pauses, and we shall pause when we arrive at this place, for it will be here that we shall stop and await the messen- ger from the Son. He will bring words of welcome and precede us to the lodge set apart for us by the Son. After a pause we shall follow the spirit of Mother Corn when she enters the village of the Son. Translation of Sixth Stanza 149,150 See lines 124, 125. 151 He! Chixu tih itechahka wara hari. he! look! behold! chixu, the spirit of a person or thing. tih, are, are in the act of. itchahka; it, a prefix, indicating desire; chahka, a part of the word chahkahawe, village: itchahka, the village one has desired to reach. wara, walking. hari, part of iha'ri, children. 152,153 See lines 127, 128. Explanation by the Ku'rahus As we sing this stanza the spirit of Mother Corn walks through the village she has desired to reach (tih itchahka wara). She opens the way for us through the village to the door of the lodge of the Son. Our spirits, as one spirit, follow hers as she walks among the lodges, seeking the one in which the Son dwells. As we follow we keep our minds fixed upon Mother Corn and upon the Son to whom we are now drawing hear. FLETCHER] SECOND RITUAL 55 Translation of Seventh Stanza 154, 155 See lines 124, 125. 156 He! Chixu ti itwhichata hari. he! look! behold! ehixu, the spirit of a person or thing. ti, have, in the sense of having accomplished a purpose. itwhichata; it, a prefix indicating desire; whichata, reached one’s destination: itwhichata, reached the desired end or object of one’s journey. hari; part of the word iha'ri, young; refers here to the Son. 157, 158 See lines 127, 128. Explanation by the Ku'rahus As we sing this stanza the spirit of Mother Corn arrives at the lodge of the Son and enters. Our spirits follow her spirit. We have now reached the object of our search and the end of our journey (ti itwhichata hari). The Son does not see us as we stand there; he is sleeping. We fix our minds upon Mother Corn and upon him; we think of the gifts we are to bring him when we come to him with the Hako, the gifts that the birds and the animals that attend these sacred objects will surely bestow upon him—long life, children, and plenty. These gifts will be his, and we shall share in them, for all these good things go with this ceremony. Translation of Highth Stanza 159, 160 See lines 124, 125. 161 He! Chixu ti tokoka hari. he! look! behold! chixu, the spirit of a person or thing. ti, have, in the sense of having accomplished. tokoka, touched, made itself felt. hari, part of iha’ri, young. 162, 163 See lines 127, 128. Explanation by the Kw'rahus While we sing this stanza the spirit of Mother Corn touches the Son (ti tokoka hari). We fix our minds upon Mother Corn and upon the Son; if we are in earnest he will respond to her touch. He will not waken, he will not see her, but he will see in a dream that which her touch will bring to him, one of the birds that attend the Hako, for all the spirits of those birds are with Mother Corn and they do her bidding, and he may hear the bird call to him. Then, when he awakens, he will remember his dream, and as he thinks upon it, he will know that he has been chosen to be a Son, and that all the good things that come with the cere- mony which will make him a Son are now promised to him. 56 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 By touching the Son Mother Corn opened his mind, and prepared the way for our messengers to him, so that he would be willing to receive them, and later to receive us. Mother Corn has now found the Son; she has made straight and safe the path from our country to his land, and she has made his mind ready to receive us and to carry out his part of this ceremony of the Hako. THIRD RITUAL. SENDING THE MESSENGERS Explanation by the Ku'rahus On the day following the night when Mother Corn selected the Son the members of the Father’s party brought to his lodge the gifts which they were to take to the Children. Four men were chosen to carry the message of the Ku'rahus to the Son. They were clothed by the Father with the buffalo robe in the ceremonial manner, and led by him to a place near the entrance of the lodge. The Ku'rahus gave a little of the sacred native tobacco to the Father, who tied it in a small piece of bladder and returned it to the Ku'rahus, who then addressed to the messengers the first stanza of the following song. SONG Words and Music M. M. J=112. + = Pulsation of the voice. Transcribed by Edwin 8. Tracy. Slow and heavy. 222 Sas SS SS Se | Be pe : Ha-a-a! Ka-sha wha-ko - o: Ha- a! H’ars wi - ta - al Ka - Drums) «¢ 2 -« . ° Py ° e e ee s ° oee8e Rattles | a ile we (mCtMieene le el ga mse Atel pete keira ———— =| =} = = = = lore SSS SS SE SS =| = = aS: . ~— ee nal sha wha - ko - o: Ha - a! H’ars wi = ta - al Ka - A A A A A A A anc Gent ies ere ae ee une ee ry (2S = Se a SS SS ‘ Ss aie sha wha- ko - o: Ha - al H’ars wi - ta - a! A A ie ca Wee Te mE ee eS I 164 Ha-a-a! 165 Kasha whako-o: Ha-a! H’Ars wita-a! 166 Kasha whako-o: Ha-a! H’Ars wita-a! 167 Kasha whako-o: Ha-a! H’Ars wita-a! II 168 Ha-a-a! 169 Kusha whako-o: Ha-a! H’Ars wita-a; 170 Kusha whako-o: Ha-a! H’Ars wita-a; 171 Kusha whako-o: Ha-a! H’Ars wita-a. FLETCHER] THIRD RITUAL 57 Translation of First Stanza 164 Ha-a-a! see == = FBZ. SE = ee ee ee ee ee ee = G 3 = a6 = = = ~ Ti-we ra-ku-she ha-wati ha-o; Ti-wera-ku-she ti ha-o; Ti-we ra-ku-she, I II Ho-o-o0-o! 359 Ho-o-o-o! Tiwe rakushe ti hao: 360 Tiwe riata ti hao; Tiwe rakushe ti hao; 361 Tiwe riata ti hao; Tiwe rakushe hawa ti hao; 362. Tiwe riata hawa ti hao; Tiwe rakushe ti hao; 363 Tiwe riata ti hao; Tiwe rakushe. 364 Tiwe riata. Translation of First Stanza 353 To-o-o-0! An introductory exclamation. 354 Tiwe rakushe ti hao. tiwe, here. rakushe, he sitting. ti, my. hao, my own child; my offspring. 355 See line 554. 356 Tiwe rakushe hawa ti hao. tiwe, here. rakushe, he sitting. hawa, again. ti, my. hao, my own child. See line 354. 58 Tiwe rakushe. See line 354. ELETCHER] SIXTH RITUAL, PART I 91 Explanation by the Ku'rahus In this stanza we speak of the messenger as “‘my own child” (ti hao), because he represents the Son, to whom we are béing led by Mother Corn. Although the man who is the Son is not and can not be of any blood kinship to us, yet by the power of the sacred objects in this ceremony he is to be made as our own child, as our offspring, we are to be bound to him by a tie as unalterable as that which exists between father and son. So we sing, ‘‘My own child, my offspring, is sitting here.” When we sing ‘‘Tiwe rakushe hawa ti hao,” we are thinking that our child has again said ‘*T am ready.” Translation of Second Stanza org 359 Ho-o-0o-0! An introductory exclamation. 360 Tiwe riata ti hao. tiwe, here. viata, he walking. ti, my. hao, my own child. 361 See line 360. 362 Tiwe riata hawa ti nao. tiwe, here. viata, he walking. hawa, again. ti, my. hao, my own child. 363 See line 360. 364 Tiwe riata. See line 360. Explanation by the Ku'rahus The pack containing the clothing provided for this representative of the Son is now opened. After the messenger has finished eating he is dressed in the new clothing. We clothe him because that is an act which marks the care of a father for his child. The garments we put upon him are fine and embroidered; these fine and carefully made garments show that we have been thinking of him, that we regard him highly and wish to do him honor. After the messenger is clothed he walks toward the village; we fol- low, walking slowly and singing the second stanza. The words tell that the Son is walking before us and that we again are walking toward the lodge of the Son. Just before we reach the village we halt and sing the next song. Ve) bo THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Part II. Tort Hako Party ENTER THE VILLAGE SONG Words and Music M. M. A=116. + = Pulsation ce tte voice. Transcribed by Edwin S. Tracy. A 2 aS THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 Explanation by the Ku'rahus The words of this stanza mean that Kawas is now moving at the entrance way and is about to enter, carrying the promise of the powers above, a promise which makes the heart of man thankful. We sing this stanza four times, remembering the powers of the four directions. Then the Ku’rahus and his assistant advance four steps into the entranceway and pause while the fourth stanza is sung. Translation of Fourth Stanza 393 Ho-o-o! An introductory exclamation. 394 . Kawas i ra koka, ri! Kawas, the name given to the brown eagle in this ceremony. i, it. ra, moving. koka, entered. ri, part of nawairi, an expression of thankfulness. 395, 396 See line 394. 397 We ra koka, ri! we, it has. ra koka, ri. See line 394. 398 See line 394. Explanation by the Ku'rahus The words of this stanza mean that Kawas has entered the passage. way of the lodge bearing the promise that makes the heart thankful— the promise of life from the powers above. After singing this stanza four times, the Ku'rahus and his assistant step back outside the lodge door and take their places at either side of the chief bearing the ear of corn. The three together now advance to the threshold, and the Ku’rahus tells the chief to go forward and keep astep inadvance. The Ku'ra- hus and his assistant carrying the feathered stems follow the chief, and behind them walk the two doctors with the eagle wings. The five men walk slowly and silently down the long entrance way. When the chief reaches the ridge at the inner door of the passageway, he steps over it into the lodge and pauses. Mother Corn is the first to enter the lodge. The Ku'rahus and his assistant follow and take their places, the Ku’rahus on the left of the chief, the assistant on the right. Next the doctors step in; the one with the left wing goes to the left of the Ku'rahus, and the other with the right wing to the right hand of the assistant. The five men, now abreast, walk slowly around the lodge, going by the south, west, and north to the east, while they sing the first stanza of the following song four times. They move in step, keeping close together, the chief with the ear of corn just a little forward of the line. As they sing they sway the feathered stems, the ear of corn, and the eagle wings. le) aI FLETCHER] SEVENTH RITUAL Part II. CoNSECRATING THE LODGE FIRST SONG Words and Music M. M. \=120. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. 0D = en esl a => = = = -" SS ee fl == ==" ES- o z= t= = —— a a ie ee a my A-a-al H’A - ti - ra we ri- ka wa-ra; H’A-ti- ra we ri- Drum. f A A A ain em eee er a weet Eps fp fie Ié — == = = aie oe eos = o: Se ee ka wa - ra; We ri -ka wa- ra; H’A - ti-ra we ri- ka wa-ra. ° ° ek ep of oe e ° oe é = 2 I II 399 A-a-a! 404 A-a-a! 400 H’Atira we rika wara: 405 H’Atira wetih ka wara: 401 H’Atira we rika wara; 406 H’Atira wetih ka wara; 402 We rika wara: 407 Wetih ka wara; 403 H’Atira we rika wara. 408 H’Atira wetih ka wara. Translation I 399 A-a-a! An introduction to the song. 400 HH ’Atira we rika wara. h’, a symbol of breath, a breathing forth. atira, mother; the term refers to the ear of corn. we, his; refers to the owner of the lodge, the Son. rika, a composite word, ri, this; ka, part of the word akaro, lodge. wara, walking. 401 See line 400, 402. We rika wara. See line 400. 403 See line 400. II 404 A-a-a! An introductory exclamation. 405 HW Atira wetih ka wara. h’, asymbol of breath, a breathing forth. atira, mother; the term is here applied to the ear of corn. wetih, it has; an act accomplished. ka, part of the word akaro, lodge. wara, walked. 406 See line 405. 407 Wetih ka wara. See line 405. 408 See line 405. 22 ErH—pr 2—04——7 98 THE HAKO, A PAWNEE CEREMONY [BTH. ANN, 22 Explanation by the Ku'rahus The words of the first stanza mean that Mother Corn breathing life is now walking in the lodge. We sing this stanza four times, remembering the four directions where the paths are down which the powers descend to man. When we have passed entirely around the lodge and reached the east, we begin the second stanza and sing it four times as we make the second circuit around the lodge. The words tell that Mother Corn has walked within the lodge, bringing the promise of life. After a short pause at the east the five men turn again toward the south and begin a third cireuit of the lodge. This time the chief with the ear of corn falls back into line with the Ku'rahus and his assistant, who bear the feathered stems, and, as they walk, sing the following song: SECOND SONG Words and Music M. M. \=126. - = Pulsation of the voice. Transcribed by Edwin S. Tracy. Ho-o- -ol Ka-was te-wi ewe he-ra ti ra - 0; Ka-was te-wi ka - we Drum.~ges A pI p ps p 5 ps ? faeneree eto et tC = MCN ESR se eae aac, pe Ne eee eee (fae Aaah ee $1 ee a ee aS a i eee jveS =. SSS = pace os se Se Ss a ee he-ra ti ra - — was te- wi ka - we he-ra ti Ta- 0. ee e re er ? I II 409 Ho-o-o! 413 Ho-o-o! 410 Kawas tewi kawe hera ti rao; 414 Kawas tewi kire hera ti rao; 411 Kawas tewi kawe hera ti rao; 415 Kawas tewi kire hera ti rao; 412 Kawas tewi kawe hera ti rao. 416 Kawas tewi kire hera ti rao. Translation of First Stanza 409 Ho-o-0! An introductory exclamation. 410 Kawas tewi kawe hera ti rao. Kawas, the name given to the brown eagle in this ceremony. Kawas represents the female and the beneficent powers. tewi, hovering, with a slow circling movement. kawe, a composite word, meaning within the lodge. hera, my. , possessive pronoun. rao, part of the word pirao, child. 411. 412 See line 410. FLETCHER] SEVENTH RITUAL, PART II 99 Explanation by the Ku'rahus The words of the first stanza tell us that Kawas is now hovering overhead in the lodge. The eagle soars in the skies and can communicate with the powers that are above; so the eagle represents these powers. S= = Sess : [eae = a ee Persie = a2 fa? Sl ——— ~ . . . . Ho-o-o! Suks pa-ka wa - wa hira-ta-a ha-o ha! Hi - ri! Hira-ta- a Drum. 2 ty ? ty Rattles. | | atte CF ee OE wre rrr == “A-3- Ss fs =N=—e ——— == - a —— 2 es = = 2 : = _—— f = = 2 zt eee = oS" —o ae zee i ha - o hal Suks pa-ka wa - wahira-ta - a ha-o hal NA A Snes Ghee ee 1 II 417 Ho-o-o: 421 Ho-o-o! 418 Suks paka wawa hi rata-a haoha! 422 Ti wawaka wawa hi rata-a hao ha! 419 Hiri! Hi rata-a hao ha! 423 Hiri! Hi rata-a hao ha! 420 Suks paka wawa hi rata-a hao ha! 424 Ti wawaka wawa hi rata-a hao ha! Translation of First Stanza 417 Ho-o-o! An introductory exclamation. 418 Suks paka wawa hi rata-a hao ha! suks, a command; you must. paka, pako, speak. The change in the last vowel is for euphony. wawa, part of rawawa, to send something; in this instance, to send the words or thoughts of the prayer. hi, that person. rata, my or mine. a, vowel prolongation. hao, child; offspring. ha, a musical vocable used to fill out the measure. 102 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 419 Hiri! Hi rata-a hao ha! hiri! an exclamation meaning give heed! harken! hi rata-a hao ha! See line 418. 420 See line 418. Explanation by the Ku'rahus The words of this stanza are a command to the Son. They are, “*Give heed, my child; you must now send your prayers to the powers which dwell above.” This stanza is sung four times. Then the Son takes a pinch of tobacco from the bowl of the pipe and passes if along the stem and offers it as the priest directs. There is a certain order to be observed in the offering of tobacco and smoke to the powers above peculiar to each of the sacred shrines, and only the priest or keeper of a shrine knows the order in which the powers which preside over his shrine should be approached. The sacred pipe belonging to the Rain shrine is used in this ceremony, and its priest must direct the Son how to make the offering. I do not know this order; it does not belong to me to know it. When the pinch of tobacco has been presented to the powers above it is placed upon the earth. After this act the second stanza is sung. Translation of Second Stanza 421 Ho-o-o! An introductory exclamation. 422 Ti wawaka wawa hi rata-a hao ha! ti, he. wawaka; wako, spoken; the added wa indicates that he has spoken to those who are at a great distance. wawa, part of tiwari, traveling from one, and towawa, travel- ing in many ways, to many different places. hi, that person. rata, my or mine. a, vowel prolongation. hao, child. ha, a musical vocable. 423 See line 419. 424 See line 422. Explanation by the Ku'rahus As the Son offers tobacco in the directions indicated by the priest, he prays to the powers that dwell in these directions. What he says is not audible to us, for it is not intended for us to hear. The words of this stanza refer to the prayers of the Son. We are bidden to take heed that the prayers of the Son, who is as our child, have been spoken and have traveled far, going on and on to the different distant places where the great powers abide which watch over the rain. FLETCHER] SEVENTH RITUAL, PART IIL 103 This stanza is sung four times. The priest now lights the pipe and the Son smokes, sending little puffs in the directions indicated by the priest. As he smokes we sing the first stanza of the following song. SECOND SONG Words and Music M. M. J=56. += Pulsation of the voice. Transcribed by Edwin S. Tracy. = i a == == = E == == ES = fl | a= = o = s —— —= = Ho-0-0-0! Ra-wi-su ha-ku ri! Ti we-ri__ha- ku ra-Wi- ee a e = Drum. ¢ e ee 2 Pie ep u tia AeA BS Lidhy ereh a IN eR Ce ROE c = = A — — — SSS SSS SS | ed =: ———s =e = ae Lee Ld Ti we-ri ha-ku! aa ee ri ti we-ri ha-ku! Ra-wi-su ha-ku ri! Fane e UR RA AO P 2 ii 425 Ho-o-o0-o! 426 Rawisu haku ri! 427 Ti weri haku rawisu haku ri! 428 Ti weri haku! - 429 Rawisu haku ri ti weri haku! 430 Rawisu haku ri! II 431 Ho-o-0-o! 432 Rawis kaha witshpa! 433 Ti weri witshpa rawis kaha itshpal 434 Ti weri witshpa! 435 Rawis kaha witshpa ti weri witshpa! 436 Rawis kaha witshpa! Translation of First Stanza 425 Ho-o-o-0! An introductory exclamation. 426 Rawisu haku ri. rawisu, smoke. haku, passes by. ri, present time. 427 Ti weri haku rawisu haku ri. ti, it. werl; we, now; ri, present time. haku, passes by. rawisu haku ri. See line 426. 428 Ti weri haku. See line 427 429 Rawisu haku ri ti weri haku. See lines 426, 427. 430 See line 426. 104 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Explanation by the Ku'rahus The words tell us that the smoke offered by the Son is now passing by, leaving us and going on its way to the different places where the powers dwell that guard the rain. We sing this stanza four times as the smoke passes by us. Translation of Second Stanza 451 Ho-o-0-0! An introductory exclamation. 432 Rawis kaha witshpa. rawis, part of the word rawisu, smoke. kaha, part of the word kaharu, smell, savor, odor. witshpa, reached, arrived at, completed. 433 Ti weri witshpa rawis kaha witshpa. ti, he or it. werl; we, now; ri, is; denotes present time. witshpa, has completed, reached, arrived. rawis kaha witshpa. See line 452. 434 Ti weri witshpa. See line 435. 435 Rawis kaha witshpa ti weri witshpa. See lines 432, 433. 436 See line 432. Explanation by the Kw'rahus As the smoke disappears we sing the second stanza, which tells that the odor of the smoke has reached the abode of the mighty pow- ers and that our offering to them is now completed. _ We sing this song four times. The ceremony of offering smoke over, the priest with the sacred pipe of the Rain shrine, and the Ku’rahus with his assistant and the chief, bearing the sacred objects, return to the west and there, upon the space set apart and made holy, lay them down. The Son takes off the fine garments with which the Father has clothed him and places them ina pile before a chief of his village, that they may be distributed to the young men of the receiving party— that is, the Children. The lodge has now been opened by Mother Corn and cleansed of all bad influences by Kawas; the Son, clothed as a child by the Father, has offered prayer and smoke to the powers above; the garments worn during this act have been removed and given away; and now every- thing is ready for the public ceremony to begin. PLETCHER] EIGHTH RITUAL 105 THE CEREMONY First Division. THE PUBLIC CEREMONY EIGHTH RITUAL (FIRST DAY). THE FATHERS FEED THE CHILDREN Explanation by the Kwrahus The runners dispatched by the Son deliver their message, and soon men, women, and children, dressed in their best attire, can be seen EAST 1 Fig. 176. Diagram of the Son’s lodge at the beginning of the public ceremony. 1, the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the dome-shaped roof; 4, the Ku’rahus; 5, his assistant; 6, the Father (a chief); 7, the server; 8, the Son; 9, the Hako at.rest upon the holy place; 10, the ear of corn (should be represented by a dot just below the number); 11, members of the Son’s party; 12, members of the Hako party; 13, the bearers of the eagle wings. walking through the village toward the lodge set apart for the ceremony (figure 176). As they pass into the lodge they see the Ku'rahus and his assist- ant with the chief between them sitting behind the Hako at the west, 106 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 facing the entrance at the east. They who have brought gifts to the Fathers go around to the sacred place and lay them down upon the ground between the central fire and the Hako. All gifts are received silently unless someone brings a present of food; for such an offering the Ku'rahus gives thanks. In old days it was not unusual for the Children to bring packs filled with dried buffalo meat; sometimes the packs contained the entire product of a hunt. When all the Children are gathered within the lodge the Ku’rahus directs that the Hako be taken up. When this is done, the five men stand facing the east. The chief, in the center, holds the wildeat skin and the ear of corn; on his left and toward the north is the Ku’rahus with the brown-eagle feathered stem, and at his left is the doctor with the left wing of the eagle. On the right of the chief and toward the south is the Ku'rahus’s assistant holding the white-eagle feathered stem, and at his right the doctor with the right wing of the eagle. The Ku’rahus now addresses the Children: ‘*Mother Corn has led us to the border of your land. Mother Corn has brought us to your village. Mother Corn has guided us to the entrance of this lodge. Mother Corn has crossed the threshold and entered. The lodge has been swept and made ready for the ceremony. Kawas has flown about the lodge seeking its child, and nere he has been found. “You mustall help me by reverent conduct as I try to perform faith- fully the rite handed down from our fathers, so that all the promise of good which follows the Hako may come to us here.” No particular form of speech was taught me to be used on this oceasion. Every Ku’rahus can choose his own words, but he must at this time tell the people of the sacredness of this ceremony and call upon them to give reverent attention that the rite may go forward to the end and be the means of bringing good to all who take part in it. By this time those appointed to attend to the cooking have prepared food outside of the lodge. This is now brought in and placed near the fireplace, toward the east. Before anyone can be served the thoughts of the Fathers and of the Children must be turned toward Tira’wa, the father of all things, so we sing the following song as we carry the Hako around the lodge and wave the feathered stems over the heads of the people. FLETCHER] EIGHTH RITUAL 107 FIRST SONG Words and Music M. M.. J=126. += Pulsation of the voice. Transcribed by Edwin 8. Tracy. A = = — = = —— ls —— lert = = z ;-E= _—- =e = 2 Zz == == i = = Ha - AS Eat - a-a! H’A-ars Ti-ra-wa ha-ki; H’A-ars Ti-ra-wa ha - ki; Bp ip Dep Pe Par Getta ava wii ne ales pale, A A a jensen Ti-ra-wa ha-ki; H’A-ars Ti-ra-wa ha - ki; H’ A-ars Ti-ra-wa ha - ki, Rene tC Inaone Mt Gat heh ih ek, 37 Ha-a-a-a! 438 H’Aars Tira wa haki; 39 H’Aars Tira’ wa haki; 440 H’Aars Tira wa haki; 441 H’Aars Tira’wa haki; 442. H’Aars Tira’ wa haki. Translation 437 Ha-a-a-a! An introductory exclamation. 438 HAars Tira’wa haki. l’, a part of the word ha, your. ‘aars, a contraction of the word atius, father. Tira'wa, the designation of the great power Tira’wa atius, thought to be above all other powers. haki, many. 439-442 See line 438. Explanation by the Kwrahus When the Kwrahus begins to sing this song he must think what this ceremony is for and be mindful that all the powers that the heavens contain and all the powers that are felt over the earth are now coming near and bending over the Hako. All the powers that are in the heavens and all those that are upon the earth are derived from the mighty power, Tira’wa atius. He“ is the father of all things visible and invisible. He is the father of all the powers represented by the Hako. He is the father of all the lesser powers, those which can approach man. He is the father of all the people, and perpetuates the life of the tribe through the gift of children. So we sing, your father, meaning the father of all people everywhere, the father of all things that we see and hear and feel. As we sing the words over and over we think about Tira‘wa atius being the father of all things. This and all stanzas are sung four times. When we have gone entirely around the lodge and have returned aThe Pawnee pronoun here translated ‘the’ does not in the original indicate sex, nor is it equivalent to ‘it,’ as the word relates to a person. 108 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 to the west we pause, and start again to make the second circuit, always going by the north, the east, the south, to the west. On this second circuit we sing this song, which must always follow the one we have just sung. Both songs are about Tira’wa atius, the father of all. These two songs belong to the first two of the first four circuits of the lodge, which are made in the presence of all the Children. We shall sing these same songs twice again; the first time, after the sacred feast of corn and, the second time, when we are beginning the last four circuits of the lodge on the fourth and last night of the ceremony. SECOND SONG Words and Music M. M. J=126. = Pulsation of the voice. Praneeribed by Edwin §. Tracy. a = al = a A —|— == oS SS ES ES ee. [SSS SS Ss Ha-a-a- al H’A- ars e he! Ti-ra-wa ha-ki; H’ A-ars e hel Drum. 3 Py 2 a yy , PY Katies. | cae Roy ate tes Geist th eat este Lema = ‘=== == a= Ti-ra-wa ae Hi-dhi! = Ti-ra-wa ie HA - ars Ti. ra-wa nae fa Pinter Can Gieeiemct tay apaiet? Miley <(yieg iia 443 Ha-a-a-a! 444 H’Aarse he! Tira’ wa haki; 445 H’Aarse he! Tira’ wa haki; 446 Hidhi! Tira’ wa haki; 447 H’Aars Tira’wa haki. Translation 443 Ha-a-a-a! An introductory exclamation. 444 IAarse he! Tira’wa haki. h’, a part of the word “Sha”, your. aars, an abbreviation of atius, father. e, a vocable used to fill out the rhythm. he! an exclamation indicating that something is brought to one’s attention which demands thoughtful consideration. Tira'wa, a part of Tira’wahut, the dwelling place of the lesser powers, those which can come near to man. haki, many. 445 See line 444. 446 Hidhi! Tira’wa haki. hidhi, on high; above, as when one points upward, Tira'wa, a part of Tira’wahut, the dwelling place of the lesser powers. The word Tira’wa is not the same as in the pre- ceding song and therefore has not the same meaning. haki, many. The phrase Tira’wa haki in this song refers to the many lesser powers which dwell above. 447 WAars Tira’wa haki. See line 444. FLETCHER] EIGHTH RITUAL 109 BHaplanation by the Ku'rahus When we begin this song and sing ‘I? Aars” (your father), we think of what we have been told in the first song, that Tira’wa atius is the father of all things; that he is the father of all those lesser powers which come to us in our visions and dreams. ‘These lesser powers are many, but Tira’wa atius is the father of them all. When we sing, ‘‘ Hidhi!” we think that all these powers have their dwelling place on high, Tira’wahut, and that above them all is the abode of Tira’wa atius, their father. It is he who sends help to us by these lesser powers, because they alone can come to us so that we can see and feel them. When we have reached the west we pause and then begin the third circuit of the lodge. On this round we sing of Mother Corn, she who has led us on our journey, who has entered the lodge of the Son, and is now to walk before the Children with the promise of plenty. THIRD SONG Words and Music M. M. jh 126. + = Pulsation of the voice. Transcribed by Edwin 8. Tracy. y— — e425 = aad o a wwe Ho- 0! Ho- o! Nawa’Ti-ra, na-wa ’Ti-ra, na’Ti-ra_ we-ri- ral Na’ Ti-ra Drum. 6 o ; py a a iets tale fee Aes NS SATA fel Uae stp ON PON Tee NN yaa cl oe ca ga aay ll we-ri-ra! Na-wa’Ti- ra, na- wa ’Ti- ra, na - wa. Ha! We-ri-ra! A i A e oo oe#e e eo eo e 2 ih ° eo ? ea ee (ee ee el Behe tame I 448 Ho-o! Ho-o! 449 Nawa ‘Tira, nawa Tira, na ’Tira werira! 450 Na Tira werira! 451 Nawa ‘Tira, nawa ’Tira, nawa. Ha! Werira! II 452 Ho-o! Ho-o! 4538 Ha wa ’Tira, ha wa ‘Tira, ha ’Tira werai! 454 Ha ’Tira werai! 455 Ha wa ’Tira, ha wa ’Tira, ha ’Tira werai! Translation of First Stanza 448 Ho-o! Ho-o! Introductory exclamations. 449 Nawa Tira, nawa ’Tira, na ’Tira werira! nawa, now. ‘tira, part of the word atira, mother. The term refers to the ear of corn. na, part of nawa, now. tira, atira, mother. werira, ae comes. 110 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 450 Na?tira werira! See line 449. 451 Nawa ’tira, nawa ’tira, nawa. Ha! Werira! ha! behold! look! For the other words, see line 449, Explanation by the Kw'rahus In the first stanza the Fathers speak; they tell the Children to behold Mother Corn, who comes bringing the promise of good gifts. They must fix their eyes and thought upon Mother Corn, who now comes hither. They must give her thanks for all she is bringing to make their hearts glad. We sing this stanza four times as we go around the lodge. When we reach the west we pause and then start on the fourth circuit singing the second stanza. Translation of Second Stanza 452 Ho-o! Ho-o! Introductory exclamations. 53 Ha wa ’Tira, ha wa ’Tira, ha ’Tira werai! ha, yonder. wa, part of nawa, now. ‘tira, part of atira, mother. Refers to the corn, ha, yonder. tira, atira, mother. werai, she is coming. 454 Ha’Tira werai! See line 453. 455 See line 453. Beplanation by the Ku'rahus In this stanza the Children speak. Yonder Mother Corn is coming. She is bringing good gifts of peace and plenty to make glad our hearts. The Fathers, they who are carrying the sacred objects, are singing, but if the Children choose they can join in the song as the waving feathered stems are passing by. When we have sung this stanza four times and have reached the west we have completed the fourth circuit of the lodge. We sing each stanza four times during one circuit and we must make four circuits of the lodge after we have taken up the Hako and before we can lay them down. The four circuits of the lodge are made in recognition of the Foon directions, the four powers at the west and the four sacred objects, the two eagles, the ear of corn, and the wildcat skin. Up to this time the feathered stems have been simply laid down upon the wildeat skin without ceremony, but now and hereafter during the ceremony, whenever we complete a fourth circuit of the lodge and return to the west, they are laid to rest upon the skin with certain peculiar movements made to the rhythm of song.” The songs which belong to this act explain its meaning. aTn the following pages the places will be indicated where these songs must be sung, put to avoid unnecessary repetition the songs themselves will be omitted. - FLETCHER] EIGHTH RITUAL Lali The feathered stems represent the eagle; the holy place, where the stems are laid to rest, represents the eagle’s nest. A nest is made for the young; the making of a nest in the lodge of the Son by Ka- was presages the fulfilment of the promise of children to the Son, as well as the establishment of a close bond, like that of father and son, between the members of two unrelated clans or tribes. The cat skin les next to the ground on the holy place; it protects by its skill the nest and all that the nest represents. Whenever we lay the feathered stems down, after they have been carried four times around the lodge and waved over the heads of the people, they are moved in a way to represent the eagle hovering over her nest and then alighting on her young. These songs and these movements are a prayer for the gift of children, and that the bond between the Father and the Son may be true and strong. There are foursongs for the ceremony of laying down the feathered stems. Each song has twostanzas. We sing two of these songs every time we lay these objects to rest. Wesway the stems over the cat skin, dropping them lower and lower, then suddenly we raise them again and finally let them gently downon the nest. The eagle acts in this manner when going to her nest. She does not at once settle down; she flies over it, sweeping lower and lower, then rises to see if all is well, and slowly descends to drop lightly on the nest. When the young eagles see the mother coming and hear her call, they answer back, they are glad. Weare like the young birds in the nest, so we ery “‘Hiri!” expressing our gratitude to Kawas, who is making her nest with us. We pray in our hearts as we sing. SONGS FOR LAYING DOWN THE FEATHERED STEMS SONG Words and Music M. M. j= 69. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. <2 => == Sse === _— 2 SS == SER SS ae = = = =| mon =_=" =sf> E er = == ee = ~ Ha-a-a! E- ra he-ra i - ru-wa. Hal Ti wi ru-wa, ti wi ru-wa, ka- A A A dint pes i Oe ne re Open | aoe | tine ce eee Rattles, | *” Lite F le: === === —s SrE= au it ge Pe eat soe é : . ra wi-ti- ka? Ka-was ti wi ru-wa,ti wi A A A A Oa ees —— | —— =] 3-4 —o— 6 — ep tae 25 : = = ra he-ra i - ru-wa. Ha! Ti a ru-wa, ti wi ruwa, ka- ra wi-ti-ka‘ A A A f? fa tr. f? tr. fa UN Sp if £ I 476 Ha-a-a! 477 Era herairuwa. Ha! Ti wi ruwa, ti wi ruwa, kara witika? 478 Kawas ti wi ruwa, ti wi ruwa, kara witika? 479 Era herairuwa. Ha! Ti wi ruwa, ti wi ruwa, kara witike? II 480 Ha-a-a! 481 Eraheraeria. Ha! Ti wi ria, ti wi ria, hara witika; 482. Kawas ti wi ria, ti wi ria, hara witika. 483 Era heraeria. Ha! Ti wi ria, ti wi ria, hara witika. FLETCHER] EIGHTH RITUAL INU) 453 Translation I Ha-a-a! An introductory exclamation. Era hera iruwa. Ha! Ti wi ruwa, ti wi ruwa, kara witika? era, it coming; refers to the eagle. hera; era, it coming; the h is added for euphony. iruwa, one flying this way, toward us one (singular) is flying. ha! look! behold! ti, here. wi, is. ruwa, flying this way. kara? has it? a question. witika, sat down within, or alighted and settled on, its nest. Kawas ti wi ruwa, ti wi ruwa, kara witika? Kawas, the brown eagle, the leading bird in the ceremony. ti wiruwa. See line 477. kara witika? has it alighted and sat down within its nest? See line 477. II Ha-a-a! An introductory exclamation. Era hera eria. Ha! Ti wi ria, ti wi ria, hara witika. era, it coming. hera, a repetition of era, the h being added for euphony. eria, circling overhead; refers to the movements of the eagle. ha! look! behold! ti, here. is. ria, a part of the word eria, circling over. hara, it has. witika, sat down within, or settled on, its nest. Kawas ti wi ria, ti wi ria, hara witika. Kawas, the brown eagle, the leading symbolic bird in the cere- mony. ti wi ria, hara witika. See line 481. See line 481. 116 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 SONG Words and Music M. M. |= 58. = Pulsation of the voice. Transcribed by Edwin 8. Tracy. Ha-a-a-a! Ka-ra_ wi-tit? Ka-ra_ wi-tit? Ka- ra wi-tit? Kan -ra_ wi-tit? Ka-ra_ wi-tit? $8. 5 a =e fers = a) = A Drum. @ Ali e 2) Py, Rattles. | 1: ( Mere ern e sce bok ip ae et eee hl Sess —S——— == === igs ——— aS SS Ka-ra_ e? Ka-ra_ wi-tit? Ka-ra wi-tit? Ka-ra wi-tit? Ka-ra e? ; P A [) tnowre F lemmnccoen [f ecceeccon 7 Uinrronrnnn § 1 b 484 Ha-a-a-a! 485 Kara witit? Kara witit? Kara witit? Kara witit? Kara witit? Kara e? 486 Kara witit? Kara witit? Kara witit? Kara e? 487 Ha-a-a-a! 488 Hara witit; hara witit; hara witit; hara witit; hara witit; hara e! 489 Hara witit; hara witit; hara witit; hara e! Translation I 484 Ha-a-a-a! An introductory exclamation. 485 Kara witit? Kara witit? Kara witit? Kara witit? Kara witit? Kara e? kara? has it? a question. witit, sat down or lit upon (its nest). The iteration of the words follow the picture made by the movements of the feathered stems as they are waved now lower and now higher over the cat skin, simulating the eagle as she pre- pares to alight on her nest. a voeable to fill out the measure of the music. 486 ae witit? Kara witit? Kara witit? Kara e? See line 485. II 487 Ha-a-a-a! An introductory exclamation. 488 Hara witit; hara witit; hara witit; hara witit; hara witit; harae! hara, it has. w:tit, sat down or alighted and settled upon (its nest). The repetition of the words accompanies the movements of the feathered stems as they are waved lower and lower toward the cat skin. e, a voeable to fill out the measure of the music. 489 Hara witit; hara witit; hara witit; harae! See line 488. FLETCHER] EIGHTH AND NINTH RITUALS pale Explanation by the Ku'rahus When the Hako are at rest, the food which has been standing beside the fire is served by the Fathers to the Children. Certain men are appointed for this task. It is the duty of a father to provide food for his child, and not to partake himself until the child is satisfied. As we are to simulate the relation of father to child, we prepare a meal for the Children twice and sometimes thrice a day during the continuance of this ceremony. We are obliged to bring much food for this purpose, as the Children are sometimes many, and we have also ourselves to feed. Where we must travel far to reach the tribe of the Son, the burden of carrying so much food is hard upon our ponies. So much cooking for the Children keeps the women very busy, but they are willing, for the ceremony brings good to them. After the Children have eaten they rest a while and then go home, returning to the lodge when the sun has set. Before they go they generally make gifts of ponies to the Fathers. When the Fathers are left alone in the lodge they eat their evening meal. The Hako throughout this ceremony are never left unattended by night or day. When the Ku’rahus, or his assistant, or the chief needs to leave the lodge, someone is requested to take his place during his absence. NINTH RITUAL (FIRST NIGHT). INVOKING THE VISIONS Explanation by the Ku'rahus When the sun has set and it is dark and the stars are shining, then the Children gather in the lodge. Some, as they come in, will advance to the holy place and there drop astick; this means the gift of a pony. For every such gift the Ku’rahus returns thanks to the giver. After all are seated, wood is piled upon the fire, and when the flames leap high the Ku'rahus rises, then his assistant and the chief rise and the Hako are taken up. The singers carrying the druin follow the Hako bearers as they move slowly around the lodge, singing the following song. 118 THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22 SONG Words and Music M. M. p= 132. = Pulsation of pes voice. piers by Ed S. Tracy. —— = gas PS NT Qt o-o! Hit-ka-sha-ru! Ru-hu - ri - hi hit - ka-sha-rul D A pumiebp bop bt Pile ies eh emer ms of (= SS 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 Ro-hu - ri-hil Ru-hu - Hi ie sha-ru! Riche - ri-hil ie ee eel cel eB a cg Oi eRe ly ah I Vv Ho-o-o0-o! 514. Ho-o-0-o0! Hitkasharu! 515 Hitkasharu! Ruhurihi hitkasharu! 516 We rakawa hitkasharu! Ruhurihi! 517 We rakawa! Ruhurihi hitkasharu! 518 We rakawa hitkasharu! Ruhurihi! 519 We rakawa! II VI Ho-o-o0-o! 520 Ho-o-o0-o! Hitkasharu! 521 Hitkasharu! Weri rawha hitkasharu! 522 We riteri hitkasharu! Weri rawha! 523 We riteri! Weri rawha hitkasharu! 524 We riteri hitkasharu! Weri rawha! 525 We riteri! Til VII Ho-o0-0-o! 526 Ho-o-o-o! Hitkasharu! 527 Hitkasharu! Weri whicha hitkasharu! 528 We rahwara hitkasharu! Weri whicha! 529 We rahwara! Weri whicha hitkasharu! 530 We rabwara hitkasharu! Weri whicha! 531 We rahwara! IV VIII Ho-o0-0-o! 32 Ho-o-0-o0! Hitkasharu! Hitkasharu! Wera rawhishpa hitkasharu! Wera rawhishpa! Wera rawhishpa hitkasharu! Wera rawhishpa! @ We rahruka hitkasharu! We rahruka! We rahruka hitkasharu! We rahruka! “ Translation of First Stanza 490 Ho-o-o-o! An exclamation introductory to the song. 491 Hitkasharu! A composite term; hit, from hittu, feather; ka, from rotkaharu, night; sharu, visions, dreams. Hittu, feather, refers to the birds represented upon the feathered stems. The term indicates the night visions which attend or belong to these symbolic objects, the feathered stems. a Here the Hako are laid at ceremonial rest. See pages 111-116. PLETCHER] NINTH. RITUAL 119 492. Ruhurihi hitkasharu! ruhurihi, a command, a call; ‘‘ let it be so!” hitkasharu. See line 491. 493 Ruhurihi! See line 492. 494 See line 492. 495 See line 493. Explanation by the Kwrahus We sing about the visions which the birds on the feathered stems are to bring to the Children. Visions come from above, they are sent by Tira’wa atius. The lesser powers come to us in visions. We receive help through the visions. All the promises which attend the Hako will be made good to us in this way. Visions can come most readily at night; spirits travel better at that time. Now when we are met together we, the Fathers, call upon the visions to come to the Children. The spirits of the birds upon the feathered stems join our spirits in this call to the visions. That is what the words of this stanza mean. We sing it four times as we make the first circuit of the lodge. When we reach the west we pause. Translation of Second Stanza 496 Ho-o-o-0! An introductory exclamation. 497 Hitkasharu! The visions that attend the Hako. See line 491. 498 Weri rawha hitkasharu! werl, they. rawha, are coming. hitkasharu, the visions which attend the Hako. 499 Werirawha! See line 498. 500 See line 498. 501 See line 499. Explanation by the Ku'rah As we go around the lodge the second time we sing this stanza. The visions have heard the eall of the spirits of the birds upon the feathered stems, joined to the call of our spirits, and they are descending by the east from their dwelling place above, and are com- ing toward the lodge. We sing ‘‘ They are coming,” and the Children join in the song, as we pass around and wave the feathered stems. When we reach the west we pause. y 120 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Translation of Third Stanza 502 Ho-o-o-o! An introductory exclamation. 503 Hitkasharu! The visions that attend the Hako. See line 491. 504 Weri whicha hitkasharu! weri, they. whicha, a part of the word rawhicha, arrived, have arrived. hitkasharu, the visions which attend the Hako. 505 Weri whicha. See line 504. 506 See line 504. 507 See line 505. Explanation by the Kw'rahus We start on the third circuit of the lodge, singing this stanza. We sing it four times. The visions have been traveling from the east, whence they descended; they have been passing over the quiet earth, coming nearer and nearer in answer to our call, and at last they reach the door of the lodge. There they pause. When we reach the west we pause. We are waiting, all the Chil- dren are waiting. Weare thinking of these visions, of the place where they dwell, of their coming at our call, of all they are to bring to us. They are holy visions. Translation of Fourth Stanza 508 Ho-o-o-o! An introductory exclamation. 509 Hitkasharu! The visions that attend the Hako. See line 491. 510 We rahruka hitkasharu! we, a part of the word weri, they. rahruka, a composite word; rahru, to go through or enter; ka, a part of the word akaro, lodge; the word means entered and passed through the long passageway that leads into the earth lodge. hitkasharu, the visions that attend the Hako. 511 Werahruka! See line 510. 512 See line 510. 513 See line 511. Explanation by the Ku'rahus We turn toward the north to make the fourth cireuit of the lodge, singing this stanza. We sing it four times. As we sing the visions touch and cross the threshold and then pass down the long passageway leading into the lodge. As we reach the west they have entered the lodge. ; Kawas and all the birds have called these visions to bless the Chil- dren. The visions have heard, they have traveled far, they have FLETCHER] NINTH RITUAL 121 reached the lodge, and now they have entered and are in the presence of the Children. Kawas now goes to her nest, so we lay the Hako down with the move- ments and songs which belong to this act,“ and then we sit down behind the Hako and are quiet. Perhaps some one of the Children may rise and come to the holy place and there lay down a stick, signifying the gift of a horse to the Fathers in recognition of their having called the visions which are now present. Translation of Fifth Stanza 514 Ho-o-0-0! An introductory exclamation. 515 Hitkasharu! The visions that attend the Hako. See line 491. 516 We rakawa hitkasharu! we, part of weri, they. rakawa, walking, moving; conveys the idea of spreading through, pervading the space within the lodge. hitkasharu, the visions that attend the Hako. 517 Werakawa! See line 516. 518 See line 516. 519 See line 517. Explanation by the Kw'rahus Near midnight the Ku’rahus, his assistant, and the chief rise and take up the Hako, and we go around the lodge again and sing this stanza four times. As we walk, the visions walk; they fill all the space within the lodge; they are everywhere, all about us. When we reach the west we pause. Translation of Sixth Stanza 520 Ho-o-o-0! An introductory exclamation. 521 Hitkasharu! The visions that attend the Hako. See line 491. 22 We riteri hitkasharu! we, a part of the word weri, they. riteri, touching in different places, touching here and there. hitkasharu, the visions that attend the Hako. 23 Weriteri! See line 522. 524 See line 522. 25 See line 523. Explanation by the Ku'rahus As we go around the second time we sing the next stanza four times. The visions which attend the Hako are now touching the Children, touching them here and there and by their touch giving them dreams, which will bring them health, strength, happiness, and all good things. a See pages 111-116. 122 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 The visions touch all who are in the lodge, so it is a good thing to be there, to be touched by the visions. At the west we pause. Translation of Seventh Stanza 526 Ho-o-o-0! An introductory exclamation. 527. Hitkasharu! The visions that attend the Hako. See line 491. 528 We rabwara hitkasharu! we, a part of the word weri, they. rahwara, walking away, departing. hitkasharu, the visions that attend the Hako. 5629. Werahwara! See line 528. 530 See line 528. 531 See line 529. Explanation by the Ku'rahus We go around the lodge for the third time and sing this stanza four times. As we sing, the visions are walking away; they have done what they came to do; they are now leaving the lodge, and when we reach the west the space they had filled is empty. We pause and we think of the visions going’ away over the silent earth to ascend to their dwelling place. Translation of Highth Stanza 532 Ho-o-o-o! An introductory exclamation. 533 Hitkasharu! The visions that attend the Hako. See line 491. 534 Wera rawhishpa hitkasharu! wera, they have. rawhishpa, arrived at the place from which the start was made. hitkasharu, the visions that attend the Hako. 535 Wera rawhishpa! See line 554. 536 See line 554. 537 See line 535. Explanation by the Ku'rahus Once more, for the fourth time, we go around the lodge singing this stanza four times. As we sing, the visions ascend to their dwelling place; they have returned whence they came, to their abode in the sky. When we reach the west we lay the Hako down with the songs and movements which accompany the act.“ Kawas rests in her nest. One by one the Children go to their homes, and the dreams brought by the visions which attend the Hako go with them to make their hearts glad. aSee pages 111-116. PLETCHER] TENTH RITUAL 123 TENTH RITUAL. THE DAWN Part I. THE BIRTH OF DAWN Explanation by the Ku'rahus As the night draws to a close, the Kurahus orders the server to lift the skins which hang at the outer and inner doors of the long passageway of the lodge, and to go outside and watch for the first glimmer of light. The Ku'rahus, his assistant, and the chief, sitting behind the Hako, where they lie at rest, look toward the east through the open doorway and watch for the first signs of the dawn. At the first indication of a change, when the air begins to stir, the server comes in with the tidings, and we rise, take up the Hako, and stand at the west, behind the holy place; there, looking toward the east, we sing this song. for it speaks of the mysterious and powerful act of Tira’wa atius in the birth of Dawn. We sing it slowly and with reverent feeling, SONG Words and Music M. M. N=116. += Pulsation of the voice. ie BS ee a Transcribed by Edwin S. Tracy. Ho-o-o! H’A - ti-ra si wha-ta ieaeaee H’A - ti-ra si wha-ta 1a Re - Drum. % ’ 2 Rattles. 7 0s peer Ca re eG Oe nae ers |(retts D = Sey — a 13 =) = = = SS pS | — == isis a b= Se ———— === zi $ Cz: o s+ are earn on -_ =e) shueructi- a -) ra 1 HAS 9 oti-ra’ siiwha-ta Toces re nn rr rere f? Ua RA ELEN al I TV 538 Ho-o-o! 553. Ho-o-o! 539 H’Atira si whata i: 554 H’Kawas ta wata i; 540 H’Atira si whata i; 555 H’Kawas ta wata i; 541 Reshuru tiara i; 556 Reshuru tiara i; 542 H’Atira si whata i. 557 H’Kawas ta wata i. II V 543 Ho-o-o! 558 Ho-o-o! 544 H’Atira ta wata i; 559 Kawas ti waku ka riki; 545 H’Atira ta wata i; 560 Kawas ti waku ka riki; 546 Reshuru tiara i; 561 Reshuru tiara i; 547 H’Atira ta wata i. 562 Kawas ti waku ka riki; lil VI 548 Ho-o-o! 563 Ho-o-o! 549 H’Kawas si whata i; 564 We tatichiri wak ka riki; 550 H’Kawas si whata i; 565 We tatichiri wak ka riki; 551 Reshuru tiara i; 566 Reshuru tiara i; 552 H’Kawas si whata i. 567 We tatichiri wak ka riki. 124 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 VII VU 568 Ho-o-o! 573 Ho-o-o! 569 Pirau si whata i; 574 Pirau ta wata i; 570 Pirau si whata i; 575 Pirau ta wata i; 571 Reshuru tiara i; 576 Reshuru tiara i; 572 Pirau si whata i. 577 ~Pirau ta wata i. Translation of First Stanza 538 Ho-o-o! An introductory exclamation. 539 WAtira si whata i. h’, the sign of breath, of breathing forth life. atira, mother. The term here refers to Mother Earth, repre- sented by the ear of corn. si, you; singular number, used in addressing a person. whata, arise, move, stir about. The word is used when mak- ing a request or a suggestion, not a command. i, a part of the word riki, now, the present time. 540 See line 539. 541 Reshuru tiara i. Reshuru, the Dawn. tiara, a birth, a transformation, one form proceeding from another. i, part of the word riki, now, the present time. 542 See line 539. Explanation by the Ku'rahus We call to Mother Earth, who is represented by the ear of corn. She has been asleep and resting during the night. We ask her to awake, to move, to arise, for the signs of the dawn are seen in the east and the breath of the new life is here. I?Atira means Mother breathing forth life; this life is received from Tira’wa atius with the breath of the new-born Dawn. Mother Earth is the first to be called to awake, that she may receive the breath of the new day. Translation of Second Stanza 543 Tlo-o-o! An introductory exclamation. 544 H’Atira ta wata i. h’, the symbol of breath, life. atira, mother; refers to the earth. ta, a personal pronoun referring to atira; she. In the original no sex is indicated; there are no pronouns he or she; ta applies to either sex. wata, has arisen. i, a part of the word riki, now, present time. 545 See line 544. FLETCHER] TENTH RITUAL, PART I 125 546 Reshuru tiara i. Reshuru, the Dawn. tiara, born. i, a part of riki, now, present time. 547 See line 544. Explanation by the Kw'rahus Mother Earth hears the call; she moves, she awakes, she arises, she feels the breath of the new-born Dawn. The leaves and the grass stir; all things move with the breath of the new day; everywhere life is renewed. This is very mysterious; we are speaking of something very sacred, although it happens every day. Translation of Third Stanza 548 Ho-o-o! An introductory exclamation. 549 H?Kawas si whata i. l’, the symbol of breath, breathing forth life. Kawas, the brown eagle, representative of the lesser and beneficient powers above. si, you; a personal pronoun, singular number, whata, arise, stir, move about. i, a part of riki, now, the present time. 550 See line 549. 551 See line 546. 652 See line 549. Huplanation by the Ku'rahus We call upon Kawas to awake, to move, toarise. Kawas had been sleeping and resting during the night. Kawas represents the lesser powers which dwell above, those which aresent by Tira’waatius to bring us help. All these powers must awake and arise, for the breath of the new life of the Dawn is upon them. The eagle soars where these powers dwell and can communicate with them. The new life of the new day is felt by these powers above as well as by Mother Earth below. Translation of Fourth Stanza 553 Ho-o-o! An introductory exclamation. 554 H’Kawas ta wata i. h’, the symbol of breath, life. Kawas, the brown eagle, representative of the lesser powers above. ta, a personal pronoun referring to Kawas. wata, has arisen. i, a part of the word riki, now, the present time. 555 See line 554. 556 See line 546. 557 See line 554. 126 THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22 Haplanation by the Ku'rahus IVKawas hears the call and awakes. Now all the powers above wake and stir, and all things below wake and stir; the breath of new life is everywhere. With the signs in the east has come this new life. Translation of Fifth Stanza 558 Tlo-o-o! An introductory exclamation. 559 Kawas ti waku ka riki. Kawas, the brown eagle, the intermediary as well as the repre- sentative of the lesser and beneficent powers above. ti, a personal pronoun referring to Kawas, singular number, spoken of. waku, speaks. ka, a part of the word akaro, lodge; refers to the space within the lodge about the fire. In this instance ka indi- cated the holy place set apart for the sacred objects. riki, standing; the word implies the present time. 560 See line 559. 561 Reshuru tiara i. See line 546, 562 See line 559. Haplanation by the Kwrahus Kawas, the brown eagle, the messenger of the powers above, now stands within the lodge and speaks. The Ku’rahus hears her yoice as she tells him what the signs in the east mean. She tells him that Tira’wa atius there moves upon Darkness, the Night, and causes her to bring forth the Dawn. It is the breath of the new-born Dawn, the child of Night and ‘Tira’wa atius, which is felt by all the powers and all things above and below and which gives them new life for the new day. This is the meaning of this stanza. The words of the song do not tell all that the song means; the meaning has been handed down from our fathers and taught to the Ku’rahus, who may teach it to anyone who is serious-minded and sincerely desires to learn these sacred things. Translation of Siath Stanza 563 Tlo-o-o! An introductory exclamation. 564 We tatichiri wak ka riki. we, I. tatichiri, understand, have knowledge of the meaning. wak, a part of the word waku, speech, to speak. ka, a part of akaro, lodge; within the lodge. See line 459. riki, standing. 505 See line 564. 566 Reshuru tiara i. See line 546. 567 See line 564. FLETCHER] TENTH RITUAL PART I 127 Explanation by the Kw rahus In this stanza the Ku’rahus answers Kawas. Tle tells her that he understands the words she spoke to him when standing there in the lodge, that now he knows the meaning of the signs in the east; that night is the mother of the day, that it is by the power of Tira’wa atius moving on Darkness that she gives birth to the Dawn. The Dawn is the child of Tira’wa atius. It gives the blessing of life; it comes to awaken man, to awake Mother Earth and all living things that they may receive the life, the breath of the Dawn which is born of the Night by the power of Tira’wa atius. Our fathers were taught by Kawas and understood what she told them, and what they then learned has been handed down to us. Translation of Seventh Stanza 568 Ho-o-o! An introductory exclamation. 569 Pirau si whata i. pirau, my son. The term refers to the Son, the person to whom the Father has brought the Hako to establish a bond between the two by means of this ceremony. The Son has remained in the lodge through the night. si, you. whata, arise. See line 439. i, a part of riki; now, present time. 570 See line 569. 571 See line 546. aca 572 See line 569. Explanation by the Kw'rahus We now call upon the Son, who has been asleep and resting in the lodge, to awake, to move, and to arise, for the east gives signs of the birth of the dawn, whose breath is on all things. Translation of Highth Stanza or bo i | we Oo Ho-o-0! An introductory exclamation. Pirau ta wata i. pirau, my son; the term refers to the Son. ta, a personal pronoun referring to the Son. wata, has arisen. i, a part of riki; now. 575 See line 574. 576 See line 546. 577 See line 574. Explanation of the Ku'rahus The Son hears the call. Ie wakes, he moves, he rises, he looks to the east and sees the signs of the dawn. 128 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Parti]. THE Mornin@ STAR AND THE NEW-BORN Dawn Explanation by the Kwrahus Now all have risen and have received the breath of the new life just born, all the powers above, all things below. Kawas has stood and spoken in the lodge; the Ku’rahus has heard and understood; the Son is awake and stands with the Kuwrahus awaiting the coming of dawn. The Ku'rahus has sent the server outside the lodge to watch for the morning star. Westand at the west and wait its coming. When it appears he sings the following song: SONG Words and Music M. M. H= 132. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. er —= gels a ghee ees Ho-o-0-0l H’0- pi-rit ri - ra ri - sha; H’O - pi-rit ri-ra ori Pu Cama p ap aipapaeLkeapat sel efile lun gr aeeeailel i= aS ee sha; H’O-pi - rit ri-ra ri - sha; H’O- pi-rit ri-ra ri - sha. MS egies as I Hil 578 Ho-o0-0-o! 588 Ho-o-o-o! 579 H’Opirit rira risha; 589 Reshuru rira risha; 580 H’Opirit rira risha; 590 Reshuru rira risha; 581 H’Opirit rira risha; 591 Reshuru rira risha; 582 H’Opirit rira risha. 592 Reshuru rira risha. II IV 583 Ho-o-o-o! 593 Ho-o-o-o! 584 H’Opirit ta ahrisha; 594 Reshuru ta ahrisha; 585 H‘Opirit ta ahrisha; 595 Reshuru ta abrisha; 586 H°Opirit ta ahrisha; 596 Reshuru ta ahrisha; 587 H'Opirit ta ahrisha. 597 Reshuru ta ahrisha. Translation of First Stanza 078 H-o-o-o! An introductory exclamation. 679 WOpirit rira risha. V, the symbol of breath, breathing forth life. Opirit, the Morning Star. rira, coming; approaching toward one. risha, something seen at a great distance; it seems to appear and then to be lost, to disappear. The word conveys the picture of a gradual advance, as from a great aictances where the object was scarcely discernable, to a nearer point of view, but still distant. : 580, 581, 582 See line 579. FLETCHER ] TENTH RITUAL, PART II 129 Explanation by the Ku'rahus We sing this song slowly with reverent feeling, for we are singing of very sacred things. The Morning Star is one of the lesser powers. Life and strength and fruitfulness are with the Morning Star. We are reverent toward it. Our fathers performed sacred ceremonies in its honor. The Morning Star is like a man; he is painted red all over; that is the color of life. He is clad in leggings and a robe is wrapped about him. On his head is a soft downy eagle’s feather, painted red. This feather represents the soft, light cloud that is high in the heavens, and the red is the touch of a ray of the coming sun. The soft, downy feather is the symbol of breath and life. The star comes from a great distance, too far away for us to see the place where it starts. At first we can hardly see it; we lose sight of it, it is so far off; then we see it again, for it is coming steadily toward us all the time. We watch it approach; it comes nearer and nearer; its light grows brighter and brighter. This is the meaning of this stanza, and the star comes as we sing it four times. Translation of Second Stanza 583 H-o-o-o! An introductory exclamation. 584 H’Opirit ta ahrisha. h’, the symbol of breath, life. Opirit, the Morning Star. ta, approaching. ahrisha, coming still nearer, but at the same time disappear- ing. The word conveys the picture of the morning star by its increased brilliancy coming nearer, and then fading, disappearing in the light of day. 585, 586, 587 See line 584. Explanation by the Ku'rahus As we sing this stanza the Morning Star comes still nearer and now we see him standing there in the heavens, a strong man shining brighter and brighter. The soft plume in his hair moves with the breath of the new day, and the ray of the sun touches it with color. As he stands there so bright, he is bringing us strength and new life. As we look upon him he grows less bright, he is receding, going back to his dwelling place whence he came. We watch him vanish- ing, passing out of our sight. He has left with us the gift of life which Tira’wa atius sent him to bestow. We sing this stanza four times. 22 ETH—PT 2—04——9 130 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22 Translation of Third Stanza Ho-o-o-o! An introductory exclamation. Reshuru rirva risha. Reshuru, the Dawn. rira, coming toward one. risha, something scarcely to be seen because of its distance; it eludes, seems to appear and then to disappear. 590, 591, 592 See line 589. Explanation by the Kw rahus As we sing this stanza we are still standing at the west of the lodge, looking through the long passageway toward the east. Now in the distance we see the Dawn approaching; it is coming, coming along the path of the Morning Star. It is a long path and as the Dawn advances along this path sometimes we catch sight of it and then again we lose it, but all the time it is coming nearer. The Dawn is new born, its breath has sent new life everywhere, all things stir with the life Tira’wa atius has given this child, his child, whose mother is the Night. We sing this stanza four times. Translation of Fourth Stanza 593 Ho-o-0o-0! An introductory exclamation. 594 Reshuru ta ahrisha. Reshuru, the Dawn. ta, approaching, coming. ahrisha, coming nearer but only to disappear. The Dawn comes nearer, grows brighter, but disappears in the brighter light of day. 595, 596, 597 See line 594. Explanation by the Ku'rahus As we stand, looking through the long passageway of the lodge, watching and singing, we see the Dawn come nearer and nearer; its brightness fills the sky, the shadowy forms on the earth are becoming visible. As we watch, the Dawn, like the Morning Star, recedes. It is following the star, going back to the place whence it came, to its birthplace. The day is close behind, advancing along the path of the Morning Star and the Dawn, and, as we wateh, the Dawn vanishes from our sight. We sing this song four times. FLETCHER] TENTH RITUAL 131 Part III. Daynicur SONG Words and Music M. M. §=132. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. Drum. A \ i A : Rattles. C_? (cafe ied (ae a (eRe rel eaten ene Be iP tete peer sha!..... Ta-he-sha! Ta-he - sha! Pi-ra-oruxki-ri ka. Ta-he-sha!.. Lp (8 (ay ae pe = == aa aches mem aha! men Ta - he- sha! Tai he: -'sha!...... conte Aeaeely ct cathe oti melee raime r d I 598 Tahesha! Tahesha! 599 Pirao rux kiri ka. Tahesha! Tahesha! 600 Tahesha! Tahesha! 601 Pirao rux kiri ka. Tahesha! Tahesha! 602 Tahesha! Tahesha! II 603 Taira! Ta ira! 604 Ira, ta ira! Heru rera, ta ira! 605 Taira! Ta ira! 606 Ira, taira! Hern rera, ta ira! 607 Taira! Ta ira! Translation of First Stanza 598 Tahesha! Tahesha! tahesha, daylight, the light of day, before the sun rises. 599 Pirao rux kiri ka. Tahesha! Tahesha! pirao, child, son. rux, let; a command or a bidding, as, let him, or, do this. kiri, a part of kiriku, eyes. ka, a part of taka, to come out, to be seen by coming out from under a covering. The meaning of these words becomes clear when the custom of sleeping with the robe over the head is remembered; the Son is bidden to throw the robe off his head and let his eyes be free to behold the day. tahesha, the light of day. 600 See line 698. 601 See line 599. 602 See line 598. 132 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Explanation by the Ku'rahus We sing this song with loud voices, we are glad. Weshout, ‘* Day- light has come! Day ishere!” The light isovertheearth. As we look out through the door of the lodge we can see the trees, and all things stand out clearly in the light. We eall to the Children, we bid them awake and throw off the robes that covered their heads as they slept and let their eyes look out and behold the light of day, the day that has come, that is here. This stanza is sung four times. Translation of Second Stanza 603 Taira! Ta ira! ta, deer, a general term. ira, coming into sight. 604 Iva, ta ira; heru rera, ta ira. ira, ta ira. See line 603. heru, there. rera, coming. 605 See line 605. 606 See line 604. 607 See line 603. Explanation by the Ku'rahus Still we sing and shout, ‘‘ Day is here! Daylight has come!” We tell the Children that all the animals are awake. They come forth from the places where they have been sleeping. The deer leads them. She comes from her cover, bringing her young into the light of day. Our hearts are glad as we sing, ‘‘ Daylight has come! The light of day is here!” We sing this stanza four times. Part IV. THE CHILDREN BEHOLD THE Day SONG Words and Music M. M. = 160. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. S=S= a ee f =: =}2 2a fe ay —— ao fee ST = | Se —<— — =x oa i= oe: = aaa _ Ho-o-0! Rux ki-ri ka, hi-ra-ti ha- ol...... Rux ki-ri_ ka, hi-ra- ti ha- Drum. p 0 6 @ Str o 2 @02820 098 08 08 6 © @ @ Rattles. aes ied Reta a a ca | — —_ — —. OO —— Sa 3-4-3 ——— SS = Hl == == = 2(-SS SS ae ee oa ae ee —— o aww ome . . . . oleae Pi-ra - o ra-ti ha - 0; Rux ki-ri ka, hi-ra-ti ha o! oes e0eee we P oeee oo @ @ eee eae ee et en 2 ga Ctege \airkcen kee te FLETCHER] TENTH RITUAL, PART IV 138 I II 608 Ho-o-o! 613 Ho-o-o! 609 Rux kiri ka, hirati hao! 614 Ti kiri ka, hirati hao! 610 Rux kiri ka, hirati hao! 615 Ti kiri ka, hirati hao! 611 Pirao rati hao; 616 Pirao rati hao; 612 Rux kiri ka, hirati hao! 617 Tikiri ka. Ha! Wita hesha! Translation of First Stanza 608 Ho-o-o! An introductory exclamation. 609 Rux kiri ka, hirati hao! rux, a command, let him now. kiri, a part of the word kiriku, eyes. ka, a part of the word taka, to become visible, to come out. hirati, my or mine. The common word is kurati; the ku is changed in this ceremony to the aspirate syllable hi, mak- ing the word hirati. The idea of breath, as significant of life, is united to desire in the change from ku to hi, in this word meaning my. hao, offspring, my own child. 610 See line 609. 611 Pirao rati hao. pirao, child, a general term. rati, my, mine. hao, offspring. 612 See line 609. Explanation by the Kw'rahus In this stanza the Son (pirao), the man who is not of our kindred, but who through this ceremony is made as our offspring, our own son (hao), is commanded by the Ku'rahus to go forth and arouse the Chil- dren, to bid them awake, and open their eyes to behold the light of day. The Son, who with the Ku’rahus has been watching for the dawn, receives the order and sends his messengers to the lodges of his rela- tives to arouse them from sleep. This is done that the Children may be in readiness to come to the lodge before the sun is above the horizon. This stanza is sung four times. Translation of Second Stanza 615 Ho-o-o! An introductory exclamation. 614 Ti kiri ka, hirati hao! ti, he. kiri, a part of the word kiriku, eyes. ka, a part of the word taka, to become visible, to be seen. hirati, my or mine. See explanation of the word in line 609. hao, offspring, my own child. 615 See line 614. 13 THE HAKO, A PAWNEE CEREMONY [BTH. ANN, 22 616 Pirao rati hao. pirao, child, a general term, anybody’s child. rati, a part of the word hirati, my. hao, my own child. 617 Ti kirika. Ha! Witahesha! ti kiri ka. See line 614. ha! behold! Wita, coming. hesha, a part of the word tahesha, daylight. Explanation by the Kurahus While the messengers are going from one lodge to another to awake the people and bid them come to the lodge where the ceremony is being performed, we sing this second stanza. It tells that the Son, now become as our own offspring, has gone forth to awake the Children, who have heard his call, and now, behold! they come forth to look upon the light of day. This stanza is sung four times. ELEVENTH RITUAL (SECOND DAY). THE MALE ELEMENT INVOKED Part I. CHANT TO THE SUN Kaplanation by the Kwrahus On this, the second day of the ceremony, we remember our father the Sun. The sun comes direetly from Tira’wa atius, and whoever is touched by the first rays of the sun in the morning receives new life and strength which have been brought straight from the power above. The first rays of the sun are like a young man, they have not yet spent their force or grown old, so, to be touched by them is to receive an accession of strength. The door of the lodge where the ceremony is performed must face the east, so that the first rays of the sun can enter and reach the Children. I believe that as we sing this song and as the first rays touch the Children they will receive help and strength. Iwas told by my predecessor that it would be so, and he was taught by those who had received the knowledge from the fathers; therefore I tell the same to the Children. All the time Iam singing this song I remember the Sun, the Moon, the Stars, the Corn; all these were made by Tira wa atius, and I ask them to give us suecess and plenty; success in hunt- ing and in war; plenty of food, of children, and of health. The Sun, the Moon, the Stars, the Corn, are powerful. The Children, who have been aroused by the messengers of the Son, gather at the lodge before the sun is up. They must be there when the first ray appears if they would gain its blessing. As soon as we who are standing at the west of the lodge, looking through the doorway, catch sight of the first ray of the sun on the horizon, we take up the Hako and move by the north to make a first circuit of the lodge, and sing the first verse of this chant. FLETCHER] ELEVENTH RITUAL, PART 1 135 CHANT Words and Musie . M. M. N=120. = Pulsation of the voice. Transcribed hy Edwin S. Tracy. 4 sveesee SSE SSS Se ss Sl = as Ho-o-o! Hi-ra h’A-ars i- ra - a, we-re hu-ka-wi, hu-ru ka ha-a Drum. ¢ ef @ #0 @ @ a 1666 e@ose @ #@ @ of © @ @ Rattles. af td es bee —— i — — eo ———=— | 2 SS a ae a a a hu-ka-wi, hu-ru ka hu-ka- wi, hu-ka-wi hu-ru_ ka_ ha. Py : oa) is! #: 88 aero e I Of eee ef el A cl ee meee a A I 618 Ho-o-o! 619 Hira h’Aars ira-a. were hukawi, huru ka ha-a hukawi, huru ka hukawi, hukawi hurn ka ha. IL 620 Ho-o-o! 621 Hira h’Aars ira-a, were hukawi, ta kusi hi-i hukawi, ta kusi hukawi., hukawi ta kusi hi. Ill 622 Ho-o-o! 623 Hira h’Aars ira-a, were hukawi, ta wira ka-a hukawi, ta wira hukawi, hukawi ta wira ha. IV 624 Ho-o-o! 625 Hira h’Aars ira-a. were huxawi, ka hakidhihi hukawi, ka _ hakidhihi hukawi, hukawi ka hakidhihi. y 626 Ho-o-o! 627 Hira h’Aars ira-a, were hukawi. ka waraha ha hukawi, ka waraha hukawi, hukawi ka waraha. VI 628 Ho-o-o! 629 Hira h’Aars ira-a, were bukawi, ta wara ka-a hukawi, ta wara hukawi, hukawi ta wara ha. Vil 630 Ho-o-o! 631 Hira h’Aars ira-a, were hukawi. ta riki hi-i hukawi, ta riki hukawi, hukawi ta riki hi. VIII 632 Ho-o-o! Hira h’Aars ira-a, were hukawi, ta witspa ha-a hukawi, ta witspa hukawi, hukawi ta witspa ha. 136 THE HAKO, A PAWNEE CEREMONY (erH. ANN, 22 Translation of First Verse 618. Tlo-o-o! An introductory exclamation. 619 Hira H’Aars ira-a, were hukawi, huru ka ha-a hukawi, huru ka hukawi, hukawi huru ka ha. hira, will come. The word is ira, the h is added for euphony and greater ease in singing. W’, the symbol of breath, life, breathing forth, giving life. aars, a contraction of atius, father. ira, will come. a, a prolongation of the last syllable of iva. were, at that time, when, or then. hukawi, the ray or beam of the sun. huru, entering. ka, a part of akaro, lodge. Ka, however, refers to the open space within, around the fireplace, where the people gather, where they sit and pursue their avocations. ha-a, a prolongation of ka. hukawi, huru ka hukawi, hukawi huru ka ha. All the words are translated above. Explanation by the Ku'rahus We speak of the sun as Father breathing forth life (h’Aars), causing the earth to bring forth, making all things to grow. We think of the sun, which comes direct from Tira’wa atius, the father of life, and his ray (hukawi) as the bearer of this life. (You have seen this ray as it comes through a little hole or crack.) While we sing, this ray enters the door of the lodge to bring strength and power to all within. We sing this verse four times as we go around the lodge. When we reach the west we pause. Food, which has been prepared outside the lodge, is now brought in, and the Children are given their morning meal. Then we sing the second verse. Translation of Second Verse 7 lat S Pl 620 Ho-o-o! An introductory exclamation. 621 Hira h’Aars ira-a, were hukawi, ta kusi hi-i hukawi, ta kusi hukawi, hukawi ta kusi hi. hira h’ Aars ira-a, were hukawi. See line 619. ta, a spot; the word refers to the place where the ray touches and makes a bright spot. kusi, alights upon, rests upon. hi, a part of hira, will come. See line 619. i, a prolongation of the syllable hi. hukawi, the ray or beam of the sun. ta kusi hukawi, hukawi ta kusi hi. Translated above. Explanation by the Kwrahus As the sun rises higher the ray, which is its messenger, alights FLETCHER] ELEVENTH RITUAL, PART I 137 upon the edge of the central opening in the roof of the lodge, right over the fireplace. We see the spot (ta), the sign of its touch, and we know that the ray is there. The fire holds an important place in the lodge; you remember we sang about it when we were preparing the sacred objects (first ritual, first song, line 49). Father Sun is sending life by his messenger to this central place in the lodge. As we sing we look at the bright spot where the ray has alighted, and we know that life from our father the Sun will come to us by the ray. We sing this verse four times, and when we have completed the see- ond circuit of the lodge and have reached the west we pause. Translation of Third Verse 622 Ho-o-o! An introductory exclamation. 625 Hira h’Aars irva-a, were hukawi, ta wira ka-a hukawi, ta wira hukawi, hukawi ta wira ha. hira h’Aars ira-a, were hukawi. See line 619. ta, the spot, the place that is touched by the ray wira, climbing down, descending into. ka, a part of the word akaro, lodge. a, a vowel prolongation. hukawi, the ray or beam. ta wira hukawi, hukawi ta wira. Translated above. ha, a voeable to fill out the measure. Explanation by the Ku'rahus As the sun rises higher we turn toward the north and begin the third circuit of the lodge. The ray is now climbing down into the lodge. We watch the spot where it has alighted. It moves over the edge of the opening above the fireplace and descends into the lodge, and we sing that life from our father the Sun will come to us by his messenger, the ray, which is now climbing down into the space within the lodge where we are gathered together. We sing this verse four times, and after the third circuit we pause at the west. Translation of Fourth Verse 624 Ho-o-o0! An introductory exclamation. 625 Hira h’Aars ira-a, were hukawi, ka hakidhihi hukawi, ka haki- dhiki hukawi, hukawi ka hakidhihi. hira h’Aars ira-a, were hukawi. See line 619. ka, a part of the word akaro, lodge, particularly the space within the lodge, about the fire. hakidhiki, walking, moving about the room, the open space within the lodge. hukawi, the ray. ka hakidhiki hukawi, hukawi ka hakidhiki. Translated above. 138 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Explanation by the Ku'rahus When the spot where the ray has alighted reaches the floor, we turn toward the north and begin the fourth circuit of the lodge. Now the spot is walking here and there within the lodge, touching different places. We know that the ray will bring strength and power from our father the Sun as it walks within the lodge. Our hearts are glad and thankful as we sing. When we reach the west the fourth circuit is completed. Then we lay the Hako down upon the holy place and sing the songs which tell what that act means. The first four verses of this chant are sung in the morning; they follow the movements of the ray. When the spot has reached the floor we stop singing and do not begin again until the afternoon, so that our song can accompany the ray as it leaves the lodge, touches the hills, and finally returns to the sun. ‘ All through the ceremony we must be careful as to the time when we sing the songs, for each has its own time of day. If we do not observe this teaching of our fathers we shall fail to receive the benefits of the ceremony. Between the two parts other songs can be sung; it will not interfere with this chant to the Sun. Translation of Fifth Verse 626 Ho-o-o! An introductory exclamation. 627 Hira h’ Aars ira-a, were hukawi, ka waraha ha hukawi, ka waraha hukawi, hukawi ka waraha. hira h’Aars ira-a, were hukawi. See line 619, ka, a part of the word akaro, lodge, the space within. waraha, walked here and there, in different parts of the lodge. ha, a repetition and prolongation of the last syllable of waraha. hukawi, ka waraha hukawi, hukawi ka waraha. Translated above. Explanation by the Ku'rahus In the afternoon when we observe that the spot has moved around the lodge, as the sun has passed over the heavens, we sing the fifth verse. The ray has touched the Children and all of us as it has walked here and there in different parts of the lodge. It has brought strength to us from our father the Sun. We sing the verse four times as we make the first circuit of the lodge, and we pause when the west is reached. = — a «See pages 111-116 for these songs. FLETCHER |] ELEVENTH RITUAL, PART 1 139 Tranlation of Sixth Verse 628 Ho-o-0! An introductory exclamation. 629 Hira h’Aars ira-a, were hukawi, ta wara ka-a hukawi, ta wara hukawi, hukawi ta wara ha. hira h’Aars ira-a, were hukawi. See line 619. ta, the spot, the place where the ray touches. wara, climbing up, ascending. ka, a part of akaro, lodge, the space within the lodge. a, a vowel prolongation. hukawi, ta wara hukawi, hukawi ta wara. Translated above. ha, a voeable to fill out the measure. Explanation by the Ku rahus After a little time we see the spot leave the floor of the lodge and climb up toward the opening over the fireplace, where it had entered in the morning. As we see it climbing up out of the lodge and leay- ing us we sing this verse four times. We reach the west at the completion of the second cireuit of the lodge, and there we pause. Translation of Seventh Verse 630 Ho-o-o! An introductory exclamation. 631 Tira h’Aars ira-a, were hukawi, ta riki hi-i hukawi, ta riki hukawi, hukawi ta riki hi. hira h’Aars iva-a, were hukawi. See line 619. ta, the spot, the place touched by the ray. riki, standing. hi, a part of hiri, will come. See above. i, a vowel prolongation. hukawi, ta riki hukawi, hukawita riki hi. Translated above. Explanation by the Ku'rahus Later, when the sun is sinking in the west, the land is in shadow, only on the top of the hills toward the east can the spot, the sign of the ray’s touch, be seen. Then we sing this stanza as we go around the lodge the third time. The ray of Father Sun, who breathes forth life, is standing on the edge of the hills. We remember that in the morning it had stood on the edge of the opening in the roof of the lodge over the fireplace; mow it stands on the edge of the hills that, like the walls of a lodge, inclose the land where the people dwell. When the third circuit of the lodge is completed we again pause at the west. 140 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 Translation of Eighth Verse 632 Ho-o-o! An introductory exclamation. 633 Hira h’Aars ira-a, were hukawi, ta witspa ha-a hukawi, ta witspa hukawi, hukawi ta witspa ha. hira h’Aars ira-a, were hukawi. See line 619. ta, the spot, the place touched by the ray. witspa, destination, the end of a journey, a completion. ha-a, a prolongation of the last syllable of witspa. hukawi, ta witspa hukawi, hukawi ta witspa ha. Translated above. Explanation by the Ku'rahus When the spot, the sign of the ray, the messenger of our father the Sun, has left the tops of the hills and passed from our sight, we sing this verse as we make the fourth cireuit of the lodge. We know that the ray which was sent to bring us strength has now gone back to the place whence it came. Weare thankful to our father the Sun for that which he has sent us by his ray. At the west we lay the Hako down to rest and sing the songs which belong to that action.“ Part II. Day Sones Explanation by the Ku'rahus We sing each stanza of the two following songs four times, and we make four circuits of the lodge, one stanza to a circuit; then we lay the Hako down to rest with songs that belong to that act.“ SONG Words and Music M. M. N=112. Pulsation of the voice. Transcribed by Edwin S. Tracy. eas Ses aS fee Z 5 a3= as Ha-a-a-a! Ha! Re-ri-re-a-wa; | Ha! Re-ri-re-a-wa.pi-ras-ki ka si - ri hu-ra! n ’ A A A A Drum. eeee eoeee ee ee e e ° e e e ee e2eee Ratiles ae — — = — | — = | == 2»: _t-4 = Ca == == == =f oes peat eos Shs Ha! Re-ri- re-a-wa; Ha! Re-ri - re-a-wa, pi-ras-ki ka si - ri hu-ra! edi Com carae cal pag cepa RT Gy ga I 6384 Ha-a-a-a! 635 Ha! Rerireawa; Ha! Rerireawa, piraski ka siri hura! 636 Ha! Rerireawa: Ha! Rerireawa. piraski ka siri hura! II 637 Ha-a-a-a! 638 Ha! Rerireawa; Ha! Rerireawa, piraski kat tsiri huwa! 639 Ha! Rerireawa; Ha! Rerireawa. gene kat tsiri huwa! aSee pages 111-116 for these songs. FLETCHER] ELEVENTH RITUAL, PART II 141 Translation of First Stanza 634 Ha-a-a-a! An introductory exclamation. 635 Ha! Rerireawa; Ha! Rerireawa, piraski ka siri hura. ha! an exclamation directing attention; in this instance, hark! listen! rerireawa, the sound made by the flapping of wings, as in the alighting of birds. piraski, boys. ka, now, a form of command. siri, you. hura, come. 636 See line 635. Explanation by the Ku'rahus This song likens the bustle and stir of the Hako party as it comes into the village to the flapping of the wings of a flock of birds as they come to a place and alight. It refers also to the birds represented on the feathered stems—the eagle, the duck, the woodpecker, and the owl. The noise of the wings of these birds is what is meant, for they are moving with the Fathers toward the Children. In this stanza the Fathers speak: ‘‘ Hark to the sound of wings! The Hako is here, Now, boys, you are to come forward!” That is, the Children are now to send their gifts of ponies to the Fathers as a return for the promised good brought to them by the Hako. The ponies are always led up to the Fathers by a small boy, the child of the man making the gift. Translation of Second Stanza 637 Ha-a-a-a! An introductory exclamation. 638 Ha! Rerireawa; Ha! Rerireawa, piraski kat tsiri huwa. ha! hark! listen! rerireawa, the sound of the wings of birds as they alight. piraski, boys. kat, come, the response to the command ka, come. tsiri, we. huwa, go. 639 See line 638. Explanation by the Ku'rahus The second stanza is a response to the call made by the Fathers. The people in the camp say, ‘‘Tark! The Hako comes. Now we go to meet the Fathers with our gifts.” 142 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 SONG : Words and Music M. M. iN = 132. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. eer are ee oo SSS ~ Pe Ho-o-o0-0! — I-ri! 5 ko ti-wera-turiwi-cha; J-ri! Ha-ko _ ti-we ra-tu ri wi-cha; Drum gees eee e oe se oe eerste ee ee ee TA ey els ep) toed = = ay eS = = — a) dsewceuwanc's we ra-tu ri wi-cha; I - ril a-ko ti- wera-tu ri wi-cha. A A A A A A ee P) e e 2 © id i ! f f ! f f | ' ) 6 4 L I 640 Ho-o-0-o! 641 Iri! Hako tiwe ratu ri wicha: 642 Tri! Hako tiwe ratu ri wicha; we ratu ri wicha; 643 Tri! Hako tiwe ratu ri wicha. II 644 Ho-o-o0-o! 645 Tri! Hako tiwe rus kori wicha: 646 ri! Hako tiwe rus kori wicha; we rus kori wicha; 647 Iri! Hako tiwe rus kori wicha. Translation of First Stanza 640 Ho-o-0-0! An introductory exclamation. 641 Jri! Hako tiwe ratu ri wicha. iri! a part of nawairi! an exclamation of thankfulness, of grati- tude, of confidence. Hako, the general term for the symbolic objects peculiar to this ceremony. tiwe, have. ratu, to me; ri, modified from the word tara, to bring. wicha, reached a destination, arrived. 642 Tri! ako tiwe ratu ri wicha; we ratu ri wicha. Tri! Hako tiwe ratu ri wiecha. See line 641. we, a part of the word tiwe, have. ratu ri wicha. See line 641. 645 See line 641. FLETCHER | ELEVENTH RITUAL, PART II 148 Explanation by the Kwrahus In the first stanza the Fathers speak. They tell the Children that with the Ilako comes the promise of good. For this thanks are given to Mother Corn, who has led us to the Son, and also to the birds upon the Hako, which come from Tira’wa atius and make us father and son. Translation of Second Stanza 644 Tlo-o-0-0! An introductory exelamation. 645 Tri! Hako tiwe rus kori wicha. iri! a part of nawairi! an exclamation of thankfulness. Hako, thessymbolic objects peculiar to this ceremony. tiwe, have. rus, a modified form of the word wasu, you. kori, you bring. The word implies that what you bring is something that is yours, or something over which you have control, wicha, reached a destination; arrived. 646 Tri! Hako tiwe rus kori wicha, we rus kori wicha. Tri! Hako tiwe rus kori wicha. See line 645. we, a part of the word tiwe, have. rus kori wicha. See line 645. 647 See line 645. Explanation by the Kwrahus In the second stanza the Children respond. They thank the Fathers for bringing the Hako, and they thank all the powers repre- sented on the Hako. Their hearts are glad, for they are to be as sons. I have explained to you that there are certain songs to be sung at certain times and in a fixed order, but there are not enough of these songs to fill all the time of the ceremony. It may be that the Children who wish to make presents will ask the Fathers to sing for them, and there are several songs that can be sung at such times. All songs must be chosen in reference to the time. Songs of the visions can only be sung at night. Songs like the following one of Mother Corn can be sung in the daytime, and in the night after the day when we sing of the earth and have had the sacred corn cere- mony, but can not be sung in any other night. None of these extra songs can interrupt those which have a fixed sequence. 144 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 EXTRA DAY SONG Words and Music M. M. J=116. += Pulsation of the voice. Transcribed by Edwin S. Tracy. ——- _ = es ——— =- — —=—+—_|-F = J — a Ss =E= zs — eS se SS SS Ho-o-0-0! H’ A-ti-ra!...... A ACti= rales H’ A-ti- ra! Ki-ra i - tsi. Drum.,ed p P ° ° P ‘ 3 Ratties. | felts (7 anne nnn nnn hati r nett, ie r f r r — = —— =e : = —— ===. oe. See == = = : = — =f e H’ A-ti - ra! Koi rae tst wa - ha - ra. ee eee miro glatg Miley i= I 648 Ho-o0-0-o! 649 H’Atira! H’Atira! H’Atira! Kira itsi. 650 H’Atira! H’Atira! Kira itsi wahara. II 51 Ho-o0-0-0! 652 H’Atira! H’Atira! H’Atira! Kira tatsi. 53 H’Atira! H’Atira! Kira tatsi wahara. Ill 54 Ho-o-0-0! 655 H’Atira! H’Atira! H’Atira! Kira itsi. 56 H’Atira! H’Atira! Kira itsi wehitshpa. IV 657 Ho-o-o0-o! 658 H’Atira! H’Atira! H’Atira! Kira tatsi. 659 H’Atira! H’Atira! Kira tatsi wehitshpa. Translation I 648 Ho-o-0-0! An introductory exclamation. 649 H’Atira! H’Atira! H’Atira! Kira itsi. l’, the symbol of breath, life. atira, mother. The term refers to the corn. kira, now, at this time, under these conditions. itsi, let us. 650 WAtira! H’Atira! Kira itsi wahara. WAtira! H’Atira! Kiraitsi. See line 649. wahara, go. FLETCHER] ELEVENTH RITUAL, PART II 145 II 651 Ho-o-0-0! An introductory exclamation. 652 H’Atira! H’Atira! H’Atira! Kira tatsi. h’Atira. See line 649, kira, now. tatsi, we are. 653 H’Atira! H’Atira! Kira tatsi wahara. H’Atira! H’Atira! Kira tatsi. See lines 649, 652. wahara, go, going. Ill 654 Ho-o-o-o! An introductory exclamation. 655 See line 649. 656 WAtira! HWAtira! Wira itsi wehitshpa. HW Atira! H’Atira! Kira itsi. See line 649. wehitshpa, to approach one’s destination, the object of one’s journey, or the end sought after. IV 657 Ho-o-o-o! An iniroductory exclamation. 658 See line 652. 659 IVAtira! H?Atira! Kira tatsi wehitshpa. WAtira! H’Atira! Kira tatsi. See lines 649, 652. wehitshpa, to approach one’s destination. Explanation by the Kw'rahus This song is a prayer to Mother Corn to give life and plenty to us all, and to make strong the bond between the Fathers and the Chil- dren, by the power granted to her by Tira’wa atius. In the first stanza we ask Mother Corn, who breaths forth life and gives food to her children, to lead us to the Son. In the second stanza we sing that she consents, and we start upon our way with our mother. In the third stanza we ask Mother Corn if we are drawing near to the Son. In the fourth stanza we see our journey’s end; we are approaching our destination, led by her who breathes forth life to her children. We sing each stanza four times and make four circuits of the lodge as we sing this song; at the west we pause and there lay down the Hako upon the holy place, singing as we doso the songs which belong to that action.¢ a See pages 111-116 for these songs. 22 pera—rr 2—04——10 PAWNEE CEREMONY [ETH. ANN. 22 146 THE HAKO, A EXTRA DAY SONG Words and Music M. M. N=116. - = Pulsation of the voice. Transcribed by Edwin 8. Tracy. re >a Ho-o-0-o! Ki ru-ra hi? Ki ru-ra-a, ki ru-ra-a, Ligee ele eet, See iat? Drum. peoe e Rattles.) SS SS = — = Ki ru-ra hi? Ki ru-ra-a, et ge eee peace Ok al ne ae ‘ I ars s . ~— eS ki ru- ra-a hi? A er ——_ -ru-sha - ha? A n Bish act et II 660 Ho-o-o0-0! 666 Ho-o0-0-0! 661 Ki rura hi? 667 Tru ra-a; 662 Ki rura-a. ki rura-a, ki rura-a hi? 668 Iru ra-a, iru ra-a, iru ra-a hi; 663 Ki rura hi? 669 Tru ra-a: 664 Ki rura-a, ki rura-a hi? 670 Iru ra-a, iru ra-a hi; 665 Arushaha? 671 Arushaha. Translation I 660 Tio-o-0-o! An introductory exclamation. 661 I= = eS = ss <5 ha! Ha-wa! Ka ta-sha-a; ha! Hi-ri! Ka-sha- ru ka-ta-sha-a - a; hal A ys A A A A bias ° ¢ e e e e pie ‘ = a 2 707 Ho-o-o! 708 Hiri! Kasharu katasha-a; ha! 709 Hiri! Kasharu katasha-a-a; ha! 710 Hawa! Katasha-a; ha! 711 Hiri! Kasharu katasha-a-a; ha! FLETCHER] TWELFTH RITUAL il 707 708 709 710 7/Alal ou ey) II 712 Ho-o-o! 718 He! Hitkasharu shkatasha-a; ha! 714 He! Hitkasharu shkatasha-a-a; ha! 715 Hawa! Shkatasha-a; ha! 716 He! Hitkasharu shkatasha-a-a; ha! Il 717 Ho-o-o! 718 Hiri! Kasharu katata-a; ha! 719 Hiri! Kasharu katata-a-a; ha! 720 Hari! Katata-a; ha! 721 Hiri! Kasharu katata-a-a; ha! IV 722 Ho-o-o! 723 He! Hitkasharu shkatata-a; ha! 724. He! Hitkasharu shkatata-a-a; ha! 725 Hari! Shkatata-a; ha! 726 He! Hitkasharu shkatata-a-a; ha! Vv ~ 1 Ho-o-o! He! Hitshkasharu kitta sha-a; ha! He! Hitshkasharu kitta sha-a-a; ha! Hari! Kitta sha-a; ha! He! Hitshkasharu kitta sha-a-a; ha! va ~P te 2 7 ow WW wm WwW pare VI 732 Ho-o-o! 733 He! Hitkasharu shkitta sha-a; ha! 734 He! Hitkasharu shkitta sha-a-a; ha! 735 Hari! Shkitta sha-a; ha! 736 He! Hitkasharu shkitta sha-a-a; ha! Translation of I Ho-o-0! An introductory explanation. Hiri! Kasharu katasha-a; ha! hiri! an exclamation, give heed! harken! the word implies reverent feeling. kasharu; ka, from rotkaharu, night; sharu, vision, dream. Katasha, the place where the visions dwell. a, vowel prolongation. ha! behold! See line 708. Hawa! fKatasha-a; ha! hawa, truly; the word refers to something singular in number. Katasha-a; ha! See line 708. See line 708. 154 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 II 2 Ho-o-0! An introduetory exclamation. 5 He! Witkasharu shkatasha-a; ha! he! an exclamation calling attention to a subject or teaching. hitkasharu; hit, from hittu, feather; ka, from rotkaharu, night; sharu, dream, vision; the visions brought by the birds of the Hako. Shkatasha; sh, a prefix denoting feminine gender; Katasha, the place where the visions dwell when they are at rest. a, vowel prolongation. ha! behold! 714. See line 713. 715 UHawa! Shkatasha-a; ha! See lines 710, 713. 716 See line 713. Ill 717 Ho-o-0! An introductory exclamation. 718 Hiri! Kasharu katata-a; ha. hiri! harken! give heed! kasharu, night visions or dreams. See line 708. katata, climbing. a, vowel prolongation. ha! behold! 719 See line 718. 720 Hari! Katata-a; ha! hari, truly. The word refers to more than one; it is plural. katata-a; ha! See line 718. 721 See line 718. TV; 722 Tlo-o-o! An introductory exclamation. 723 He! Hitkasharu shkatata-a; ha! he! an exclamation ealling attention to a teaching. hitkasharu, feather night dreams. See line 715. shkatata; sh, feminine prefix; katata, climbing. The word implies that the visions which were climbing were femi- nine, those which belonged to the brown eagle feathered stem. a, vowel prolongation. ha! behold! 724 See line 723. 725 Hari! Shkatata-a; ha! hari, truly. The word is plural. shkatata-a; ha! Translated above; see line 725. 726 See line 723. FLETCHER | TWELFTH RITUAL 155 y 727 Ho-o-o! An introductory exclamation . 728 He! Hitshkasharu kitta sha-a; ha! he! an exclamation calling attention to a teaching. hitshkasharu; hit, from hittu, feather; sh, feminine prefix; ka from rotkaharu, night; sharu, dreams, visions. The composite word refers to the visions which pertain to the promises of the Hako ceremony. kitta, the top; refers to the locality of Katasha, the dwelling place of the visions. sha, lying down, as to rest. a, vowel prolongation. ha! behold! 729 See line 728. 730 Hari! Kitta sha-a; ha! hari, truly; plural number. kitta sha-a; ha! See line 728. 731 See line 728. VI 732 Ho-o-0! An introductory exclamation. 733 He! Hitkasharu shkitta sha-a; ha! he! an exclamation calling attention to a teaching. hitkasharu, feather night dreams. See line 713. shkitta, sh, feminine prefix; kitta, the top. sha, lying down, reposing. a, vowel prolongation. ° ha! behold! 34 See line 735. 35 Wari! Shkitta sha-a; ha! See lines 730, > ) 59 6 See line 733. 99 oo. Explanation by the Ku'rahus Visions come in the night, for spirits can travel better by night than by day. Visions come from Katasha, the place where they dwell. This place is up in the sky, just below where Tira’wa atius appointed the dwelling place of the lesser powers (eighth ritual, part I, second song). Katasha, the place where the visions dwell, is near the dwelling place of the lesser powers, so they can summon any vision they wish to send to us. When a vision is sent by the powers, it descends and goes to the person designated, who sees the vision and hears what it has to say; then, as day approaches, the vision ascends to its dwelling place, Katasha, and there it lies at rest until it is called again. This song tells about Katasha, where the visions dwell. This is its story: 06 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 A holy man who lived long ago, no one knows how long, for there have been many generations since, hada dream. He was taken up to the place where all the visions dwell, those that belong to Kawas, the brown eagle, and those that belong to the white eagle, the male. While he was there the day began to dawn and he saw the visions that had been sent down to earth come climbing up, and he recognized among them some of the visions that had visited him in the past. Then he knew of a truth that all visions of every kind dwell above in Katasha, and that they descend thence to us in the night, and that as the day dawns they ascend, returning to rest in their dwelling place. The holy man made this song about his dream and told its meaning, and the song and the story have been handed down to us that we might know where visions come from, where they dwell and where they go to when they depart from us. Among the Pawnees there are shrines, in the keeping of certain men, which contain articles that are used in the sacred ceremonies of the different bands of the tribe. These shrines are very old, they were given by the lesser powers to our fathers with a knowledge of their contents and how to use them. An ear of corn belongs to one of these shrines. It is a peculiar ear. It is white, with perfect and straight lines of kernels, and there is a tassel on its tip. In the fall the priest of the shrine tells the women to look carefully for such ears when they gather their corn, for Tira’wa causes such ears to grow in the fields for the purposes of this shrine and they belong to it. The little tassel on the tip of the ear of corn represents the feather worn on the head of the warrior. The sacred ear of corn is sometimes borrowed from the priest by the leader of a war party. The ear of corn is born of Mother Earth, she knows all places and the acts of all men who walk the earth, so she is a leader. Sometimes a young man who proposed going to war would request the following song to be sung. He desiredsuccess and wished Mother Corn to lead him. © After the Hako ceremony was over he would borrow a sacred ear of corn and put it in a pack which the leader of the war party would sling upon his back. When the party was suc- cessful, he would thrust into the ground the stick upon which the ear of corn was tied and as this ear stood before him he would give thanks to it for having led him in safety. FLETCHER] TWELFTH RITUAL IUS7 EXTRA NIGHT SONG Words and Musie M. M. Melody. |= 60. M. M. Drum. j= 20. - = Pulsation of the voice. Transcribed by Edwin S. Tracy. =. == o === = = == [eras = E= ———= = = be = —_ Ha - va eal AGN initio wTa loeecae Waites ras 4 hin=ia ss Drum. 2. 2) a oe 6 Rattles. a eal f UP nn nnn nnn nnn none | Ye Oe (| _—— : = — = Ga SSS SS SS Se Hi - ri! Hi - ril Ri whi-e ri; Sa-wira-re ka wa-ra, sa-wi ra- [ Cini Ce Co Pama CIM Pl treie a iere laa A.” Pate ——— —=—_— << —— ———— sot eS SS = == 3s Fe = eS an =-ffl ——s —s= : = == = re ka wa-ra IAS = tie = ire A - ti- ra hi- ra - a 737 Ha-a-a-a-a-a! 738 Atira! Atira hira i; 739 Hiri! Hiri! Ri whie ri; 740 Sawi rare ka wara, sawi rare ka wara; 741 Atira! Atira hira-a. II 742 Ha-a-a-a-a-a! 743 Hitkasharu, hitkasharn, iri! 744 Hiri! Hiri! Riraii; 745 Sawi rare ka wara, sawi rare ka wara; 746 Hitkasharu, hitkasharu, iri! Translation I 757 Ha-a-a-a-a-a! An introductory exclamation. 738 Atira! Atira hira i. atira, mother. The term applied to the ear of corn. hira, coming. i, it; refers to the corn. 739 Hiri! Hiri! Ri whie ri. hiri! harken! give heed! ri, has, possesses. whie, it, within itself. , has. 740 Sawi rare ka wara, sawi rare ka wara. sawi, part of asawiu, a trap or snare. rare, it has a likeness to. ka, part of akaro, the open space bounded by the horizon. wara, walking. 158 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 741 0 »@ e eo @ o « Rattles. & sd _ = os t & & z) —— ce f ————— === == SS SS —————— ——— = 4. = 4 = —— aril vr _e e OO hi ru - ra e; Kits Sti-ra ka-ra-ka - we? Kits Sti-ra ka-ra-ka - we? i , ; nD ; ; - 3 j e e e e e e e es e e oe P eo e P ° ¢ eet a pa SSS 5 == ae ee [é- = SS SS SS ——— = SS =a =) == a a ee Ce oF Oe Hi ru - ra e; E- ru! Ra hi ra hi ru- ra e. e e e e s . e e e nd 6 5 2 2 —— —== — —— — —< 160 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 I 747 Eru! Ra hira hirurae; 748 Eru! Ra hira hirurae; 749 Kits Stira karakawe? Kits Stira karakawe? Hi rura e; 750 Eru! Ra hi ra hi rurae. II 51 Eru! Ra hira hi rurae; 52 Eru! Rahira hirurae; 53 Kits Stira karatawi; kits Stira karatawi; hi rura e; 54 Eru! Rahira hi rurae. PF 2 5 i Translation I 747 Eru! Ra hira hirurae. eru! an exclamation of reverence. ra, part of rura, coming. hi, 1b: ra, coming. hi, it. rura, coming. e, vocable. 748 See line 747. 749 Kits Stira karakawe? Kits Stira karakawe? Hi rura e. kits, an abbreviation of kerits? is it? stira; s, feminine sign; tira, part of atira, mother; refers to the ear of corn. karakawe? is it inside? hirurae. See line 747. 50 See line 747. II 751,752 See the first stanza, line 747. 753 Kits Stira karatawi; kits Stira karatawi; hi rura e. kits? is it? See the first stanza, line 749. stira, she who is the mother, the corn. See the first stanza, line 749. karatawi, it is hung up. Refers to the shrine in which the sacred ear is kept being hung on one of the posts within the lodge of the priest. hi rura e, translated above. See the first stanza, line 747. 754 See line 747. Explanation of Ku'rahus About midnight the Children disperse to their homes and all the members of the Father’s party except those who must remain in the FLETCHER] TWELFTH AND THIRTEENTH RITUALS 161 lodge in charge of the Hako go to their tents. Soon all is quiet within the lodge, the fire burns down to coals and every one sleeps except the man on guard. Te must watch through the night and give warn- ing of the first sign of a change in the appearance of the east. As soon as this is seen the skins that hang over the doors of the lodge are lifted and the Ku'rahus makes ready to repeat the songs to the Dawn (tenth ritual). We sing these sacred songs at the dawn of the second day, the day when we chant to our father the Sun, and we sing them again at the dawn of the third day, when we sing to our mother the Earth. THIRTEENTH RITUAL (THIRD DAY). THE FEMALE ELEMENT INVOKED Part I. THE SacRED FEAST OF CORN Explanation by the Ku'rahus With the morning sun the Children gather at the lodge to receive their morning meal given them by the Fathers. Soon afterward the sacred feast of the Corn takes place. For this feast the Children pre- pare the food in the manner our fathers did. They pound the dried corn in a wooden mortar and boil the coarse meal until it is thoroughly cooked. They do this in their own homes and then carry the food in the kettles in which it has been cooked to the lodge where the ceremony is being performed, and set them near the fireplace toward the southeast, where wooden bowls and horn spoons have been pro- vided for the occasion. When all the company have been seated the Fathers ladle out the food into the bowls. The Ku'rahus takes up a little of the food on the tip of a spoon, offers it toward the east, flipping a particle toward the horizon line. He then passes to the north, drops a bit on the rim of the fireplace, and goes to the west, where, facing the east, he lifts the spoon toward the zenith, pauses, waves it to the four quarters and slowly lowers it to the earth and drops a bit on the rim of the fire- place. After this ceremony of offering thanks the filled bowls are placed before the people. Two or more persons take a few spoonfuls from the same bowl, then, hanging the spoons on the edge to prevent their falling into the food, they pass the bowl on to the next group at the left. In this way all the people partake of a common feast. Part Il. Sone to THE EARTH Explanation by the Ku'rahus On the third day of the ceremony it is the duty of the Ku'rahus to teach the Children concerning h’Uraru, Mother Earth, and of those 22 ErH—pr 2—04——11 162 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22 things which she brings forth to sustain the life of the people. The Ku rahus has received these teachings from older Ku’rahus, who also received them, and so on through generations back to the time when they were revealed to our fathers through a vision from the myste- rious powers above. A Ku'rahus must devote his life to learning these songs and their meaning and the ceremonies which accompany them. He must spend much of his time in thinking of these things and in praying to the mighty powers above. The Ku'rahus speaks to the Children and tells them that Tira’w: atius is the father of all things. Then the feathered stems are taken up and we sing again the song which we sang the first day before the Children had partaken of the food prepared for them by the Fathers. We sang it then remembering Tira’wa atius, the father of all, of whose gift of food we were about to receive. Now we sing it, remembering that he is the father of the sun which sends its ray, and of the earth which brings forth. FIRST SONG Words and Music M. M. J=126. + = Pulsation of the voice. Transcribed by Edwin 8. Tracy. A Ite = SS HWa-a-a-a! H’A-ars Ti-ra- wa ha-ki; H’A-ars Ti-ra-wa_ ha- ki; D ig A A A A [or Maman a ele wp (pele iede eae dienes tc A A =e VW’ A-ars Ti-ra-wa ha-ki; H’A-ars Ti-ra-wa ha -ki; H’ A-ars Ti-ra-wa ha -ki. i AvOlad alec: wenanelc suai ae = Ha-a-a-a! H’ Aars Tira’ wa haki; H’ Aars Tira wa haki; H’ Aars Tira'wa haki; H’ Aars Tira’ wa haki; H’ Aars Tira wa haki. Oo ou or ot oO ~I C or Yo} ow oe! J J. Se Ss | ow for} For translation, see eighth ritual, first song, page 107. Explanation by the Ku'rahus On the second cireuit of the lodge we sing the song which follows the first. It tells us that all the lesser powers are from Tira’wa atius, the father of all. As we sing we remember the power given to Mother Earth. FLETCHER] THIRTEENTH RITUAL, PART II 163 SECOND SONG M. M. }=126. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. i ) A ate =I =} my een —a ==S == = — = [ore ==7 “2 =—— — x = ss = ==; Ha-a-a-al! WA-ars e hel Ti-ra-wa ha-ki; I’ A-ars e he! A Oe ican let tt rin le te eke ah SiS He ages 1S eee Ti-ra-wa ha-ki; Hi-dhi! = Ti-ra-wa ha-ki; ws A-ars Ti-ra-wa ha-ki. A A PUGGeeeerR ee ee P= Ok 761 Ha-a-a-a! 762 H'Aarsehe! Tirawa haki; 763 H’Aarse he! Tirawa haki; 764 Hidhi! Tirawa haki; 765 H’Aars Tirawa haki. For translation, see eighth ritual, second song, page 108. Explanation by the Ku'rahus Now we begin the song of Mother Earth, making a circuit of the lodge to each of the eight stanzas, but not laying down the Hako at the close of the fourth circuit, nor at the end of the song. THIRD SONG Words and Music. M. M. S=1%6. ; - = Pulsation of the voice. Transcribed by Edwin S. Tracy. ak ‘— 2 A 2 = SSS Se SS = 2 lens =o Ses = SSey ie 42 =e s Ho-o-o! T-ri! H’U-ra-ru ti ra-sha-a; ha! I - ri! H? U-ra-ru ti ra - sha a; Tae dipil (aaile (ely me need idee? Ip ele ea oF oe =e =] ha! A-wa! Tira-sha-a;ha! JI - ri! H’U-ra-ru ti ra - sha-a; ha! Upkeep yp pl ial aa I II 766 Ho-o-o! 776 Ho-o-o! 767 Tri! H’Uraru ti rasha-a; ha! 777 Ka-a kaharu ti rasha-a; ha! 768 Iri! H’Uraruti rasha-a; ha! 778 Ka-a kaharu ti rasha-a; ha! 769 Awa! Ti rasha-a; ha! 779 Awa! Kaharu a; ha! 770 Tri! H’Uraru ti rasha-a; ha! 780 Ka-a kaharu ti rasha-a; ha! II IV 771 Ho-o-o! 781 Ho-o-o! 772 Iri! H’Uraru ko ti sha-a; ha! 782 Ka-a kaharu ko ti sha-a; ha! 773 ‘Iri! H’Uraru ko ti sha-a; ha! 783 Ka-a kaharu ko ti sha-a; ha! 774 Awa! Ko tisha-a; ha! 784 Awa! Ko ti sha-a; ha! 775 Iri! H’Uraru ko ti sha-a; ha! 785 Ka-a kaharu ko ti sha-a; ha! 164 THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22 ‘ V VII 786 Ho-o-o! 796 Ho-o-o! 787 Iri! Toharu ti rasha-a; ha! 797 Tri! Chaharu ti rasha-a; ha! 788 Iri! Toharu ti rasha-a; ha! 798 TIri! Chaharu ti rasha-a; ha! 789 Awa! Ti rasha-a; ha! 799 Awa! Tirasha-a; ha! 790 Iri! Toharu ti rasha-a; ha! 800 Iri! Chahairu ti rasha-a: ha! VI VIil 791 Ho-o-o! 801 Ho-o-o! 792 Iri! Toharu ko ti sha-a; ha! 802 Tri! Chaharu ko ti sha-a: ha! 793 Iri! Toharu ko ti sha-a; ha! 803 Tri! Chaharu ko ti sha-a; ha! 794 Awa! Ko tisha-a: ha! 804 Awa! Ko tisha-a; ha! 795 Tri! Toharu ko ti sha-a; ha! 805 Iri! Chaharu ko ti sha-a; ha! Translation of First Stanza 766 Ho-o-o! An introductory exclamation. 767 Iri! HUraru ti rasha-a; ha! iri, a part of nawairi, an expression of thankfulness. h’Uraru, the Earth, the fruitful Earth. ti, this here. rasha, lying. a, vowel prolongation. ba! behold. 68 See line 767. 69 Awa! Ti rasha-a; ha! awa, true, verily. ti rasha-a; ha! See line 767. 770 See line 767. Explanation by the Ku'rahus In the first stanza we sing: ‘‘ Behold! Here lies Mother Earth, for a truth she lies here to bring forth, and we give thanks that it is so.” Translation of Second Stanza 71 Ho-o-o! An introductory exclamation. 72 Tri! HW Uraru ko tisha-a. Ha! iri, a part of nawairi, an expression of thankfulness. WUraru, Mother Earth. ko, I am reminded to think of. ti, here. sha, a part of rasha, to lie, lying. a, vowel prolongation. ha! behold! 773 + See line 772. 774 Awa! Ko tisha-a; ha! awa, true, verily. ko ti sha-a; ha! See line 772. 775 See line 772. FLETCHER | THIRTEENTH RITUAL, PART II 165 Beplanation by the Ku'rahus In the second stanza the Children respond. They say that now they know of a truth that Tira’wa atius causes Mother Karth to lie here and bring forth, and they give thanks that it is so. Translation of Third Stanza 776 TWo-o-o! An introduetory exclamation. 777, —«—«Ka-a kaharu ti rasha-a; ha! ka, part of akaro, the stretch of land between the horizons. a, vowel prolongation. kaharu, a cultivated patch, as an aboriginal field of maize. ti, here. rasha, lying, lies. a, vowel prolongation. ha! behold! 778 See line 777. 779 Awa! Kaharu a; ha! awa, true, verily. kaharu, cultivated patches. a, vowel prolongation. ha! behold! 780 See line 777. Explanation by the Ku'rahus There are patches here and there over the land which are cultivated by the different families, where seed is put in Mother Earth, and she brings forth corn. In the third stanza we sing of these fields that lic on Mother Earth, where she brings forth corn for food, and bid the Children behold these fields and remember the power of Tira’wa atius with Mother Earth. Translation of Fourth Stanza 751 Ho-o-o! Moe ew wlete e = ~ VY rs HW A-ars Ti - ra-wa ha - a 15 re ars Ti- ra-wa ha - ki; H’ A-ars'Ti - ra-wa ha - ki. Fo Ree aie. We te Ie ly ge Momadade ce lee Mesa Goes 979 Ha-a-a-a! 982 H’Aars Tira’wa haki: 980 H’Aars Tira’ wa haki; 983 H’Aars Tira'wa haki; 981 H’Aars Tira’ wa haki; 984 H’Aars Tira’wa haki. For translation, see eighth ritual, lines 437-442. EIGHTH SONG Words and Music M. M. !=196. + = Pulsation of the voice. Transer cg by Is dwin S. Tracy. A reat > ei ere = = oS er eee zee =e SSS = oy) Ha-a-a- al WA-ars e hel Ti-ra-wa ha-ki; WW A-ars e he! TOE PY oy PYF Pte ie Sie Avie Weep ieee Sega eae Rattles. | | | | is SS Ss assss hes Ti-ra-wa pee Hi-dhi! = Ti-ra-wa hakis WA-ars Ti-ra-wa ha-ki. h A A A A PRegimemern witht tim tt ht a 2h 985 Ha-a-a-a! 988 Hidhi! Tira’wa haki; 986 H’Aarse he! Tira wa haki; 989 H’Aars Tira’wa haki. 987 H’Aarse he! Tira’wa haki; For translation, see eighth ritual, lines 443-447. Haplanation by the Ku'rahus The songs we sing during the last two circuits are the same that we sang when we prepared the Hako (first ritual). he first was when we painted the stem blue, the color of the sky, representing the abode of the powers above. The other was when we painted the stem green, the color of the covering of the fruitful earth. When we sang these songs we called upon the powers to come and give life and potency to the stems, and now we call upon them again asking for the fulfilment of the promises of the Hako. 200 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 NINTH SONG Words and Music MM NS 126. += Pulsation of the voice. Transcribed by Edwin S. Tracy. Ho 0-0-0! H’ a-re-ri, h’a-reri. He! H’a-re-ri, h’a-re-ri, h’a-re- Drum. ope a ° 7) o ber oie) op ¢ 0 Rattles. \ ue Cs — ——) | ! 2== = = = ri, re-ri, h’a-re-ri. He! HH’ a-re- ri, h’a- re-ri. ; - ‘ ; ; 3 @ ® ° e e e e e o 2 ri, h’a-re-ri. Hel re-ri, h’a- re- ri, re- ri, h'a-reri. He! H’ a-re- eet og Sa ee ay ets tery no ail pal call ae yeh Sr 990 Ho-o0-o-o! 991 H’areri, h’areri. He! 992 H’areri, h’areri, h’areri, reri. h’areri. He! 993 H’areri, h’areri. He! 994 Reri, h’areri, h’areri, reri, h’areri. He! 995 H’areri, h’areri. He! For translation, see the first ritual, lines 66-71. TENTH SONG Words and Musie M. M. S=126. e = Pulsation of the voice. Transcribed by Edwin S. Tracy. H’ a-re- ri, h’2 - ha - re Drum. a o © e o o o e ° Py ° P) ° o e RAS. sma —— i! a — — oe — SS SS ee =e SS es == =) rs pe = as I SS Sa a ee a ag | | = = === Se Io ee a ae ee ee ee rel H’a-re - ri,’ha-re! I’-ha-re_ re! H’ a-re - ri; Hu - re - e! oop eo @ »@ Piney bar xpepnene ele ear (i —7_-)_ a SS ee = 3 = ieee sy) Scanian sae Lee = -. .. H’ are - ri, ’ha-re! I’ - ha-re re! H’ a-re - ri; Hu - re - “el vp ts he ae FLETCHER] FIFTEENTH AND SIXTEENTH RITUALS 901 996 H’areri, h’areri; 997 H’areri, ‘hare! I’hare re! 998 H’areri, “hare! hare re! H’areri; 999 Hure-e! 1000 H’areri, “hare, [hare re! H’areri; 1001 Hure-e! For translation, see the first ritual, lines 72-77. Haplanation ky the Ku'rahus We have now made four times four circuits of the lodge. In the first four we remembered Mother Earth through the corn. In the sec- ond four we sang of the eagles, which are the messengers of the pow- ers above. Inthe third four we spoke of the prayers we send to Tira wa through this ceremony. In the last four we lifted our voices to the powers themselves, the mighty power above and all those which are with the Hako. Four times four means completeness. Now all the forces above and below, male and female, have been remembered and called upon to be with us in the sacred ceremonies which will take place at the dawn. The night is nearly over when the last circuit is completed; then the Children rise and go home. SIXTEENTH RITUAL (FIFTH DAY, DAWN) Part I. SEEKING THE CHILD Explanation by the Kw'rahus After the Children have gone, the Fathers lie down and wait for the first sign of dawn. They have eaten nothing since they last fed the Children shortly after noon, and they must fast until the close of the ceremony. _ At the first sign of dawn the Fathers rise and, preceded by the Ku'rahus with the feathered stems, the chief with the corn and wild- eat skin, the doctors with their eagle wings, and the singers with the drum, go forth to the lodge where the family of the Son is living. As they march they sing the following song; the words mean that the Father is now seeking his child. The child referred to is usually a little son or daughter of the Son, the man who has received the Hako party. Upon this little child we are to put the signs of the promises which Mother Corn and Kawas bring, the promise of children, of increase, of long life, of plenty. The signs of these promises are put upon this little child, but they are not merely for that particular child but for its generation, that the children already born may live, grow in strength, and in their turn increase so that the family and the tribe may continue. In the absence of a littl» child of the Son an older person or a mother and her baby may be substituted. 202 THE HAKO, A PAWNEE CEREMONY [BrH. ANN. 22 FIRST SONG Words and Music M. M. N= 126. += Pulsation of the voice. Transcribed by Edwin S. Tracy. Ho-o-0-o! Tah ra -shpe, tah ra - shpe Dee O emcee Pi - Drum.§ @ @.e ® ° o e e ° ° ° e ° P e o Rattles = | eee oo | | : —— ra-u, ti ha-o; Tah ra-shpe Tra-u, ti ha-o. Py f omy ef ef cee eile n 2 1002. Ho-o-0-o! 1008 Tah rashpe, tah rashpe ti hao; 1004 Piran, ti hao; 1005 Tah rashpe ti hao; 1006 Piran, ti hao. Translation 1002. Tlo-o-0-0! An introductory exclamation. 1003. Tah rashpe, tah rashpe ti hao. tah, I. rashpe, am seeking. tah rashpe, I am seeking. ti, my. hao, child, offspring. 1004 Pirau, ti hao. pirau, children, a general term. ti, my. hao, child, offspring. 1005 Tah rashpe ti hao. See line 1003. 1006 See line 1004. Kaplanation by the Ku'rahus As we approach the lodge of the Son we pause and sing the follow- ingsong. It is the same that we sang when we halted on the border of the village at the end of our journey (sixth ritual, part 11). Then we were about to enter the village and go to the lodge which the Son had prepared forus. Nowwe have been four days and nights in that lodge, singing the songs and performing the rites of the ceremony and at the dawn of this the fifth day we once more seek the lodge where the Son and his family are dwelling, that we may carry these sacred objects to his own fireplace and there touch with them one of his children, that the promises we have brought may be fulfilled. So we sing the first stanza as we halt. FLETCHER] SIXTEENTH RITUAL, PART I 2038 SECOND SONG Words and Music M. M. oy =116. + = Pulsation of the voice. Transcribed by Edwin 8S. Tracy. A fl le Ss) ; —==E aS a 2 S= e syalata 7 fae soy C4 Ho-o0-0-0! Ki- ru ra-ka wi? Ki -ru ra-ka wi, ti ha - 0? Drum. 6950 P) e 3 o oe a e e e dese ° ° ae Rattles. sy lad = = = — — ee — A A A eres oe ee ee oS ee a a a a Ki-ru ra- ka wi, fina o? Ki-ru _ ra- ka, ki-ru ra-ka wi? A A A A A A A A ee ee id (elle ee ec cae ese Se I II 1007 Ho-o-0-o! 1012 Ho-o-0-o! 1008 Kiru raka wi? 1018 Tiwi reka wi! 1009 Kiru raka wi. ti hao? 1014. Tiwi reka wi, ti hao! 1010 Kiru raka wi, ti hao? 1015 Tiwi reka wi, ti hao! 1011 Kiru raka, kiru raka wi? 1016 Tiwi reka, tiwi reka wi! For translation, see the sixth ritual, lines 365-374. Explanation by the Kwrahus After singing the first stanza we move on, and when we are near the lodge we pause and sing the second stanza, ‘‘ Here is the lodge of my Son wherein he sits waiting for me!” When we are close to the lodge of the Son we halt, and all the party of the Fathers who can not count war honors remain with the two Ku rahus, the chief, and the singers who carry the drum, for the Hako ean not take part in anything that refers to strife or war; its mission is to unite the people in peace. The Ku'rahus chooses two men, a chief representing the brown eagle and a warrior representing the white eagle, to accompany the warriors as they step stealthily around the lodge, as if to surprise an enemy, and rush in through the entrance way. The two chosen men go at once to the child and stand beside it, the chief on the right, the warrior on the left, while the warriors gather around the child and count their honors over it, all talking at onee. When they have finished, the warrior touches the child on the left shoulder, then turns and faces it and speaks of the good gifts he has received from Tira’'wa. His touch means the imparting to the child of that which he has received from Tira’wa. Then the chief touches the child on the right shoulder, turns and faces it and tells of the honor and favor Tira’wa has granted him. THis touch means impart- ing to the child of that granted him by Tira’wa. The touch of the warrior and the chief, representatives of the white and the brown eagle, signify the approach of the Hako. 204 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Parr Il. Sympouic INCEPTION Huplanation by the Ku'rahus Now the Ku’rahus with the feathered stems, the chief with the eorn and the wildeat skin, and the singers with the drum, advance to the door of the lodge, enter, and walk down the long passageway into thedwelling. They go around the fire to the west, where the Son and his little child await them. As we stand before the little child. we sing this song (first stanza). We have sung it once before (sixth ritual, part 1), at the time when the messenger representing the Son came to us outside the village. We sing it now as we look on the little child who represents the con- tinuation of the life of the Son. FIRST SONG Words and Music M. M. ui 116. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. No drum. rex} — ees eS re lars 2 =) ===5 222 == Ho-o-0-0! Ti-we ra-ku - she ti ha-o! Ti-we ra-ku-she ti ha-o! FE QeTAAES SA Oty pe re A a AN Pe INI ae fe = Si : 7.oe Fee S = & r Ti-we ra-ku-she ha-wa ti ha-o! Ti-we ra-ku-she ti ha-o! ‘Ti we ra-ku-she! A ia Pe) UF re re re ee ee re ee rrr re rere or 1017 Ho-o-0-o! 1018 Tiwe rakushe ti hao! 1019 Tiwe rakushe ti hao! 1020 Tiwe rakushe hawa ti hao! 1021. Tiwe rakushe ti hao! 1022. Tiwe rakushe! rr For translation, see the sixth ritual, lines 343— Or nD Explanation by the Ku'rahus The Ku’rahus takes from the hands of the chief the wildcat skin, in which the ear of corn and the crotched plum tree stick are wrapped, and while he holds the ear toward the little child, we sing the song. We have sung this song once before, at the time the ear of corn was painted (first ritual, part m1). The ear of corn represents h’Uraru, Mother Earth who brings forth; the power which causes her to bring forth is from above, and the blue paint represents that power. We hold the painted ear of corn toward the little child that the powers from above and from below may come near it. PLETCHER] SIXTEENTH RITUAL, PART II 205 SECOND SONG Words and Music M. M. p= 138. + = Pulsation of the voice. Transcribed by Edwin 8. Tracy. = = Ha-a-a-a-al H’A-ti- ra, we-ri hra ri- ki! H’A-ti-ra, we-ri Drum. 2 3 4 4 A p ° 4 ° e ° e 6 @ Rattles. + eam —_ cH, — fee (aes ete ee i — == 7 | } ov > Hra ri- ki!) WeA-ti-ra, we-ri hra ri- ki! H’A-ti- ra, hra @ lp Py me e ° aan ° o Py e Py ° Luk === ffl A A A A A A etapa cee el ey ce aaa es A IL IV 1023 Ha-a-a-a-a! 1044 Ha-a-a-a-a! 1024 H’Atira, weri hra riki! 1045 H’Atira, weri taiwa! 1025 H’Atira, weri hra riki! 1046 H’Atira, weri taiwa! 1026 H’Atira, weri hra riki! 1047 H’Atira, weri taiwa! 1027 H’Atira, hra riki re! 1048 H’Atira taiwa re! 1028 Weri hra riki! 1049 Weri taiwa! 1029 H’Atira, weri hra riki! 1050 H’Atira, weri taiwa! int Vv 1030 Ha-a-a-a-a! 1051 Ha-a-a-a-a! 1031 H’Atira, weri ruata! 1052 H’Atira, weri tawawe! 1032 H’Atira, weri ruata! 1053 H’Atira, weri tawawe! 1033 H’Atira, weri ruata! 1054 H’Atira, weri tawawe! 1084 H’Atira ruata re! 1055 H’Atira, tawawe re! 1035 Weri ruata! 1056 Weri tawawe! 1036 H’Atira. weri ruata! 1057 H’Atira, weri tawawe! Il VI 1037 Ha-a-a-a-a! 1058 Ha-a-a-a-a! 1038 H’Atira, weri tukuka! 1059 H’Atira, weri tawitshpa! 1039 H’Atira, weri tukuka! 1060 H’Atira, weri tawitshpa! 1040 H’Atira, weri tukuka! 1061 H’Atira, weri tawitshpa! 1041 H’Atira tukuka re! 1062 H’Atira tawitshpa re! 1042 Weri tukuka! 1063 Weritawitshpa! 1043 H’Atira, weri tukuka! 1064 H’Atira, weri tawitshpa! For translation, see the first ritual, lines 82-125. Explanation by the Ku'rahus As we sing the second stanza, the Ku’rahus moves the ear of corn, as if it were flying toward the child. IT explained this movement when I told you about the painting of the corn (see the first ritual, part I, explanation of second stanza of the song by the Ku'rahns). 206 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 While we sing the third stanza, the Ku'rahus touches the little child on the forehead with the ear of corn. The spirit of Mother Corn, with the power of Mother Earth, granted from above, has touched the child. The touch means the promise of fruitfulness to the child and its generation. As we sing the fourth stanza, the Ku’rahus strokes the child with the ear of corn, down the front, down the right side, down the back, and then down the left side. These motions, corresponding to the four lines on the ear of corn, represent the four paths down which the powers descend to man. The four lines stroked upon the little child make the paths and open the way for the descent of the powers upon it. Every side of the child is now open to receive the powers, and as he goes through life, where- ever he may be, on every side the powers can have access to him. As we sing the fifth stanza, the Ku’rahus touches the child here and there with the ear of corn. This movement signifies that Mother Corn with the powers are spreading over the child and descending upon it. The sixth stanza telis that it is accomplished; the child is now encompassed by the spirit of Mother Corn and the powers and has received the promise of fruitfulness. The Ku’rahus hands back to the chief the wildcat skin, inclosing the crotched stick and the ear of corn, and takes the two feathered stems. He wraps the white-eagle feathered stem within the feathers of the brown-eagle stem and, holding with both hands the bundle, he stands before the little child, and, while the first stanza of the following song is sung, he points the stems toward it. This movement means that the breath of life is turned toward the child. The breath passes through the stem. THIRD SONG z Words and Musie M. M. = 126. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. SS —— = Z a Ie = else ea Hava a-a-a- -al Ka - was we-ri Ka - was we -ri Drum. 2 4 A A Rattles. ria (eer ely ea cE Po iy _—— =e | es + 6 ee oe z Ca > vs hra ri - ki, re hra ri - ki! Ka - was we-ri hrari-ki, re hra ri rs Bo se> |Beapieecaps Ou ie “ONie=. elles Grevie ewe Nmmpmnany I Ha-a-a-a-a! 1065 Kawas weri hra riki, re hra riki! 1066 Kawas weri hra riki, re hra riki! 1067 Kawas weri hra riki, re hra riki! FLETCHER) 1068 1069 1070 1071 1072 10738 1074 1075 1076 1077 1078 1079 1080 1081 1082 1083 1084 1085 1086 1087 1064 Ha-a-a-a-a! SIXTEENTH RITUAL, PART II 207 IL Ha-a-a-a-a! Kawas weri ruata. re ruata! Kawas weri ruata, re ruata! Kawas weri ruata, re ruata! It Ha-a-a-a-a! Kawas weri tukuka, re tukuka! Kawas weri tukuka, re tukuka! Kawas weri tukuka, re tukuka! IV Ha-a-a-a-a! Kawas weri taiwa, re taiwa! Kawas weri taiwa, re taiwa! Kawas weri taiwa. re talwa! Vv Ha-a-a-a-a! Kawas weri tawawe, re tawawe! Kawas weri tawawe, re tawawe! Kawas weri tawawe, re tawawe! VI Ha-a-a-a-a! Kawas weri tawitshpa, re tawitshpa! Kawas weri tawitshpa, re tawitshpa! Kawas weri tawitshpa, re tawitshpa! Translation of First Stanza An introductory exclamation. 1065 Kawas weri hra riki, re hra riki. Kawas, the brown eagle, representing the female forces. weri, I am. The singular pronoun refers to Hako party, not merely to the Ku’rahusy hra, a modification of rararit, to hold. riki, standing, present time. re, plural sign, indicating the two feathered stems which have been folded together, the united male and female. hra, holding. riki, standing, the present time. 1066, 1067 See line L065. 208 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Translation of Second Stanza 1068 Ha-a-a-a-a! An introductory exclamation. 1069 Kawas weri ruata, re ruata. Kawas, the brown eagle, the female. weri, I am. ruata, flying. See line 90. re, plural sign; the two feathered stems. ruata, flying. 1070, 1071 See line 1069. Explanation by the Ku'rahus As we sing the second stanza the Ku’rahus moves the feathered stems as if they were flying through space toward the child; the united male and female stems are drawing near. Translation of Third Stanza 1072. Ha-a-a-a-a! An introductory exclamation. 1073) Kawas weri tukuka, re tukuka. Kawas, the brown eagle; the female. were, I am. tukuka, touching, now touches. re, plural sign; refers to the two feathered stems. tukuka, now touches, are now touching. 1074, 1075 See line 1073. Explanation by the Ku'rahus While we sing the third stanza the Ku’rahus touches the little child on the forehead with the united feathered stems. The breath of promised life has now touched the child. That is the meaning of the touch of the feathered stems. Translation of Fourth Stanza 1076 Ha-a-a-a-a! An introductory exclamation, 1077 Kawas weri taiwa, re taiwa. Kawas, the brown eagle; the female. weril, I am. taiwa, to rub downward, making a mark. re, plural; the two feathered stems. taiwa, making a mark with a downward motion. 1078, 1079 See line 1077. Explanation by the Ku'rahus As we sing the fourth stanza the Ku’rahus makes with the united feathered stems the four paths by downward strokes upon the child, FLETCHER] SIXTEENTH RITUAL 209 as was done with the ear of corn. These movements mean that all the powers which bring life have access to the child, so that the promise of fruitfulness may be fulfilled. Translation of Fifth Stanza 1080 Ha-a-a-a-a! An introductory exclamation. 1081 Kawas weri tawawe, re tawawe. Kawas, the brown eagle. weri, I am. tawawe, to spread. re, plural; refers to the two feathered stems. tawawe, to spread. 1082, 1083 See line 1081. Explanation by the Ku'rahus While we sing the fifth stanza the Ku'rahus touches the child here and there with the united feathered stems; this means the spreading over it of the powers represented by the male and female stems. Translation of Sixth Stanza 1084 Ha-a-a-a-a! An introductory exclamation. 1085 Kawas weri tawitshpa, re tawitshpa. Kawas, the brown eagle. weri, I am. tawitshpa, a word denoting the accomplishment of a purpose, the attainment of an end. re, plural; refers to the two united feathered stems. tawitshpa. Translated above. 1086, 1087 See line 1085. Explanation by the Ku'rahus This stanza means that it is accomplished, that the child has been encompassed by the powers represented by the united stems. It isa promise of procreation. Part III. Action SYMBOLIZING LIFE Explanation by the Ku'rahus At the close of the song the Ku’rahus, separating the two stems, hands the white-eagle feathered stem to his assistant and retains the brown-eagle stem. The father of the child makes if sit upon the ground. The chief chooses a man to carry the child from the lodge of its father, the Son, back to the lodge where the ceremony of the preceding four days has been performed. 22 era—pr 2—04——14 210 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 The cnosen man takes his position a little distance in front of the child, the Ku’rahus and his assistant stand on each side of the man, facing the child, and the chief, carrying the cat skin and the corn, stands in front, facing the child (figure 177). EAST Fia. 177. Diagram of the Son’s lodge during the sixteenth ritual. part 111. 1, the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the dome-shaped roof; 4, the Ku’rahus; 5, the Father (a chief); 6, the Ku’rahus's assistant; 7, the one chosen to carry the child; 8, the child; 9, the father of the child, the Son. The following song is then sung in a gentle tone, that the child may be willing to be taken up and earried by a stranger. ‘The words are: ‘“*Come and fear not, my child; all is well.” FLETCHER] SIXTEENTH RITUAL, PART III PAL FIRST SONG Words and Music M. M. J =58. - = Pulsation of the voice. Transcribed by Edwin S. Tracy. nN A So —— =e — SSS a = = Sas eS SSS S| a 2 ee mies Ve es oe ep arias) es = an Se Es i .- - hi - si- ra, Ho-0-0-0-0-0! Le-ehis=isi-eraye ek y= his —sli-s ra, 1 + Da A A A ni Bimabie fp pin Pop pie bop ? eS “7 oe -e- ow - OE 2 marae i i-ra ta ha -o; = hissy ras i - hie-sie ra i-ra ta aie ace @ e} e é e . ° 2 r f f { I p f bs) ic 2d 1088 Ho-0-0-0-0-o! 1089 Thisira, ihisira, ihisira, ira ta hao; 1090 Thisira, ihisira, ira ta hao. oe ua - O. Translation 1088 THo-0-0-0-0-0! An introductory exclamation. 1089 Thisira, ihisira, ihisira, ira ta hao. ihisira; isira, come; an invitation to advance. The syllable hi, which follows i, is used to fill out the rhythm of the music and to give a coaxing effect. ira, a part of the word nawairi, a word implying confidence, among its other meanings; it means here, it is all right, fear not. ta, a part of the word kutati, my. hao, child, offspring. 1090 Thisira, ihisira, ira ta hao. See line 1089. Explanation by the Kw rahus The man who is to carry the child turns his back toward it and drops upon one knee. The child, lifted to its feet by its father, takes four steps forward, while we, still’ facing the child, sing this song: ‘*Tam ready; come, my child; have no fear!” The four steps taken by the child represent the progress of life. bo HH bo 1HE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 SECOND SONG Words and Music M. M. j/=58. = Pulsation of the voice. Transcribed by Edwin S. Tracy. . Ho-o-o-o! E-he-si - ra, e-he-si- ra, e-he-si- ra, e-he-si - ra, A A A A Drum. 2 Rattles.' themes 6 tren F thee FF tne OF thee : ~~: ~ ~~ : i-ra ta ha-o; E-he -si - ra, e-he-si - ra, V-ra ta, ha\--0: A A A A im tr. rrr rey) Wie NEN rrr 6 Taare) 2 1091 Ho-o-o0-o! 1092 Ehesira, ehesira, ehesira, ehesira, ira ta hao; 1093 Ehesira, ehesira, ira ta hao. Translation 1091 Ho-o0-0-0! An introductory explanation. 1092 Ehesira, ehesira, ehesira, ehesira, ira ta hao. ehesira; esira, come, I am ready for you or to receive you. The syllable he, which follows e, is to fill out the rhythm and the movement of the song. 1095 Ehesira, ehesira, ira ta hao. See line 1092. Raplanation by the Kurahus The man takes the child upon his back and rises to his feet. The chief steps aside and the man bearing the child moves forward toward the door of the lodge. The Ku’rahus and his assistant and the chief walk behind him, and the rest of the company follow. As we walk back to the lodge in the early daylight we sing this song: ‘* Behold your father walking with the child!” THIRD SONG Words and Music M. M. ]=56. > = Pulsation of the voice. Transcribed by Edwin S. ‘Tracy Ho-0-0-0-0! I -ha - ri hal H’ars si - re ra -ta; I - ha-ri, Drum. 2 ps A A . 4 a Rattles. 42” ¢ 0 Pirenwnne BP ieee Abcety fe 0 6 @ # e@ rare Spe Ps ha! Hl’arssi-re ra-ta; I - ha-ri, ha! H’ars si-re ra-ta. Co AR bu Reee OMCs eh ACE Te eee tee FLETCHER] SIXTEENTH AND SEVENTEENTH RITUALS 2138 1094 Ho-o-o0-o! 1095 Thari, ha! H’ars sire rata; 1096 Thari, ha! Hars sire rata; 1097 Thari, ha! H/ars sire rata. Translation 1094 To-o-0-0! An exclamation introductory to the song. 1095 Thari, ha! Wars sire rata. ihari, a term for young; it here refers to the little child. ha! an exclamation, calling attention. I’, an abbreviation of ha, your. ars, a modification of atius, father. sive, carrying, refers to the child. rata, walking with. 1096, 1097. See line 1095, SEVENTEENTH RITUAL Part I. ToucHING THE CHILD Kxplanation by the Ku'rahus When the Hako party, led by the man carrying the child, arrived at the lodge, the child was taken to the west, behind the holy place, and set upon the ground, facing the east, and clad in gala dress. The warriors ranged themselves ina curved line, both ends of which touched the walls of the lodge, thus inclosing a space within which was the holy place, the child, the singers and the drum, the Ku’rahus and his assistant, the chief, the doctors, and an old man selected by the Ku'vahus. The warriors stood close together, letting their robes drop until the lower edge touched the ground, making a screen over which no one could look to see what was taking place within the inclosure. On the preceding evening, before the Children had gathered within the lodge, the Kurahus had sent a young man to fill a vessel froma running stream. The vessel was at once covered closely and put beside the holy place and no one was permitted to even touch it. (in old times pottery vessels made by our women were used. They were shaped small at the bottom, larger in the middle, and smaller again at the neck. The handles on the sides had holes through which sticks could be thrust to lift the vessel from the fire. They were ornamented by lines drawn by a stick in the soft clay.) The chief now approached the vessel, lifted the cover and poured some of the water into a wooden bowl set aside for this purpose, and put it down before the old man. This man had been chosen because of his long life, and his having received many favors from the powers above, in order that similar gifts might be imparted to the child. The preparation of the child, which took place within the line of warriors, was concealed from their view by an inner group closely 214 THE HAKO, A PAWNEE CEREMONY [ETH, ANN. 22 surrounding it. The old man sat before the child, a little to the south, the chief (the Father) directly behind it with the cat skin and ear of corn, the doctor with the left eagle wing toward the north, the doctor with the right eagle wing toward the south, and the EAST Fig. 178. Diagram of the Son’s lodge during the seventeenth ritual, part 1. 1, the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the dome-shaped roof; 4, the Ku/rahus; 5, his assistant; 6, the bearers of the eagle wings; 7, the Father (a chief); 5, the old man who prepares the child; 9, the little child; 10, the line of warriors; 11, the Son, father of the little child; 12, members of the Hako party. Kurahus with his assistant in front, all facing the child (figure 175). During the singing of the following songs the cat skin with the erotehed stick and the ear of corn, the feathered stems, and the eagle wings are waved to its rhythm. FLETCHER | SEVENTEENTH RITUAL, PART I 215 FIRST SONG Words and Music M. M. N=126. += Pulsation of the voice. Transcribed by Edwin S. Tracy. Ho-o-o! Hi-ri!’Ha-ri; Hi-ri! Ki-tzu were hre ku-si..... Drum. 6 » p e Noy Prete oe Py ° o e maleate tao cl: eee (oor ABS © eames =>. | S: + s- sa wT ry oe oe. Tr wee. e- 7 3 ri! ’Ha - ri; Hi - ri! Ki-tzu we re hre ku - si hve. Hi - ° a 2 0 —= —- ————— : : oe = { . Lh sleene] re IL s > ri! ’Ha-ri; Hi-ri! Ki-tzu we re hre ku - si... ines A A A A A e 2 0©«8e e e e a pe ey he ah a a ra i i I 1098 Ho-o-o! 1099 Hiri! “Hari; Hiri! Kitzu we re hre kusi hi! 1100 Hiri! "Hari; Hiri! Kitzu we re hre kusi hi! 1101 Hiri! “Hari; Hiri! Kitzu we re hre kusi hi! Il 1102 Ho-o-o! 1103 Hiri! “Hari; Hiri! Kitzu we re ru ata ha! 1104 Hiri! ‘Hari; Hiri! Kitzu we re ru ata ha! 1105 Hiri! “Hari; Hiri! Kitzu we re ru ata ha! Il 1106 Ho-o-o! 1107 Hiri! "Hari; Hiri! Kitzu we ri tukuka ha! 1108 Hiri! ‘Hari; Hiri! Kitzu we ri tukuka ha! 1109 Hiri! “Hari; Hiri! Kitzu we ri tukuka ha! TV 1110 Ho-o-o! 1111 Hiri! “Hari; Hiri! Kitzu we ri ta iwa ha! 1112 Hiri! “Hari; Hiri! Kitzu we ri ta iwa ha! 1113 Hiri! ‘Hari; Hiri! Kitzu we ri ta iwa ha! vy 1114 Ho-o-o! 1115 Hiri! ‘Hari; Hiri! Kitzu we ri ta wawe he! 1116 Hiri! ‘Hari; Hiri! Kitzu we ri ta wawe he! 1117 Hiri! “Hari; Hiri! Kitzu we ri ta wawe he! VI 1118 Ho-o-o! 1119 Hiri! ‘Hari: Hiri! Kitzu we ri ta witshpa ha! 1120 Hiri! ‘Hari; Hiri! Kitzu we ri ta witshpa ha! 1121 Hiri! “Hari; Hiri! Kitzu we ri ta witshpa ha! 216 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Translation of First Stanza 1098 TLo-o-o! An introductory exclamation. 1099 Hiri! “Hari; Hiri! Kitzu we re hre kusi hi! hiri! give heed! hari, a part of iha’ri, child, young. hiri! an exclamation calling to give heed. kitzu, a modified form of kiitzu, water. we, now. re, am. hre, holding. kusi, sitting. hi! part of hiri! give heed! harken! 1100, 1101. See line 1099. Explanation by the Ku'rahus As we sing the first stanza the old man takes up the bowl and holds it in both hands. Water is for sustenance and the maintenance of health; it is one of the great gifts of Tira’ wa atius. The white man speaks of a heavenly Father; we say Tira’wa atius, the Father above, but we do not think of Tira’wa as a person. We think of Tira’wa as in everything, as the power which has arranged and thrown down from above everything that man needs. What the power above, Tira’wa atius, is like, no one knows; no one has been there. The water is in» bowl shaped like the dome of the sky, because water comes from Tira’wa atius. The little child is to be cleansed and prepared for its future life by the water strong by the water. sustained and made Translation of Second Stanza 1102 Hlo-o-o! An introduetory exclamation. 1103 Hiri! "Hari; Hiri! Kitzu we re 1u ata ha! hiri! give heed! hari, a part in iha’ri, child. hiri! give heed! kitzu, water. we, now. re, am, or is. ru, it. ata, flying. ha! behold! 1104, 1105 See line 1103. FLETCHER] SEVENTEENTH RITUAL, PART I Dies Explanation by the Ku'rahus When we sing the second stanza the old man sets the bowl down and dips the finger of his right hand in the water and moves it toward the child. This means that the water is moving through the air, coming from above toward the child with its gifts. Translation of Third Stanza 1106 Ho-o-o! An introductory exclamation. 1107 “Hiri! Hari; Hiri! Kitzu we ri tukuka ha! hiri! give heed! ‘hari, a part of iha’ri, child. hiri! give heed! kitzu, water. we, now. ni, it. tukuka, touching. ha! behold! 1108, 1109 See line 1107. Explanation by the Ku'rahus As we sing the third stanza the old man touches the forehead of the child with the water. The power of the water has now reached the child. Translation of Fourth Stanza 1110 THo-o-o! An introductory exclamation. Wt «Miri! Hari; Hiri! Kitzu we ri ta iwa ha! hiri! give heed! *hari, a part of iha’ri, child. hiri! give heed! kitzu, water. we, now. TM alle ta, a part of taokut, to touch. iwa, running down. ha! behold! 1112, 1113 See line 1111. Explanation by the Kwrahus While we sing the fourth stanza the old man makes certain wet lines on the face of the child. These signify that the sustaining of life through the power of water comes from Tira’wa atius. 218 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Translation of Fifth Stanza 1114 Ho-o-o! An introductory exclamation. 1115 Hiri! "Hari; Hiri! Kitzu we ri ta wawe he! hiri! give heed! hari, a part of iha ri, child. hiri! give heed! kitzu, water. we, now. ri, it. ta, apart of taokut, to touch. wawe, spreading over. he! from hiri! give heed! 1116, 1117 See line 1115. Kaplanation by the Ku'rahus During the singing of the fifth stanza the old man touches the face of the child with water here and there so as to make it wet. This is to signify that the cleansing power of water, which brings health, is from Tira’wa. Translation of Sixth Stanza 1118 Tlo-0-0! An introductory exclamation. 1119 Hiri! “Hari; Hiri! Kitzu we rita witshpa ha! hiri! give heed! hari, a part of iha/ri, child. hiri! give heed! kitzu, water. we, now. ri, it. ta, a part of taokut, to touch. witshpa, accomplished, completed. ha! behold! 1120, 1121 See line 1119. Explanation by the Kurahus In the sixth stanza we sing that if is accomplished, that water has come with all its power from Tira’wa atius to the ehild. The old man takes up a brush of stiff grass and holds it while we sing the first stanza of the following song. FLETCHER] SEVENTEENTH RITUAL, PART I 219 SECOND SONG Words and Music (a) M. M. N=126. += Pulsation of the voice. Transcribed by Edwin S. Tra2y. Ho-o-0! Hi -ri! ’Ha-ri; Drum.3 0 6 @ ° ele Heattles. ca am — = es 5s © > ee we ee. =e ri! ’Ha - ri; Pi-chtits we re hre ku - si yi Hi - e e e . e e@ ° eo ® oe ° e Py e =o —_ === [a —=—= = —— S32 -o- -o- -o- os ri! "Ha - ri; Hi-ril Pi-chtits we re hre ku - si..... PY 3 a 0 o «@ a » 0 { f ' ess t ' jl p a x 1 e 1122 Ho-o-o! 1123 Hiri! ‘Hari; Hiri! Pichuts we re hre kusi hi! 1124 Hiri! “Hari; Hiri! Pichits we re hre kusi hi! 1125 Hiri! "Hari; Hiri! Pichtits we re hre kusi hi! II 1126 Ho-o-o! 1127 Hiri! “Hari; Hiri! Pichtts we re ru ata ha! 1128 Hiri! “Hari; Hiri! Pichiits we re ru ata ha! 1129 Hiri! “Hari: Hiri! Pichtits we re ru ata ha! : Il 11380 Ho-o-o! 1131 Hiri! “Hari; Hiri! Pichtts we ri tukuka ha! 1132 Hiri! “Hari: Hiri! Pichtts we ri tukuka ha! 1138 Hiri! “Hari; Hiri! Pichtts we ri tukuka ha! IV 1134 Ho-o-o! 1135 Hiri! ‘Hari; Hiri! Pichits we ri ta iwa ha! 1136 Hiri! “Hari; Hiri! Pichtts we ri ta iwa ha! 1137 Hiri! “Hari: Hiri! Pichtits we ri ta iwa ha! y 1138 Ho-o-o! 1139 Hiri! ‘Hari; Hiri! Pichtts we ri ta wawe he! 1140 Hiri! “Hari; Hiri! Pichtits we ri ta wawe he! 1141 Hiri! “Hari; Hiri! Pichits we ri ta wawe he! VI 1142 Ho-o-o! 1143 Hiri! “Hari; Hiri! Pichits we ri ta witshpa ha! 1144 Hiri! ‘Hari; Hiri! Pichtts we ri ta witshpa ha! 1145 Hiri! "Hari; Hiri! Pichtits we ri ta witshpa ha! 220 THE HAKO, A PAWNEE CEREMONY Translation of First Stanza Ifo-o-0! An introductory exclamation. Hiri! "Hari; Hiri! Pichtts we re hre kusi hi! hiri! give heed! ‘hari, a part of iha’ri, child. hiri! give heed. pichtts, a brush made of stiff grass. we, now. re, am. hre, holding. kusi, sitting. hi! part of hiri! give heed! harken! 1124,1125 See line 1125. Explanation by the Ku'rahus (ETH. ANN. 22 The grass of which the brush is made is gathered during a cere- mony belonging to the Rain shrine. covering of Mother Earth. It represents Toharu, the living The power which is in Toharu gives food to man and the animals so that they can live and become strong and able to perform the duties of life. 1126 1127 Translation of Second Stanza Ilo-0-0! An introductory exclamation. Hari! “Hari; Hiri! Pichtts we re ru ata ha! hiri! give heed! ‘hari, a part of iha’ri, child. hiri! give heed! pichuts, a brush of grass. we, now. re, am or is. ru, it. ata, flying. ha! behold! 1128,1129 See line 1127. Explanation by the Ku'rahus This power represented by the brush of grass is now standing before the little child. As we sing the second stanza, the old man moves the brush toward the child. air toward the child. This means that the power of Toharu is flying through the FLETCHER] SEVENTEENTH RITUAL, PART I 221 Translation of Third Stanza 1150 Ho-o-0! An introductory exclamation. 1151 Wri! “Hari; Hiri! Piehtts we ri tukuka ha! hiri! give heed! *hari, a part of iha’ri, child. hiri! give heed! pichtts, a brush of grass. we, now. Ty ip tukuka, touching. ha! behold! 1132, 1133 See line 1131. Explanation by the Ku'rahus While we sing the third stanza the old man touches the forehead of the child with the brush of grass. The power of Toharu has reached the child, has come in contact with it to impart the strength that comes from food. Translation of Fourth Stanza 1134 To-o-0! An introduetory exclamation. 1155 Wiri! “Hari; Hiri! Pichtits we ri ta iwa ha! hiri! give heed! *hari, a part of iha’ri, child. hiri! give heed! pichtts, a brush of grass. we, now. Vi, it. ta, a part of taokut, to touch. iwa, a downward movement. ha! behold! 1136, 1137 See line 1135. Explanation by the Kw rahus During the singing of the fourth stanza the old man makes certain lines upon the face of the child with the brush of grass. These lines mean that the power by which Toharu gives strength through food comes from above, and that man should always remember that when he eats. 222 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Translation of Fifth Slanza 1138 Wo-o-0! An introductory exclamation. 139 Hiri! "Hari; Hiri! Pichtts we ri ta ware he! hiri! give heed! ‘hari, a part of iha’ri, child. hiri! give heed! pichtts, a brush made of grass. we, now. ri, it. ta, a part of taokut, to touch. ware, spreading over. he! from hiri! give heed! 1140, 1141 See line 1159. Hxplanation by the Ku'rahus As we sing this stanza, the old man touches the head of the child and smooths its hair with the brush of grass. In this act the brush prepares the hair for the sacred symbols which are to be put upon it. In this act we are thinking only of the brush and its usefulness, and not of Toharu, as represented by the grass. Translation of Sixth Stanza 1142 Tlo-o-0! An introductory exclamation. 1143 Hiri! Hari, Hiri! Pichtts we ri ta witshpa ha! hiri! give heed! *hari, a part of iha’ri, child, hiri! give heed! pichtits, a brush made of grass. we, now. Tippee ta, a part of taokut, to touch. witshpa, accomplished; completed. ha! behold! 1144, 1145 See line 1143. Explanation by the Kw'rahus In this stanza we sing that it is aeecomplished, the power of Toharu has nourished and prepared the child for the ceremonial acts which are now to take place. Parr II. ANOINTING THE CHILD Kaplanation by the Kwrahus The ointment used in this act of anointing the child is red clay mixed with fat from a deer or buffalo which has been consecrated or set apart at the time it was killed as a sacrifice to Tira’wa. The first animal killed on a hunt belongs to Tira’wa. PLETCHER) SEVENTEENTH RITUAL, PART IL 223 The ointment is kept in a kind of bag made of the covering of the animals heart, dried and prepared for this purpose. (It is said that insects do not attack this skin covering. ) Before anyone can take part ina religious ceremony he must be anointed with this sacred ointment. SONG Words and Music (b) M. M. N= 126. += Pulsation of the voice. Transcribed by Edwin 8. Tracy. A mas ~ ae eee SS Se Og ae 0 a oe Ho-o-o! Hi- ri! ’Ha-ri; Hi-ri! Ki-cha-wa re hre ku - si..... hil... Hi - D m A A A A 4 A A PROD Dr (ome dE Heinen havin ietenls oats Wich ds MN vall anal Gane 6 Soe ie - =: ~ 2 a 2 oe - oe ew a. vw. o_e r ril ’Ha = ri; Hi - ri! Ki-cha-wa re hre ku - si inate Hi - ete ——— —x 6 = oe ee ri!’Ha-ri; Hi-ri! Ki-cha- wa re hre ku - si..... lites LD wae fee? ee ites Oe a eGo 2 2 il 1146 Ho-o-o! 1147 Hiri! ‘Hari; Hiri! Kichawa re hre kusi hi! 1148 Hiri! Hari; Hiri! Kichawa re hre kusi hi! 1149 Hiri! ‘Hari: Hiri! Kichawa re hre kusi hi! II 1150 Ho-o-o! 1151 Hiri! “Hari; Hiri! Kichawa re ru ata ha! 1152 Hiri! ‘Hari; Hiri! Kichawa re ru ata ha! 1153 Hiri! “Hari; Hiri! Kichawa re ru ata ha! III 1154 Ho-o-o! 1155 Hiri! “Hari; Hiri! Kichawa ri tukuka ha! 1156 Hiri!’ Hari; Hiri! Kichawa ri tukuka ha! 1157 Hiri! ‘Hari; Hiri! Kichawa ri tukuka ha! IV 1158 Ho-o-o! 1159 Hiri!’ Hari; Hiri! Kichawa ri ta iwa ha! 1160 Hiri! “Hari; Hiri! Kichawa ri ta iwa ha! 1161 Hiri! "Hari: Hiri! Kichawa ri ta iwa ha! Vv 1162 Ho-o-o! 1163 Hiri! “Hari; Hiri! Kichawa ri ta wawe he! 1164 Hiri! "Hari: Hiri! Kichawa ri ta wawe he! 1165 Hiri! ‘Hari; Hiri! Kichawa ri ta wawe he! 294 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 VI 1166 Ho-o-o! 1167 Hiri! ‘Hari; Hiri! Kichawa ri ta witshpa ha! 1168 Hiri! “Hari; Hiri! Kichawa ri ta witshpa ha! 1169 Hiri! “Hari; Hiri! Kichawa ri ta witshpa ha! Translation of First Stanza 1146 Ho-o-0! An introductory exclamation. 1147 Hiri! "Hari; Hiri! Kichawa re hre kusi hi! hiri! give heed! ‘hari, a part of iha’ri, child. hiri! give heed! kichawa; ki, from kitzu, water; chawa, bubbles of fat; the term is applied to the ointment made from the fat of an animal whieh has been consecrated to Tira’wa. This ointment is used for anointing preparatory to a sacred ceremony. re, am. hre, holding. kusi, sitting. hi! from hiri! give heed! 1148, 1149 See line 1147. Explanation by the Ku'rahus. While we sing the first stanza the old man takes and holds in his hand some of the sacred ointment. The consecrating power which is in the ointment now stands before the child. Translation of Second Stanza 1150 Tlo-o-0! An introductory exclamation, 1151 Aliri! "Hari; Hiri! Kichawa re ru ata ha! hiri! give heed! *hare, a part of iha’re, child. hiri! give heed! kichawa, ointment. re, is. ru,, it. ata, flying. ha! behold! 1152. 1153. See line 1151. Hxplanation by the Ku'rahus While we sing the second stanza the old man moves the sacred ointment toward the child. This means that the power which is in the ointment is drawing near. FLETCHER} SEVENTEENTH RITUAL, PART II 225 Translation of Third Stanza 1154 Ho-o-o! An introductory exclamation. 1155 Hiri! “Hari; Hiri! Kichawa ri tukuka ha! hiri! give heed! *hari, a part of iha’ri, child. hiri! give heed! kichawa, ointment. ri, it. tukuka, touching. ha! behold! 1156, 1157. See line 1155. Explanation by the Ku'rahus As we sing the third stanza the old man touches the forehead of the child with the ointment. This act signifies that the child is singled out from among his fellows and touched for consecration. Translation of Fourth Stanza 1158 Ho-o-o! An introductory exclamation. 1159 Hiri! "Hari; Hiri! Kichawa ri ta iwa ha! hiri! give heed! *hari, a part of iha‘ri, child. hiri! give heed! kichawa, ointment. ri, it. ta, a part of taokut, to touch. iwa, downward movement. ha! behold! 1160, 1161. See line 1159. Explanation by the Ku'rahus As we sing this fourth stanza the old man makes the same lines upon the face of the child as he made with the water and the brush of grass. This is in recognition that the life which has been sustained and nourished is now consecrated to Tira’wa atius, the father above, who gives life to ali things. 22 Eru—pr 2—04——15 226 THE HAKO, A PAWNEE CEREMONY [ETH, ANN, 22 Translation of Fifth Stanza 1162 Ho-o-0! An introductory exclamation. 1163 Hiri! Hari; Hiri! Kichawa ri ta wawe he! hiri! give heed! *hari, a part of iha'ri, child. hiri! give heed! kichawa, ointment. Tis it: ta, a part of taokut, to touch. wawa, spreading over. he! from hiri! give heed! 1164,1165 See line 1162. Explanation by the Kw'rahus While we sing the fifth stanza, the old man touches the child here and there with the sacred ointment. This means that the strength that is in every part of a man and all that belongs to him must be consecrated to Tira’wa. Translation of Siath Stanza 1166 To-o-o! An introductory exclamation. 1167 Hiri! Hari; Hiri! Kichawa ri ta witshpa ha! hiri! give heed! *hari, a part of iha’ri, child. hiri! give heed! kichawa, ointment. ri, it. ta, a vart of taokut, to touch. witshpa, accomplished, completed. ha! behold! 1168, 1169 See line 1167. Explanation by the Ku'rahus In this stanza we sing that it is accomplished, that the child has been consecrated and made ready for the holy rites, and that we have recognized that all things come from Tira’wa atius, the father above. FLETCHER] SEVENTEENTH RITUAL 227 Part III. PatntTinGc THE CHILD Explanation by the Ku'rahus While we sing the first stanza of the following song, the old man takes a shell containing red paint and holds it before the consecrated child. FIRST SONG Words and Music (c) M. M. N= 126. «= Pulsation of the voice. Transcribed by Edwin 8. Tracy. l ===. = == 3 Le OR Se Ho-o-o! Hi- ri!’ Ha-ri; Hi-ri! Kits-pa-hat we re ku-si..... hil... Hi- D . f A A A , areal a ect e hy ear tpn hf bor Ié - = = ———— —-. —— ] ee Si ies Ee eee a ee mil VIS sei Hi - ri! Kits-pa-hat we re ku - si hil... Hi - Sale Slee cig et eet al eee a cl dig a a Se ce SS SSS o-oo ae ri! ’Ha - ri; Hi-ri! ; =| Ho-o-o! Hi- ril’Ha-ri; Hi-ri! Ka-o-ktowe re hreku- si..... ele Hi - Senor; Lo ee lp ep a ae (SS SS SS SS cS ie ts v~ we a a es ril ?Ha = ri; Hi - ri! Ka-o-kto we re hre ku - si_ hil... Hi - ep pt NO fT a dg AA | ee I6 ss 2B ——— = ~~ ] v — ~~ ri! ’Ha - ri; Hi-ri! Ka-o-kto we re hre ku - si... ilies. A A A a eae tie Ie CL rer h 2 I 1218 Ho-o-o! 1219 Hiri! Hari; Hiri! Kaokto we re hre kusi hi! 1220 Hiri! "Hari; Hiri! Kaokto we re hre kusi hi! 1221 Hiri! "Hari; Hiri! Kaokto we re hre kusi hi! II 1222 Ho-o-o! 1223 Hiri! Hari; Hiri! Kaokto we re ru ata ha! 1224 Hiri! Hari; Hiri! Kaokto we re ru ata ha! 1225 Hiri! "Hari; Hiri! Kaokto we re ru ata ha! Ill 1226 Ho-o-o! 1227 Hiri! ‘Hari; Hiri! Kaokto we ri tukuka ha! 1228 Hiri! Hari; Hiri! Kaokto we ri tukuka ha! 1229 Hiri! ‘Hari; Hiri! Kaokto we ri tukuka ha! 236 THE HAKO, A PAWNEE CEREMONY [ETH. ANN 22 IV 1230 Ho-o-o! 1231 Hiri! *Hari; Hiri! Kaokto we ri kittawe he! 1232 Hiri! “Hari; Hiri! Kaokto we ri kittawe he! 1233 Hiri! “Hari; Hiri! Kaokto we ri kittawe he! V 1234 Ho-o-o! 1235 Hiri! “Hari; Hiri! Kaokto we ri ta witshpa ha! 1236 Hiri! “Hari; Hiri! Kaokto we ri ta witshpa ha! 1237 Hiri! “Hari; Hiri! Kaokto we ri ta witshpa ha! Translation of First Stanza 3] — @ 2 Ho-o-0! An introductory exclamation. 1219 Hiri! Hari; Hiri! Kaokto we re hre kusi hi! hiri! harken. hari, a part of iha’ri, child. hiri! give heed! kaokto, down from the eagle. we, now. re, am. hre, holding. kusi, sitting. hi! from hiri! give heed! 1220, 1221 See line 1219. Explanation by the Kwrahus. The down represents the high, light clouds (cirrus) in the blue of the sky; they are near the abode of Tira’wa atius. The down is taken from under the wings of the white eagle. The white eagle is the mate of the brown eagle, and the child is the child of Kawas, the brown eagle. The down grew close to the heart of the eagle and moved as the eagle breathed. It represents the breath and life of the white eagle, the father of the child. Translation of Second Stanza 22 Ho-o-o! An introductory exclamation. 23 Hiri! "Hari; Hiri! Kaokto we re ru ata ha! hiri! harken! hari, a part of iha’ri, child. hiri! give heed! kaokto, eagle’s down. we, now. re, is. ru, it. ata, flying. ha! behold! 1224,1225 See line 1223. bo isu) “I FLETCHER] SEVENTEENTH RITUAL, PART II Explanation by the Ku'rahus As we sing the second stanza, the old man moves the down near the child. The soft, white clouds that are near the abode of Tira’wa atius are coming near the head of the child. Translation of Third Stanza 1226 He-o-o! An introductory exclamation. 1227 Hiri! "Hari; Hiri! Kaokto we ri tukuka ha! hiri! harken! ‘hari, a part of iha’ri, child. hiri! give heed! kaokto, the down of the eagle. we, now. ri, it tukuka, touching. ha! behold! 1228, 1229 See line 1227. Explanation by the Ku'rahus As we sing this stanza, the old man touches the head of the child with the down. The light clouds have reached the child. Translation of Fourth Stanza 1230 Ho-o-o! An introductory exclamation. 1231 Hiri! "Hari; Hiri! Kaokto we ri kittawe he! hiri! give heed. *hari, a part of iha’ri, child. hiri! give heed. kaokto, eagle’s down. we, now. ri, it. kittawe; kit, top; ta, from taokut, to touch; we, a part of tawe, standing; the word means standing on the top of the child’s head. he! from hiri! give heed! 1232, 1233 See line 1231. Explanation by the Ku'rahus While we sing the fourth stanza the old man opens his hand and lets the down fall upon the hair. The soft, white clouds near the abode of Tira’wa atius have dropped and covered the head of the child. 238 THE HAKO, A PAWNEE CEREMONY (ETH, ANN, 22 Translation of Fifth Stanza 1234 Ho-o-o! An introductory exclamation. 1235 Hiri! “Hari; Hiri! Kaokto we ri ta witshpa ha! hiri! give heed! ‘hari, a part of iha’ri, child. hiri! give heed! kaokto, eagle’s down. we, now. Tetley st ta, a part of taokut, to touch. witshpa, accomplished. ha! behold! 1236, 1237 See line 1235. Explanation by the Ku'rahus We sing in the fifth stanza that it is accomplished, the head of the consecrated child now rests in the soft, white clouds which float near the dwelling place of Tira’wa atius. The Ku'rahus takes from the brown-eagle feathered stem a downy feather and gives it to the old man, who, while we sing the first stanza, holds it before the child. SECOND SONG Words and Music (f) M. M. p= 126. - = Pulsation of the voice. Transcribed by Edwin 8. Tracy. —— — —— : = —— - —— [és =5 o Bes ae = = SS ee = == = 5 = Ho-o-o! Hi-ri!’Ha-ri; Hi-ri! Hi-tu we re hre ku-si..... hil... Hi - ST Tee at ie ely Vik oat tient geet hepa) joes Ip Se — <= = —- a a e ow: Of Te ee te a a rile ela ari Hi - ri! Hi-tu we re hre ku - si hil... Hi - . ae oan is aoe | ae on a el pee eee) A Se = ri!’Ha-ri; Hi-ril Hi-tu we re game (tie ey AA we eae << —— = —ox =m 1238 Ho-o-o! 1239 Hiri! “Hari; Hiri! Hitu we re hre kusi hi! 1240 Hiri! “Hari; Hiri! Hitu we re hre kusi hi! 1241 Hiri! ‘Hari; Hiri! Hitu we re hre kusi hi! PLETCHER] SEVENTEENTH RITUAL, PART IV 239 II 1242 Ho-o-o! 1248 Hiri! “Hari; Hiri! Hitu we re ru ata ha! 1244 Hiri! “Hari; Hiri! Hitu we re ru ata ha! 1245 Hiri! ‘Hari; Hiri! Hitu we re ru ata ha! III 1246 Ho-o-o! 1247 Hiri! “Hari; Hiri! Hitu we ri tukuka ha! 1248 Hiri! ‘Hari; Hiri! Hitu we ri tukuka ha! 1249 Hiri! “Hari; Hiri! Hitu we ri tukuka ha! IV 1250 Ho-o-o! 1251 Hiri! ‘Hari; Hiri! Hitu we ri kittawe he! 1252 Hiri! “Hari; Hiri! Hitu we ri kittawe he! 1253 Hiri! “Hari; Hiri! Hitu we ri kittawe he! v 1254 Ho-o-o! 1255 Hiri! “Hari; Hiri! Hitu we ri ta witshpa ha! 1256 Hiri! ’Hari; Hiri! Hitu we ri ta witshpa ha! 1257 Hiri! "Hari; Hiri! Hitu we ri ta witshpa ha! Translation of First Stanza 1238 Ho-o-o! An introductory exclamation. 1239 Hiri! “Hari; Hiri! Hitu we re hre kusi hi! hiri! give heed! *hari, a part of iha’vi, child. hiri! give heed! hitu, feather; a downy, soft feather. we, now. re, am. hre, holding. kusi, sitting. hi! from hiri! give heed! 1240, 1241 See line 1239. Hxplanation by the Ku'rahus The downy, white feather came from the white eagle, the father of the child. Soft, blue feathers were bound around its stem, to which asmall buckskin thong was attached, so that the feather could be tied upon the hair of the child. The soft, blue feathers represent the blue sky above the clouds; the white, downy feather itself, which is ever moving, as if it were breathing, represents Tira’wa atius, who dwells beyond the blue sky, which is above the soft, white clouds. All during the ceremony this feather has been tied upon the brown- eagle feathered stem, close to the owl feathers. It is different from the downy feather worn by the Ku'rahus and his assistant, for at its 240 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22 stem there is a little one, like a small branch, that is to show that the little child is the child of Tira’wa atius. This double feather now stands before the child. Translation of Second Stanza 1242 Ho-o-o! An introductory exclamation. 1243 Hiri! "Hari; Hiri! Hitu we re ru ata ha! hiri! give heed! ‘hari, a part of iha’ri, child. hiri! give heed! hitu, a downy feather. we, now. re, Is. ru, it. ata, flying. ha! behold! 1244, 1245 See line 1243. Explanation by the Kw'rahus As we sing the second stanza the old man moves the feather toward the child’s head. The feather representing Tira’wa atius is now fly- ing through the air, coming near the head of the little child. Translation of Third Stanza 1246 Ho-o-o! An introductory exclamation. 1247 Hiri! “Hari; Hiri! Hitu we ri tukuka ha! hiri! give heed! . *hari, a part of iha’ri, child. hiri! give heed! hitu, downy feather. we, now. ri, it. tukuka, touching. ha! behold! 1248, 1249 See line 1247. Explanation by the Kw'rahus During the singing of this stanza the old man touches the head of the child with the downy white feather. The symbol of Tira’wa atius has reached the child and rests above the white, downy clouds. FLETCHER] SEVENTEENTH RITUAL, PART IV 241 Translation of Fourth Stanza 1250 Ho-o-0! An introductory exclamation. 1251 Hiri! “Hari; Hiri! Hitu we ri kittawe he! hiri! give heed! hari, child. hiri! give heed! hitu, downy feather. we, now. ri; it: kittawe, standing on top (of the child’s head). he! from hiri! give heed! 1252, 1253 See line 1251. Explanation by the Ku'rahus While we sing this fourth stanza, the old man ties the downy feather on the child’s hair. Tira’wa atius is now with the little child as the double feather waves over its head. Translation of Fifth Stanza 1254 Ho-o-o! An introductory exclamation. 1255 Hiri! Hari; Hiri! Hitu we ri ta witshpa ha! hiri! harken! hari, child. hiri! harken! give heed! hitu, downy feather. we, now. 5 alts ta, a part of taokut, to touch. witshpa, accomplished, completed. ha! behold! 1256, 1257 See line 1255. Explanation by the Kw'rahus Now we sing that all is accomplished. The child has been fully prepared, the sacred symbols put upon it, the powers from above have come, and Tira’wa atius breathes over it. The child is now told to look into the bowl of water and behold Fe face. The running water symbolizes the passing on of generations, one following another. The little child looks on the water and sees its own likeness, as it will see that likeness in its children and chil- dren’s children. The face of Tira'wa atiusis there also, giving prom- ise that the life of the child shall go on, as the waters flow over the land. A black covering is now put over the child’s head by the Ku'rahus, that no one may look on the holy symbols. Only Tira’wa looks 22 mra—pr 2—04——16 242 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 on them and knows all that they mean. We do not look on them, for they are holy.@ The Ku’rahus, handing the bowl of water to the young man who brought it into the lodge, tells him what to do before he throws it away. The young man with the bowl passes through the circle of warriors and goes by the south to the east, then to the northeast, where he lifts a few drops to that direction and lets them fall on the rim of the fire- place. Then he passes to the northwest and repeats his action. At the west he lifts a few drops to the zenith and lets them fall on the rim of the fireplace. Then he passes on to the southwest, offering the water as before, and then to the southeast, where he repeats his offering. Thence he goes to the inner door of the lodge, where he pauses, then passes through the entrance way, and when he is out under the early morning sky he throws the water toward the east. This is done because all the rivers flow toward the east. EIGHTEENTH RITUAL. FULFILMENT PREFIGURED Part I. MakinG THE NEST Explanation by the Ku'rahus The old man who has been preparing the child now rises from his position and, stepping to one side, leaves the Ku'rahus and his assist- ant standing directly in front of the little child. These two lift the feathered stems and the rattles and wave their arms like the wings of a bird as the following song is sung three times. No drum is used, but the rattles and the whistle accompany the song. SONG Words and Music M. M. N=192. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. No drum. — —— = Bie = st rSer = eee ee ere eee ie Ho-o-0-0-0! Ha wa-re. Hi-ri-i-i! Ha wa-re. Hi-ri-i-i! Hi-ri! I-ra - hi - Rattl A A A A A A A A o B LL SS ee ae a Pty Ge . ; 3 ; 5 Whistle oly ie [a ee Pirwe Ptr Ptr. Ptren 7 tre ——s a — —— -— a a: = = oars Br ee eee ee ee eel : si wi-te. Hi - ri! H’Aku-ka-i re-i-si. Hawa-re. Hi-ri - il A A A A A A A A A firs f tr. ff trcoe pes ree IF ta F trinw F tr § 2 1 °° 2 1258 Ho-o-0-0-0! 1259 Ha ware. Hiri-i-i! 1260 Ha ware. Hiri-i-i! 1261 Hiri! Irahisi wite. 1262 Hiri! H’Ak ukai reisi. 1263 Ha ware. Hiri-i! «The Kwrahus did not remember what was formerly used asa covering for the head of the child; latterly it has been a black silk handkerchief. FLETCHER] EIGHTEENTH RITUAL, PART I 243 Translation 1258 Ho-o-o-0-0! An introductory exclamation. 1259 Haware. Hiri-i-i! ha, yonder. ware, a part of teware, flying, circling about. hiri! give heed! harken! i-i, vowel prolongations. 1260 See line 1259. 1261 WHiri! Irahisi wite. hiri! give heed! harken! irahisi, irasi, it is you. The syllable hi is introduced to modify the word so as to conform to the music. wite, conjecture, surmise. 1262 Hiri! H’Ak ukai reisi. hiri! give heed! harken! h’Ak; h’, the sign of breath, life; ak, a part of akaro, a dwelling: h’Ak, the stretch of the earth under the dome of the heavens. ukai, to put in. reisi, a modification of irasi, it is you. 1263 See line 1259. Explanation by the Ku'rahus 9 After the third repeat, the Ku’rahus calls out, ‘‘ Open a way!” and the warriors who form the line separate at the north and at the south, and the brown-eagle feathered stem is carried through the north open- ing and the white-eagle feathered stem through the south opening. The white eagle then flies back and forth before the line of warriors guarding the brown eagle as she circles the fireplace. When the Ku’rahus, carrying the brown-eagle feathered stem, reaches the west he pauses, and then goes to the northwest, near the rim of the fireplace, where he makes a circle with the big toe of his left foot and covers the outline with down. Then he passes to the northeast and makes another circle, marking it also with down; then to the southeast, where he makesa third circle, then to the southwest, where he makes the fourth circle. Meanwhile the song is being sung for the fourth time, and the white eagle is still flying back and forth in front of the line of warriors. The circle represents a nest, and is drawn by the toe because the eagle builds its nest with its claws. Although we are imitating the bird making its nest, there is another meaning to the action; we are thinking of Tira’wa making the world forthe people to livein. If you go on a high hill and look around, you will see the sky touching the earth on every side, and within this circular inclosure the people live. So the circles we have made are not only nests, but they also 244 THE HAKO, A PAWNEE CEREMONY [BrH. ANN. 22 represent the circle Tira’wa atius has made for the dwelling place of all the people. The cireles also stand for the kinship group, the elan, and the tribe. The down represents the light clouds near the dwelling place of Tira’'wa—the dome of the sky over the dwelling place of the people— and it stands for the protection of Tira’wa. When there is no down to be had, white ashes can be used. I do not know what the ashes mean, but I think they are to make the outline distinct and to repre- sent the white down. The nests are four, because at the four directions are the paths down which the powers from above descend. The four winds guard these paths and protect the life of man. After the four nests are made, the feathered stems are laid at rest. The Ku’rahus then takes bits of fat which have been preserved from an animal consecrated to Tira’wa and puts them with some native tobacco into an oriole’s nest and hands the nest to the chief, who con- ceals it in his hands. The bits of fat represent the droppings that mark the trail made by the hunters as they carry the meat home from the field. This trail is called the path dropping fatness, and means plenty. Fat, there- fore, stands for the promise of abundant food. The oriole’s nest is used because Tira’wa made this bird build its nest so that no harm could come to it. It hangs high, is skillfully made, and is secure. An eagle’s nest may be torn away by a storm, but the oriole’s nest sways in the wind and is not hurt. PartIl. SYMBOLIC FULFILMENT Haplanation by the Ku'rahus Now a robe is spread on the ground and the child is placed on it with his feet and legs projecting beyond the edge. Four men are appointed to carry the child. One goes on each side and takes hold of the robe and lifts it; a man at the back of the child steadies.it as it israised and carried, while the fourth man holds another robe over its feet and legs. The chief and the Ku'rahus precede the child to the circle at the northwest, where it is held over the nest so that its feet rest within the circle. The chief puts his hands under the robe held over the child’s legs and drops the oriole’s nest within the circle so that the child’s feet rest on it. No one but the chief and the Ku'rahus know what is being done beneath the robe. The chief takes up the nest, concealing it from view, and goes to the circle at the northeast, to which the child has also been carried, and in the same way places its feet on it. The same act is repeated at the circles in the south- xast and the southwest. The child represents the young generation, the continuation of life, FLETCHER] EIGHTEENTH RITUAL, PART II 245 and when it is put in the cirele it typifies the bird laying its eges. The child is covered up, for no one knows when a bird lays its eggs or when a new birth takes place; only Tira’wa can know when life is given. The putting of the child’s feet in the circle means the giving of new life, the resting of its feet upon the oriole’s nest means prom- ised security to the new life, the fat is a promise of plenty of food, and the tobacco is an offering in recognition that all things come from Tira'wa. The entire act means that the clan or tribe of the Son shall increase, that there shall be peace and security, and that the land shall be covered with fatness. This is the promise of Tira'wa through the Hako. Four times the childis taken around the fire and its feet are placed within the four cireles during the singing of the following song, but the nest is used only on the first round. SONG Words and Music M. M. N=196. « = Pulsation of the voice. Transcribed by Edwin S. Tracy. Ne drum. ps At A ae Pee = Ss : tk ss == SE — ———————— = = ee = : = —o=|-2—o— ss _— Ho-o-o! We ra ti ka ri- ki Pi-ra-o ka ri-ki Rattles. 2 De > Whistle | (ee [errr rr ne [OO renee ner rrr Ta, le KL hi! Pi- ra - 0 ka ri- ki ra vri- ki hi! Ee ene a 8. 1264 Ho-o-o! 1265 We ra ti ka riki ra riki hi! 1266 Pirao ka riki ra riki hi! 1267 Pirao ka riki ra riki hi! Translation 1264 Ho-o-0! An introductory exclamation. 1265 We ra ti ka riki ra riki hi! we, now. ra, 1S. tis he: ka, from akaro, an inclosure; the space or room within. riki, standing. ted riki, standing. hi, vowel prolongation. 246 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 1266 Pirao ka riki ra riki hi! pirao, child. ka, within. riki, standing. "a, 1S. riki, standing. hi, vowel prolongation. 1267 See line 1266. Explanation by the Kw'rahus At the close of this song and ceremony the child is carried back and seated behind the holy place. ‘The chief stands behind the child, and a feathered stem is laid on each side of it, the brown eagle to the north. Parr III], THANK OFFERING Haplanation by the Ku'rahus Live coals are brought and put on the holy place before the child, and the Ku’rahus cuts bits of consecrated fat and sweet grass and lays them on the coals. All the people silently watch the sweet- smelling smoke as it curls upward. When the smoke is well on its way to Tira’wa, the Ku’rahus, standing at the west, lifts the feathered stems, the wildeat skin, and all the other sacred objects of the Hako and waves them four times through the smoke toward the east, and then lays them down as they were before. When the chief and his assistant have raised the child to its feet, the chief puts his hands in the sweet smoke and passes them over its head, then puts his hands back into the smoke and rubs the child from its shoulders down its arms. Again he puts his hands in the smoke and passes them down the body of the child. For the fourth time he puts his hands in the smoke and strokes the legs of the child to its feet and presses them upon the earth. Then the child is again seated. (| Now the Ku'rahus says, ‘‘ My Children, the offering of sweet smoke is for you.” After that the chief and the assistant will put smoke on any of the Children who so desire. This takes some time, for every one of the Children present wishes to have the blessing of the smoke. At length the chief puts the smoke upon himself, and the Ku'rahus and his assistant on themselves, and last of all the two young men who are to perform the final dance bless themselves with the smoke. The Ku'rahus returns the coals to the fireplace and spreads the ashes over the ground so that nothing will show where they have been. Next he goes to the first circle in the northwest and with his right foot rubs away the outline. He then proceeds to the nest-cirele at the northeast and rubs that away, and so on with the other two. The doctors follow, the one with the left wing sweeping away all signs of the nests on the north side of the fireplace, while the doctor with the right wing does the same to those on the south side. FLETCHER] EIGHTEENTH AND NINETEENTH RITUALS 247 The chief, the Father of the Hako party, now takes the little child in his arms and, going outside of the lodge, sits down near the door, where he remains during the final dance and the presentation of gifts by the children. THIRD DIVISION. THE DANCE OF THANKS NINETEENTH RITUAL Part I, THe CALL TO THE CHILDREN Explanation by the Ku'rahus Before the entrance to the lodge mats are spread, on which sit those who are to take part in the coming ceremony. The Ku'rahus and his assistant are directly before the door. At the left of them are two doctors who have not heretofore taken part. They carry their large rattles, and have lent two similar ones to the Ku'rahus and his assistant. They have also lent for this occasion their peculiar drums to the singers. These drums are made of the section of a tree hollowed out by fire, over the open end of which a skin has been stretched and securely tied. The singers are seated in a semicircle about each of the two drums (see figure 180). In front of the Ku'rahus and the singers sits the chief, and before him is the little child. The doctors with the eagle wings are on either side, the one with the left wing toward the north, the one with the right wing toward the south. In front of them are the two dancers. The space within which they are to dance is inclosed on the south by a line of promi- nent men from the Son’s party, and on the north by a line from the Father’s. These lines beginning at the lodge end each with a warrior selected by the Ku’rahus for his valorous record. These warriors wear buffalo robes with the hair side out and are girded about the waist with a hair lariat, which is to be used in leading the horses brought as gifts to the Fathers. Beyond these lines of prominent men, who are seated, are gathered the people, those belonging to the tribe of the Son on the south and those of the Hako party on the north. The Ku'rahus gives a smal! tuft of white down to a man whose hands have not been painted with sacred ointment, and direets him where to place it on the head of the chief. The place is on the spot where a baby’s skull is open, and you can see it breathe. The white down represents the white clouds which lie near the abode of Tira’wa atius, whence he sends down the breath of life to man. Chiefs were appointed by Tira’wa through the North Star. The tuft of down also signifies that the chief’s office is from above. The two feathered stems, the rattles, the wildeat skin, and the ear of corn are given to the chief to hold. The two young men who have been selected to dance are stripped to the breecheloth, and red circles are made with the sacred paint on their backs and breasts. The circles are outlined faintly, so as not to bo ree oO THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 WEST 20 22 EAST Fic. 180. Diagram showing the positions of the participants in the dance of thanks. 1, the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the roof; 4, the holy place; 5, the drum; 6, the Ku’rahus; 7, his assistant; 8, the drums of the doctors; 9, singers; 10, the Father (a chief); 11, the little child; 12, the bearers of the eagle wings; 13, the dancer with the brown-eagle feathered stem; 14, the dancer with the white-eagle feathered stem; 15, the line of the brown-eagle dancer; 16, the line of the white-eagle dancer; 17, warriors who take the ponies off; 18, prominent men of the Hako party; 19, prominent men of the Son’s party; 20, members of the Son’s tribe, the Children; 21, members of the Hako party; 22, effigy on which war honors are enacted. FLETCHER] NINETEENTH RITUAL, PART I 249 attract attention, for they represent the nest and are a part of the secret ceremony. The downy eagle feather which until now has been worn by the Ku’rahus is fastened to the scalp lock of the dancer who is to bear the brown-eagle feathered stem, and the downy feather worn by the assistant is tied to the hair of the dancer who will hold the white-eagle feathered stem. A man, previously chosen by the Ku’rahus, steps up to the chief and reeeives from him the two feathered stems and the rattles. He makes the sign of thanks for the honor by passing his hands down the arms of the chief. Then, holding the brown-eagle feathered stem in his right hand, he recounts a suecessful capture of booty, then tells of a war adventure in which he struck an enemy without receiv- ing any harm. After this he hands the brown-eagle feathered stem and a rattle to the dancer sitting at the north. Holding up the white- eagle feathered stem, he tells of a successful foray, in which he cap- tured ponies, and then of a victory in war, after which he hands the white-eagle feathered stem and a rattle to the dancer sitting at the south and takes his own place in the line of prominent men belonging to the Father’s party. The first song is now sung, fo the accompaniment of the large rattles, the doctors’ drums, and the whistle. FIRST SONG Words and Music M. M. N= 152. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. wees —_— : os eee — [oe 02 2 Se SS =f === f Sse 9-2 se te eee _——— a o eae =a rs 4 Set res labt > fail) IBQSTE, S Peecus Leet ln sags i ehe Srwilf deliporgy avsaas Drum, ‘ eB is Rattles. ? tr perenne Fb nr FP tr Re Whistle —— = Sr = Se ea elma clicgs: on <7 6 CF eae o o- lu-ra i; Hi- ri! Hu-ra 1 hw ray OD Ree nr ne Ptr i UP prrrre = — ms Hi-ri! Hu-ra; Hi - ri! Hu-ra _ i-hal A A A ig inne ie oh Sy Steg 1268 Hiri! Hura-ai, hurai; 1271 Hiri! Hura; 1269 Hiri! Hurai,hurai,hurai; 1272 Hiri! Hura; Hiri! Huraiha! 1270 Hiri! Hurai, hurai; fa tr. 250 THE HAKO, A PAWNEE CEREMONY [BTH. ANN, 22 Translation 1268 Hiri! Hura-ai, hura i. hiri! an exclamation calling attention and demanding that heed be given; harkeu! hura, let come. a, vowel prolongation. i, a part of the word iha’re, young, or children. hura i, let the children come. 1269 Hiri! Hurai, hurai, hurai. See line 1268. 1270 Hiri! Hurai, hurai. See line 1268. 271 Hiri! Hura. See line 1268. 1272 Hiri! Hura; Hiri! Hura iha! Hiri! Hura; Hiri! Hura. See line 1268. iha, a part of the word iha’re, children, young. Explanation by the Ku'rahus This song is addressed to the Children that they may know that all is now ready for the reception of their gifts. The words of the song mean: ‘‘Harken! Give attention! Let the Children come!” The song is sung twice and then we pause; this is to give the Chil- dren time to come together. After a little while we sing the second song. SECOND SONG Words and Music M. M. N= 152. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. ——— = = - {> = R= ———s sa | ——— oo 2 =e I ra, ra; hie rasa ee = Sig Wes GR ocean Drum. % 5 ss Rattles. ? theme 6% thane 0 tne rn nee Whistle. SS === > Se = =Ss=3 = Se= =f] a ow tw = a hi - ra-a oe = ra) har--as Teri eral A A A nN 5, Of en aT eee P trinnr nner ne ne 7 tne = ——— = = \. aS = SSS SSS asl Ce oo oe == -o- o_a@. tae oo I Ya, i Ya, hi - ra-a; I ra, hi - ra tha - a! A A A ‘ ? tr. Pir. ffatne f tr. 1273 Ira.ira, hira-a hira ha-a; 1274 Ira,ira, hira-a hira ha-a; 1275 Ivrira! 1276 LIra,ira, hira-a; 1277 Ira, hira ha-a! FLETCHER] NINETEENTH RITUAL, PART I 251 Translation 1273 Iva, iva, hira-a hira ha-a. i, a part of the word iha’re, children, young. ra, come. hira, when come, when they do come. a, vowel prolongation. hira, translated above. ha, yonder. a, vowel prolongation. 1274 See line 1273. 1275 Ivi ra! iri, there. ra, coming. 1276 Ira,ivra, hira-a. See line 1273. 1277 Iva, hira ha-a! See line 1273. Explanation by the Ku'rahus The Children are now gathering; they are moving about on their side (see figure 180), men, women, and children. The words mean: ‘‘ When the Children come, they will come from yonder.” Although there is much noise and bustle where the Children are busily preparing, yet this song can be heard by them and they hasten with their preparations. We sing the song twice. As the people are seen moving toward the place where we are sit- ting, we sing the next song. THIRD SONG Words and Music M. M. | =56. + = Pulsation of the voice. Transcribed by Edwin 8. Tracy. = = = = . =u Oe — |= == S —} ae ee = = == as @_@, 2-5 2 =e = =f" # 2 =f= 2s = 3s = Fi ts te tee 6 ee =e — — *Ha-re ra, “ha-re ra-a, ra i’ha-re;’Ha-re ra, ’ha-re ra-a, rai ’ha-re; Drum. 4 A A A A A Rattles. 7 tron 7 trimer Pitre Ptr Ptrenwne Ptr Whistle. SS SSS — — ree o ee ow o ae ‘ ir. : *Ha-re ra, rai ’ha-re; ’Ha-re ra! ’Ha-re ra-a, ra - a i ’ha-re, ra A A A A A s Faire 7 tees IP tip Fs Wesoeen [Pup 7 tw M. M.= 80. oP Se Le : i *ha-re;’Ha-rera, ’ha-re ra-a, rai ’ha-re; ’Ha-re ra!’Ha-re ra! na A A A A A A A A ° e @ a fF trams Pir FP tr. EP ie? fal EP fi bo on bo THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22 1278 ‘Hare ra, ‘hare ra-a, rai hare; 1279 ’Hare ra, hare ra-a, ra i “hare; 1280 °Hare ra, rai ‘hare; 1281 °Hare ra! 1282 “Hare ra-a, ra-ai “hare, rai ‘hare; 1283 “Hare ra, ‘hare ra-a, rai “hare; 1284 ’Harera! ‘Hare ra! Translation 1278 ?Hare ra, ’hare ra-a, ra i hare. ‘hare, a part of the word iha’re, children, young. ra, coming. *hare ra. ‘Translated above. a, vowel prolongation. ra, come, or coming. i, a part of the word titako, here, where I am. *hare, children. 1279 See line 1278. 1280 ’?Hare ra, rai hare. See line 127s. 1281 ’Hare ra! See line 1978. 1282 ’Hare ra-a, ra-ai’hare, rai’hare. See line 1278. 1283 See line 1278. 1284 ’Harera! ’Hare ra! See line 1278. Explanation by the Kwu'rahus The words of this song mean: ‘‘The Children are coming, coming here where I am sitting.” At the close of this song a man selected by the Ku'rahus utters a long, loud ery: ‘‘ Ho-o-0-0-0-0-0!” It is answered by all the Hako party; their shout is broken by the hands beating on the mouth: “ Wa-a-a-a-a-a-a!” The drums and rattles sound at the same time. It is a cry of thanks and of weleome by the Fathers to the Children as they approach bearing gifts. As soon as the eries cease the Ku'rahus begins one of the dance songs. ; Part Il. THe DANCE AND RECEPTION OF GIFTS Explanation by the Kwrahus On the fourth night (of the Hako ceremony), while the lodge was being cireled sixteen times, some young men, at the direction of the Ku'rahus, went out and made the figure of a man from grass and old garments and fastened it to a small sapling so that it could be made to stand upright. This figure, which has been concealed, is now brought out and set up in front of all the people (see figure 180). The men of the tribe of the Children, dressed in their regalia and war bonnets, and painted with the symbols of the society to which they belong, come up with their horses, which are led by one of the owner’s oo PLETCHER] NINETEENTH RITUAL, PART II 25 little children. Each man stops at the effigy and there, treating the figure as he did his enemy, he acts out a deed of valor and then recounts its story. He does this to honor his child, who is taking the gift of a horse to the Fathers. As the child approaches, the chief goes toward him with the wild- eat skin and the ear of corn; he strokes the child’s head with the ear of corn. This movement means thanks for the gift and the invoking of a blessing upon the child. Meanwhile one of the warriors at the end of the line (see figure 180) comes forward, and with his hair rope leads the horse away and gives it in charge of some one, and the man appointed to keep count makes a record of it. These things are all going on at once while the young men are dan- cing. When the dance song begins the two young men rise, each hold- ing in his left hand, high up over his head, a feathered stem and in his right a rattle. Both start at the same time and as they leap and dance they wave the feathered stems to simulate the flight of the eagle. The dancer with the brown-eagle feathered stem goes from the north around by the south and pauses when he reaches the place where the dancer with the white-eagle feathered stem started, while the latter goes outside the path of the former by the south and pauses when he reaches the place at the north where the dancer bear- ing the brown-eagle feathered stem had stood. There the two dancers stand until the song is finished, when they cross over and take their own proper places, the brown eagle at the north and the white eagle at the south. Whenever the song is repeated, they rise and dance again in the same manner. The cirele of the white eagle is always outside that of the brown eagle, for the white eagle is the male and its place is outside to defend the female. The brown eagle always moves from the north around to the south and the white eagle goes from the south to the north; the two move in opposite directions so that they may come together; the male and female must conjoin. There are two dance songs; they both mean the same and there is no order in which they must be sung. The words mean ‘‘ Now fly, you eagles, as we give thanks to the Children.” 254 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 DANCE SONG Words and Music M. M. = 200. = = Pulsation of the voice. Trarscribed by Edwin S. Tracy. IGS z == ze = oe Ho-o-0-o! Ra-wa sa wa-ril! T-ri i-ha-re! I-ri i-ha-re- e! Drum. 3 Ay A A\ a A A A A A Batten titers Si eeite Cane Eaitee ait) Garth ot aces ates penne een ——— ee ———— le ae SSS E —- —— =p =f — | Ra-wa sa wa- ri, ra- wa sa wa-ri! IT-ri i- ha-rel p fe ° e Poi ° e o o fae 6 oe e e Py f I - ri i- ha-re - e! Ra-wa sa wa- ri, ra- wa sa wa-ri! Bie ait) eG es ee SSS SS tea Ra-wa sa wa-ril I -ri i- ha-re! i fa ieee el ecm e igat olap ple Iida dae (che Yo 1285 Ho-o-0-o! 1286 Rawasa wari! Iriihare! Ii ihare-e! 1287 Rawa sa wari, rawasa wari! Iriihare! Iri ihare-e! 1288 Rawa sa wari, rawa sa wari! Iriihare! Invi ihare-e! 1289 Rawa sa wari! Translation of Fourth Song 1285 Ho-o-c-0! An introductory exclamation. 1286 Rawa sa wari! Iriihare! Iri ihare-e! rawa, now; a signal to start. sa, you; refers to the eagles personated by the dancers. wari, fly. iri, a part of nawairi, an expression of thankfulness. ihare, children, young; refers to the Children. iri, translated above. ihare, translated above. e, vowel prolongation. 1287 Rawa sa wari, rawa sa wari! Iriihare! Ivri ihare-e! See line 1256. 1288 See line 1287. 1289 Rawa sa wari! See line 1286. FLETCHER] NINETEENTH RITUAL, PART II 255 DANCE SONG Words and Music M. M. N= 200. > = Pulsation of the voice. Transcribed by Edwin §. Tracy. == == HoeocG-ol Ha! I-ra hi-ru-ra! Ha! I-ra hi-ru-ra! Ha! I-ra ed Eo ale ‘dlp Pree ally eae cP Pepe o of dip idgdy alg ue Ha! l-ra ° r pope é 0p 02 @ pose ei. Coy ee Src Ha! I-ra hi ru-ra! A! Hira- al Hal I- = A A A Gre ceine Cot ste rer 1290 Ho-o-0-o! 1291 Ha! Ira hirura! 1292 Ha! Irahirura! Ha! Iva hirura! 1293 Ha! Ira hirura! Ha! Iva hirura! 1294 Ha! Irahirura! Ha! Ira hirura! 1295 A! Hi ra-a! 1296 Ha! Irahirura! Ha! Iva hirura! Translation of Fifth Song 1290 Ho-o-o-0! An introductory exclamation. 1291 Ha! Ira hirura! ha! behold! ira, coming. hirura, yonder he is coming (refers to the child bringing a gift). 1292-1294 See line 1291. 1295 A! Hira-a! a! the same as ha! behold! hi, a part of hirura, yonder he is coming. ra-a; ra, coming; a, vowel prolongation. 1296 See line 1291. 256 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Eaplanation by the Ku'rahus If aman of the Father’s party desires to count his war honors he steps out in front of the dancers. The men stop and go to their proper places; the song stops and the man tells his deed of valor. At its close the responsive cry is given by the people; then the song begins again and the dance is resumed. Sometimes one of the Children has not been able to catch the horse he intends to give away. He comes forward with his little child, who carries a small stick and hands it to the chief, who turns if over to the assistant chief, who passes it on to the record keeper. The child is blessed with the corn. At any time during this dance of thanks a poor person can come up to the consecrated child who is sitting in front of the chief and take away the robe that is on it, for the robe has been put on the child as a gift to the poor. When one robe is taken, the assistant chief places another robe on the child, and it often happens that several robes or blankets are given away to the poor in this manner. After a time one of the chiefs of the tribe of the Son rises and asks if all have made their gifts. This is a signal that the end is near. Finally, some one of the party of the Son rises and says, ‘‘ Father, you must be tired; end this!” and he makes the sign with his hands which signifies cutting off, and the dance stops. Sometimes only the sign is made, but generally the words are spoken. Then the prominent men of the Fathers and of the Children enter the lodge for the final ceremony. FOURTH DIVISION. PRESENTATION OF THE HAKO TWENTIETH RITUAL Part I. BLESSING THE CHILD Explanation by the Ku'rahus At the close of the dance of thanks the Children seatter in every direction, but the leading men enter the lodge and sit down at the south side. The Son sits either in the middle of the line on the south, or in his proper place just south of the entrance, near the door. The consecrated child is taken by the chief behind the holy place. The two dancers advance to lay down the feathered stems, one at each side of the little child, the brown-eagle feathered stem toward the north, the white feathered stem toward the south. Then they remove the downy feathers from their hair and give them to the Ku’rahus, who ties them on the feathered stems. The Ku'rahus then girds the robe about his waist with the hair rope and lifts the brown-eagle feathered stem. His assistant takes up the white-eagle feathered stem, the chief, with the cat skin and the ear of corn, steps between the Ku’rahus and his assistant, and the FLETCHER | TWENTIETH RITUAL, PART I’ BST doctors with the eagle wings take their places at either side. The five men stand before the child and sing the following song (see figure 181). EAST 1 Fig. 181. Diagram of the Son’s lodge during the presentation of the Hako. 1, the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the dome-shaped roof 4, the little child; 5, the Ku’rahus; 6, his assistant; 7, the Father (a chief); 8, the bearers of the eagle wings; 9, the Son, father of the little child; 10, leading men of the Son’s party; 11, leading men of the Father’s party. SONG Words and Music M. M. !=56. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. Wo drum. Ho-o-o-o! H’Ire ra! H’T re ra! Pi-ra u-ta ha - o! Pi-ra u-ta, u - taha - o! A A A Rattles.? tr, 7? tram 7 trawne FF tr. ao 1297 Ho-o-o-o! 1298 H’I re ra! 1299 H’Lre ra! 1300 Pira uta hao! 1301 Pira uta, uta hao! 22 era—pr 2—04——17 ON re re ee eee 258 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 Translation 1297 Ho-o-o-o! An introductory exclamation to the song. 1298 H’I re ra! h’, the symbol of breath; breathing forth life. I, a part of the word Tira’wa, the mighty power above. re, is. ra, coming. The word as here used conveys the idea of coming from a great distance. 1299 See line 1298. 1300 Pira uta hao! pira, a part of the word pirao, child, a general term. uta, a part of the word kuta, possessed by or belonging to some one other than the speaker. hao, offspring. 1301 Pira uta, uta hao! See line 1300. Explanation by the Ku'rahus When I sing this song I pray to Tira’wa to come down and touch with his breath the symbol of his face and all the other symbols on the little child. IT pray with all my spirit that Tira’wa atius will let the child grow up and become strong and find favor in its life. This is a very solemn act, because we believe that Tira’wa atius, although not seen by us, sends down his breath as we pray, calling on him to come. As I sing this song here with you I can not help shedding tears. I have never sung it before except as I stood looking upon the little child and praying for it in my heart. There is no little child here, but you are here writing all these things down that they may not be lost and that our children may know what their fathers believed and practiced in this ceremony. So, as I sing, I am calling to Tira’wa atius to send down his breath upon you, to give you strength and long life. Iam praying for you with all my spirit. This song is sung eight times. As we sing it first we bow above the little child, and make a move- ment as if to touch it with the feathered stems and the ear of corn. The second time we sing it we again bow low over the child and the chief touches it on the forehead with the ear of corn, while the Ku’ra- hus and his assistant stroke it on each side with the feathered stems. We then pass to the south, to the right side of the child, and sing for the third and the fourth time. The first time we make the motion of touching the child, the second time the chief touches its head with the ear of corn, and the feathered stems are passed down its sides. Then we go west to the back of the child and there sing for the fifth and sixth times, making the same motions and again touch- ing it. Then we go north, to the left of the child, and sing for the FLETCHER] TWENTIETH RITUAL 259 seventh and eighth times, making the same movements and touches; and then we return to the front of the child. These movements are all descending movements; they are following the breath line drawn on the face of the child. The rattles which belong to the feathered stems are used alone with this song. The purport of this song is hidden from the people, but this is what it means: All that I have been doing to you, little child, has been a prayer to call down the breath of Tira’wa atius to give you long life and strength and to teach you that you belong to him—that you are his child and not mine. When we have finished singing the chief steps back, and the Ku'ra- hus, taking the two feathered stems, folds the white-eagle within the feathers of the brown-eagle feathered stem and, without singing, goes through the same two movements, the feint and the touch, first on the front of the child, then on its right side, then on the back and then on the left side, after which he spreads the feathered stems, laying the brown-eagle stem to the left and the white-eagle feathered stem to the right of the child. The chief goes in front of the child and kneels before it. He takes the right leg of the wildeat skin and with the soft hair near its thigh he lightly wipes the blue lines from the child’s face, and then the red paint. He spreads the wildcat skin between the two stems, lays the ear of corn upon it, places the two feathered stems beside the ear of corn, with the crotched stick, the two rattles, the two eagle wings, and the pipe which has been used by the Children. He removes the black covering from the head of the child, takes off the white down and the downy feather, wraps them in the covering, and lays them also on the wildeat skin. He rolls the skin into a bundle, holding if in his arms while he stands before the child and talks to it of the good which will come through this ceremony. Part II. PRESENTING THE HAKO TO THE SON AND THANKS TO THE CHILDREN Explanation by the Kinahus When the chief has finished speaking he puts the bundle in the arms of the little child and leads it to its father, the Son, who receives it, and the child runs off to play. Another bundle, containing the bowl which held the water into which the child looked and other things that have been used, and all the mats on which the people have been sitting, are brought to the Son and presented to him. The chief, the leader of the Father’s party, stands at the doorway with the Son, making the movements of thanks. He strokes the Son’s head and arms, and, holding his hands, talks to him. The Ku’rahus 260 THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22 follows and does the same, then the assistant comes, then the two doctors and the prominent men of the Father’s party. After thank- ing the Son they all pass round the south side of the lodge to thank the prominent men of the Son’s party; then they return to the north side of the lodge and sit down. After they are seated, the Children express the wish that the distri- bution of the ponies, waiting without, may be happily accomplished, to which the Fathers reply, ‘‘ Nawairi!” ‘‘Thanks!” The Children now rise and go out of the lodge and leave the Fathers alone during the distribution of the gifts. The Ku’rahus appoints two influential men to go out and divide the gift of ponies, setting apart a number for the chiefs and the leading men who do not wish to do this for themselves, lest the people think them selfish. Two ponies are for the Ku’rahus; that is his portion ordinarily. If there are a great number of horses he is given more. The chiefs and leading men select from the ponies set apart for them, each man taking one until all the ponies are apportioned. The rest of the party choose from the other ponies, one at a time, the men first and then the women. After this the sticks representing ponies are divided. All the saddles, bridles, feathers, that may have been on the horses given away are piled on the north side of the lodge. These belong to the Ku’rahus. He keeps what he wants and divides the rest between his assistant, the server, and other members of the party. When the distribution has been made the Fathers leave the lodge and go to their camp, where they break their long fast and seek some rest. The next day all the party start for home except the chief. He remains to colleet the ponies which have not been brought in. The Son, to whom the Hako has been presented, can give the eagle wings to a doctor or the pipe toa friend, but he must keep for himself the sacred objects of the ceremony. They have brought to him the promise of long life and children, and have established peace and security through a tie as strong as that of kinship. INCIDENTAL RITUALS The following four rituals can be sung during the public ceremony whenever they are called for by the Children. COMFORTING THE CHILD Explanation by the Ku'rahus I have told you before that in order to be instructed in this cere- mony, to be taught its songs and their meaning, one must make many gifts, pay a great deal to the Ku’rahus who teaches him, This is our custom, for aman must make sacrifices, must give large presents in payment for what he receives, in order to show that he places a value upon the knowledge he wishes to acquire. T have paid a great deal FLETCHER] INCIDENTAL RITUALS 261 to the Ku'rahus who taught me. Besides I had to promise him that I would not give the teachings away, but would hold them as they had been held, teaching them only to those who would pay ine. I give these (incidental rituals) to you, so that they may be preserved and kept with all the other songs that belong to the Hako. Long ago there lived a holy man who knew all the songs and the rites of this ceremony, and to him came a vision wherein he was taught how to bring comfort to a little child when, during the ceremony, it eried and could not be pacified. In this vision he was shown what he must do to bring comfort to the little child, and he heard the Songs that he must sing. The songs which he heard have been handed down through many generations. When during the ceremony a child cries and ean not be comforted, the mother, or some one sent by her, can approach the Kurahus who carries the brown-eagle stem and ask him to come and quiet the child. The Ku’rahus must comply with this request, so he rises and stands before the holy place, takes up the feathered stem and sings this song, which tells the brown eagle, Kawas, that its baby is crying. All the people hear the song and know that help for the child is being asked. FIRST SONG Words and Music M. M. i 60. += Pulsation of the voice. Transcribed by Edwin S. Tracy. No drum. fl as == y-5 |{t- z Sosa a w=? Ho-o-0-0-0! Ka-was to wha-kara-tsa we, Ka - was to wha-kara-tsa we, A A A Rattles.? tine 7 tierr rrr FP eee Ah _ he-ru, wha-kara-tsa we, Ka - was to wha-ka ra-tsa we. A PR fi Uf rr rrr 1302 Ho-o0-0-0-o! 1303 Kawas to whaka ratsa we, 1304 Kawas to whaka ratsa we, 1305 Ah heru, whaka ratsa we, 1306 Kawas to whaka ratsa we. Translation 1302 Tlo-o-0-c-o! An introductory exclamation. 1303 Kawas to whaka ratsa we. Kawas, the brown eagle, representing the feminine principle. to, its, denoting ownership of the child that is crying. whaka, voice, noise from the mouth. ratsa, a high pitch, screaming. we, personal pronoun; refers to the child. 262 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 1304 See line 1303, 1305 Ah heru, whaka ratsa we. ah, yes. heru, truly, verily. whaka, voice. ratsa, screaming. we, refers to child. 1306 See line 1503. Explanation by the Ku'rahus The assistant takes up the white-eagle feathered stem, and then he and the Ku’rahus move toward the child, singing this song and waving the feathered stems. They are speaking to the child; they are bid- ding it cry no more, for its father is coming. The father is Tira'wa atius, the father of all, the father of all the powers represented with the Hako, of all living things, of all the peo- ple. And now this mighty power, the Father, is coming to the little child to bring it comfort. That is why the child is told not to ery, since its father is coming. These songs are very wonderful. SECOND SONG Words and Music M.M. $= 60. = Pulsation of the voice. Transcribed by Edwin §. Tracy. Wo drum. = etn (eS Pe SS = Hore o-o! H’ A-ars si - ra ti we - ra, H’A-ars si-ra tome we-ra, A A A Rattles. ? tr.n-- 7 6 See S Re- ko - ji he ti we - ei. H’ A-ars si - ra ti We - ra. aR RR RRA o | Ui rrr nr eee aw fF the 1307 Ho-o-o! 1308 H’A-ars sira ti wera, 1309 H’A-ars sira ti wera, 1310 Rekoji he ti wera, 1311 H’A-ars sira ti wera. Translation 1307 Ho-o-o! An introductory exclamation. 1308 H’Aars sira ti wera. . l’A-ars; h’, an aspiration, the sign of breath; aars, from atius, father: h’Aars, Father breathing forth (life). sira, is coming. ti, here. wera, now coming. FLETCHER] : INCIDENTAL RITUALS 268 1309 See line 1308. 1310 Rekoji he ti wera. rekoji, stop crying. he, part of the word h’Aars, Father breathing forth (life). ti, here. wera, now coming. 1311 See line 1308. Explanation by the Ku'rahus When the Ku’rahus and his assistant have reached the child they stand before it and sing the first stanza. The white-eagle feathered stem is on the outside; there it is waved to guard the child from all harm. The brown-eagle stem is waved over the little one,.and the mother, or whoever is holding it, must place it so that it can see the feathered stem, for the song bids the child look up and see that the mighty power Tira’wa has come, has acknowledged it as the child of the permanent heavens, that+place far above even the light fleecy clouds, which is always the same. THIRD SONG Words and Music M.M. /=88, + = Pulsation of the voice. Transcribed by Edwin S. Tracy. 7lo drum. =~ gt ets 2249S Sys = Ho -o0-o! Bel Is-te wa - ta si wi-ta... ha;... Ha!... Is-te... A A Rattles. iF ne p ei rr Nr OO igs 5 WES i, Sens) gle = na eeee EVAL = Eiesbesoes hi - A PPPLLISSSLLR DDR DLL OD RDP P DDD DC ODD rrroranpnas F tp, n= be == = Meee rae - haw - a, Elaeae Isi—'teseep wal tae isisecss Wite taebasessce Neennrronnnonnanpenn nme | a iL II 1312 Ho-o-o! 1317 Ho-o-o! 1318 Ha! Iste wata si wita ha; 1318 We tire wata si wite ha: 1314 Ha! Iste wata si wita ha; 1319 We tire wata si wite ha; 1315 H°’A-ars hire wahaki; 1520 He arste he ti waha; 1316 Ha! Iste wata si wita ha. 1321 We tire wata si wite ha. 264 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 Translation I Ho-o-o! An exclamation introductory to the song. Ha! Iste wata si wita ha. ha! an exclamation; behold! iste, you (referring to the child). wata, look upward. si, they, refers to the powers above. ts Nes OS bo wita, owner, refers to the child belonging to the power above. ha, part of the word meaning young, or child. 1314 See line 1315. 1315 H’A-ars, hire wahaki. W’A-ars, Father breathing forth life. hire, there, above, meaning Tivs wa. wahaki, heavens; ‘‘ the heavens that are always there above the reach of the clouds.” 1316 See line 1315. II 1317 Ho-o-o! An exclamation introductory to the song. 1318 We tire wata si wite ha. we, he or she, meaning the child. tire, has, an action performed. wata, looked. si, they, refers to the powers above. wite, the true owner; refers to Tira’wa as the true owner of the child. ha, part of the word meaning young, child. 1319 See line 1518. 1320 He arste he ti waha. he, his or her, refers to the child. arste, a modified form of atius, father. he, his; refers to Tira’wa. ti, here, at the present time. waha, part of the word wahaki, the permanent heavens. 1221 See line 1318. Heplanation by the Ku'rahus When the second stanza is sung the little child always stops crying and looks up. It responds to the presence of the mighty power. The song tells the child that it belongs to Tira’wa atius, the father of all, the giver of life, whose dwelling place is far above the clouds in the permanent heavens that never change. The child smiles and is comforted, FLETCHER] INCIDENTAL RITUALS 265 PRAYER TO AVERT STORMS Explanation by the Ku'rahus We like to have the sky clear during the time this ceremony is taking place. We do not like to have clouds come between us and the abode of Tira’wa atius, particularly storm clouds. We feel this way because we do not want anything to intercept the prayers of the Fathers or to hinder the descent of the help that we ask for the Chil- dren. If, however, clouds arise and a storm threatens, the Children may request this song to be sung, but the Fathers may not volunteer to sing it. After the request for the song has been made, the following cere- mony takes place: The Ku’rahus, with the Kawas feathered stem, his assistant with the white-eagle feathered stem, and the chief with the wildeat skin, in which are the crotched stick, the ear of corn, and the sacred pipe, rise from their seats at the west and pass out of the lodge. When they are outside under the open sky, they face the gathering clouds and sing the first stanza four times. While they sing the song and wave the eagle stems to the rhythm of the music, the chief holds the cat skin up toward the storm clouds. He holds it the same way while we sing the second stanza four times. The words of these stanzas are few, but their meaning has come down to us with the story of the song. Long, long ago the woodpecker was told by Tira’wa that the light- ning would never strike the tree upon which it had built its nest. The four beings at the west who have control of the thunder and lightning would protect the bird, so that it need never fear the storm. The woodpecker which came to the man to whom this ceremony was revealed taught him this song and told him when to sing it. Te was to sing it only when the storm threatened; if he sang it at any other time he would bring rain and storm upon the people. 266 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 SONG Words and Music M, M. }= 63 += Pulsation of the voice. oe ae i Edwin S. Tracy. = = == eed oa Ho-0-0-0! Ka-wa wok-ta-i, ka-wa wok-ta-i, ka-wa Maat we: wa wok-ta-i; Ta ees ene ee = = =i iene Se = = SoS = eS aee ===! H’ A-ars si-i; Ka-wa wok-ta-i,ka-wa wok-ta-i; H’ A-arssi-i. H’A ti-us si - i. tot (eon ie ia peering ae Mace emt if 1322 Ho-o-o0-o! 1323 Kawa woktai, kawa woktai, kawa woktai, kawa woktai; 1324 H’A-ars si-i; 1325 Kawa woktai, kawa woktai; 1326 H’A-ars si-i. II 1327 Ho-o-0-o0! 1328 Ti wawaki-i, ti wawaki-i, ti wawaki-i, ti wawaki-i; 1329 H’A-ars si-i; 1330 Ti wawaki-i, ti wawaki-i; 331 H’Atius si-i. Translation I 322 Ho-o-0-0! An introductory exclamation. 1325 Kawa woktai, kawa woktai, kawa woktai, kawa woktai. kawa; ka, part of katuharu, trees; wa, plural sign; kaw: means thick or heavy timbe nr woktai; wok, sound or noise; tai, on trees. Woktai, a sound made on the trees. The word refers to the tapping of the woodpecker upon the trees. 1324 H’Aars si-i. h’, contraction of ha, behold. aars, a modified form of atius, father. si-i; si, your; i, vowel prolongation. 1325, Kawa woktai, kawa woktai. See line 1323. 1326 See line 1324. II 1327 THo-o-0-o! An introductory exclamation. 1528 Ti wawaki-i, ti wawaki-i, ti wawaki-i, ti wawaki-i. ti, they; refers to the powers. wawaki-i; waki, speak; wa, plural sign; final i, vowel pro- longation. Wawaki-i, many are speaking. 1329 See line 1324. 1330 Ti wawkai-i, ti wawaki-i. See line 1328. 1351 TW Atius si-i. See line 1324. bo er) aI FLETCHER] INCIDENTAL RITUALS Explanation by the Kwrahus In the first stanza we call upon the woodpecker, who is busy mak- ing a noise, tapping upon the trees in the thick woods, and we ask him to remind his father of the promise that the storm should not come near his nest. The woodpecker is with us on the stem, and the storm is now threatening our nest, the lodge where we are holding the ceremony, so we call on him, the woodpecker, and ask him to remind his father of the promise given. The second stanza tells us that the four beings at the west speak, for when the thunders sound they all speak. These now answer the woodpecker, who has reminded them of their promise when Tira’wa atius, the father of all things, placed the bird and its nest under their protection. If, after we have sung these stanzas, the clouds part, we know that our prayers have been heard. We all return to the lodge, and the wildcat skin is spread upon the holy place at the west, the crotehed stick is put in position, the eagle stems and all the other articles are laid at ceremonial rest. When this has been done the chief takes the sacred pipe and, accompanied by the priest of the shrine containing the objects sacred to the powers of the rain, goes out and makes an offer- ing of smoke. The priest directs the chief where to point the pipe- stem. By this act of offering smoke we give thanks to the powers, who have heard our prayers and averted the storm. PRAYER FOR THE GIFT OF CHILDREN Explanation by the Kw'rahus This ceremony is very old and has now become obsolete. It is a prayer for the power of procreation. It was never performed except at the request of the Son, and was only in the interest of a man to whom children had not been born. It took place either in the early morning or at night, never during the day. When the request for the ceremony had been made, the Ku’rahus selected a man from among the Fathers whose duty it became to carry the Son and to care for him as a father would care for a little child. A white buffalo robe was kept for this particular ceremony. After the Son had been lifted on the back of the Father, this white robe was thrown over the two and was held together in front by the Father, as a person would hold his robe if he were carrying a child on his back. Asthe Father, carrying the Son, moved toward the entrance of the lodge, he was followed by the Ku'rahus and his assistant bearing the feathered stems and the chief with the cat skin and the ear of corn, while the following song was sung. The words are: ‘‘ Behold! Your father is walking with his child!” 268 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 FIRST SONG Words and Music M. M. J= 56. += Pulsation of the voice. Transcribed by Edwin S. Tracy. An A a ———————— | —! : = ———— ae = = — Sao I - ha- ri ha! H’ars si re- ra -ta; Radeon (Ot peat RS EAE Ct peal a ha! H’ars si re- ra-ta; IT - ha-ri ha! Wars si re - ra - ta. pi TWA snee YOL MEP RPL MeN On Ap) Witsoe seat e pore ahaa, mun 1332 Ho-o-o-o! 1333 Thariha! H/ars si rerata; 1334 Tha‘riha! H’ars si rerata; 1335 Tha'ri ha! H’ars si rerata. Translation 332 Ho-o-o-o! An introductory exclamation. 333 Tha'ri ha! lHars si rerata. iha’ri, a term for offspring or young; refers here to the Son. ha! behold! h’, an abbreviation of ha, your. ars, an abbreviation of atius, father. si, refers to iha’ri, in this instanee the Son. rerata, walking with. 1334, 1335 See line 1333. EHaplanation by the Ku'rahus When the Father, with the Son on his back, and the Ku’rahus and his associates had reached the open air and had gone a little distance from the lodge, the Son was taken from the back of the Father. All were now standing under the sky where they could be seen by the powers. ‘The Son represented a little helpless child—the child that he desired the powers to give to him. As the following song was sung the Father undressed the Son as he would a little child, and while he did so the Son prayed for the gift of children. FLETCHER] INCIDENTAL RITUALS 269 SECOND SONG Words and Music M. M. j= 66. -= Sakae of the voice. Transcribed by Edwin S. Tracy. o drum. Ss “ Se SS SS ee ite gg 22 Te 2 SiSerer! ~~ Ho-o0-0-0-0! O-ha-i-wa i-ri O - ha-i - wa A A A Rattles. 7 trmmweee PF then P thine SS SS = igi = oe oy =, 2 “= == i ie © © Isto pep COrdinetoie stony @ le ha - i- wa. A DO nr nn nr se eer fea tr. I II 1336 Ho-0-0-0-o! 1340 Ho-0-0-0-0! 1337 Ohaiwa iri ohaiwa; 1341 Okariwa iri okariwa; 1338 Ohaiwa iri ohaiwa; 1342 Okariwa iri okariwa; 1339 Ohaiwa iri ohaiwa. 1343 Okariwa iri okariwa. Translation I 1336 Ho-o0-0-0-0! An exclamation introductory to the song. 1337 Ohaiwa iri ohaiwa. ohaiwa, a composite word; the o is taken from okiwausu, foam; hai is from haiwa, floating; wa is a part of nawa, now. iri, an expression of thankfulness. ohaiwa, translated above. 1338, 1339 See line 1337. ¢ It 1540 Ho-o0-0-0-0! An exclamation introductory to the song. 1541 Okariwa iri okariwa. okariwa, a composite word; oka, breechecloth; kari, male organ (the syllable ka is common to the first and second word); wa, from rakura, to take off. iri, an expression of thankfulness. okariwa, translated above. 1542, 1343 See line 1341. 270 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 THIRD SONG Words and Music M. M. J=126. “= = Pulsation of the voice. Transcribed by Edwin S. Tracy. PALI — —= ae 2 S==2 == IG == SES SES SS] —— Ho-o0-0-o! O - ha - i- wa, c- ha -i-wa, na - wa ho - ha- A A Rattles. 7 tr. P tr a | PR rr re rn rr nr a ue 1 - wa; O - ha - i = Wa na - wa ne - ha - i - wa. A ee rrr P tr er nr re rn rrr il I 1344 Ho-o-0-o! 1347 Ho-o-o0-o! 1345 Ohaiwa, ohaiwa,nawahohaiwa; 1348 Okariwa iri okariwa okariwa; 1346 Ohaiwa nawa hohaiwa. 13849 Okariwa iri okariwa. Translation If 1544 Ho-o-o-o! An exclamation introductory to the song. 1345) Ohaiwa, ohaiwa, nawa hohaiw: ohaiwa, floating foam. See line 1337. nawa, hohaiwa, to urinate. 1546 Ohaiwa nawa hohaiwa. See line 1345 how. II 1347 Ho-o-o-o! An introductory exclamation 1348) Okariwa iri okariwa okariwa. okariwa, a composite word, translated in line 1341. iri, an expression of thankfulness. okariwa. See line 1541. 1549 Okariwa iri okariwa. See line 1341. Explanation by the Kwrahus During the singing of the first stanza (third song) the Son obeyed, as a child would do, the directions given him by the Father. As the second stanza was sung the Father reclothed the Son as he would a little child. The Son was then taken again on the back of the Father to be carried to the lodge. bo -I ro FLETCHER] INCIDENTAL RITUALS FOURTH SONG Words and Music M. M. = 182. = = Pulsation of the voice. Transcribed by Edwin S. Tracy. No drum. ——— = = = SS ijt ie SP eS Ho-o-o-0! Ha-a! Ra -i ha! ha! ra- i ha! ra - a; labiobenn Tey ou A A A Rattles. Ptrom-P tren Fn lars Se == = =5 =: E = = = ff ha! ra - a; Ha - a! oe - i hal ha! ra- i ha! ra- a. ~~ P tr. I II 1350 Ho-o-o0-o! 1354 Ho-o-o0-o! 1351 Ha-a! Rai ha! ha! rai ha! ra-a; 1355 Ho-okai ha! hokai ha. ka-a; 1352 Hira rai ha! ra-a; 1356 Werawane ha! ka-a; 1353. Ha-a! Rai ha! ha! rai ha! ra-a. 1357 Ho-okai ha! hokai ha! ka-a. Translation I 1350 THo-o-0o-o! An exclamation introductory to the song. 1351 Ha-a! Rai ha! ha! rai ha! ra-a. ha-a! ha! behold! a, a vowel prolongation to carry the voice. rai, coming. ha! ha! behold! rai, coming. ha! behold! ra-a; ra, a part of the word rai, coming; a, vowel prolonga- tion. 1352 Hira rai ha! ra-a; hira, he coming. rai, coming. ha! behold! ra-a, a part of the word meaning coming. 1353 See line 1351. II 1554 Ho-o-o-0o! An introductory exclamation. 1355 Ho-okai ha! hokai ha! ka-a. ho-okai; hokai, to enter; the vowel o is prolonged to carry the voice while singing. ha! behold! hokai, to enter, or entering. ha! behold! ka-a, a part of the word hokai, entering. 272 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22 1356 Werawane ha! ka-a. werawane, spreading out the arms. ha! behold! ka-a, part of the word hokai, entering. 1357 See line 1355. Explanation by the Kwrahus As the Father and the Son, wrapped in the white robe, turned toward the lodge, the Ku’rahus and his associates followed, and as they walked they sang the first stanza. The words are, ‘‘ Behold! He is coming! The Son is coming!” At the door of the lodge they sang (second stanza), “Behold! Tle is entering!” With the word ‘“‘werawane,” the Father spread out his arms, loosening the white robe, but still holding it by the edges, while the Son slipped to the ground and returned to his place in the lodge, the place he had left at the beginning of the ceremony. CHANGING A MAN’S NAME Explanation by the Kwrahus If any man of the Son’s party had achieved success in war, and his achievements had been acknowledged by the people, he could request the Son to have the ceremony of changing his name performed. This act could take place in the afternoon of the fourth day. The Son would make the request known to the Father, the chief, who passed it on to the Ku'rahus. If the Hako ceremony was held in an earth lodge, the Ku’rahus, accompanied by the Father and the Son, went outside and ascended the roof; there, standing before the people gathered below, the Ku’rahus recited in a loud voice the ritual used when changing a man’s name. If the Hako ceremony had been held in a tent, a semicircular inclo- sure was made with saplings and there, under the open sky, in the presence of all the people. the ritual was given and the name was changed. Pawnee Text 1358 Hiri! Waku 'raruta sharu witi rarawa-a kiru sharu reru ki vawi rahwi- rahriso tira kahho ri wiri. 1359 Hiri! Raru ki'tawi rahwi'ahriso rao ti shira rutu'rahwitz pari usaru ire. 1360 Hiri! Ra’'ru ki'tawi rahwi rahriso rao ti shire’'ra ki tawa usa'ru. 1361 Hiri! Riru'tziraru; rasa rixsa pakara’'ra witz pari; hiri! tiruta; hiri! tiraktse tararawa hut, tiri. 1362 Hiri! Riru’tziraru; rasa rixsa pakara'ra witz pari; hiri! tiruta; hiri! Tira'wa, ha! tiri. 1363 Hiri! Riru'tziraru; sira waku ri/kata iwa/hut; hiri! tiruta; hiri! tira tse tirarawa hut, tiri. PLETCHER] INCIDENTAL RITUALS i} 1364 1365 1366 1367 1368 1369 1370 1371 1872 1373 1355 1359 Hiri! Riru'tziraru; sira waku rari sut: hiri! tiruta: hiri! Tira’wa, ha! tiri. Hiri! Rirutziraru; Rararitu, kata wi'tixsutta. Raki'ris taka'ta wi tixsutta. Raki ris tarukux pa, raru tura tuka wint tari. Hiri! Riru'tziraru; ruri Papapichus taka wi tixsutta. Ruri Papapi chus tarukix pa raru tura tuka wiut tari. Hiri! Riru'tziraru; ruchix kuso’/ho riraka'ta kix sata. Kaha'riwisiri, ku katit tiki; kaha riwisiri, ku paha’'ti tiki; kaha'riwisiri. ku raka’'ta tiki; kaha riwisiri, ku taka tiki. Hiri! Riru'tziraru; sira sura waurux para, raru'tura tuka wiut tari. Rawa! Hawa urasharu we tatki wati. Hiri! Tatux tapakiaho, hawa, Rarutska’tit! Hiri! Raro rikcha ro re. Hiri! Wakoru ratora pake isto. Hiri! Akitaro hiwa werataweko. Hiri! Shakuru Wa'rukste. Hiriwa witi rakawa karu ko re. Translation hiri! an exclamation, harken! give heed! wakuraruta, if came to pass a long time ago. sharu, part of urasha’ru, name. witi, they. ‘arawa-a, discarded, had done with, threw away. kiru, ancient. sharu, from kussharu, a certain place known only by tradition. reru, it came about, or it was. ki'tawi, from ki, through, and ta’wi, them. rahwi/rahriso, a title. This title was bestowed through certain ceremonies connected with one of. the shrines. The man who had received this title was qualified to act as a leader, to have charge of a war expedition. tira, they. kahho, a wide expanse; kah conveys the picture that this expanse is spanned, as by a roof; ho suggests an inclosed space, as a dwelling; kahho calls up the idea that the earth is a vast abode, roofed by the heavens, where dwell the powers. ri wiri, walking; the persons spoken of as walking are not pres- ent. Rara’wari is to travel, walking, like warriors, and the word in the text refers to such walking, to the rahwi’rah- riso and the men under his leadership walking the wide earth beneath the arching sky. hiri! harken! give heed! raru, a company, or a number of persons. ki'tawi, through them. See same word in line 1358. rahwi'rahriso, the leader. See translation in line 1358. ra’o, a victory song. This elass of songs could be composed and sung for the first time by a leader. They might afterward be sung by his followers and by other persons. ti, part of tira, they. 22 era—pr 2—04——18 bo “1 ra 1360 1361 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 shiva, from shire’ra, brought. The re is eliminated for euphony. rutu rahwitz, overtake. pari, walking; singular number, present tense. usaru, a place wherein an event took place or something occurred. Both the locality and the occurrence are known only by tradition and the tradition is preserved in song. ire, singing vocables. hiri! harken. raru, a number of persons. The word as here used refers both to the leader and his men and to the people of their village. kitawi, through them. The word has here a double reference similar to the preceding one. rahwirahriso, the leader. rao, Victory song. ti, they. An abbreviated form of tira, they. shire'ra, brought. ki'tawa, from kit, the top; ta, coming; wa, part of waku, hill. Ki'tawa conveys the picture of the returning men singing their victory song as they reach the top of the hill near their village. usa ru; the word here means that the victory song commemo- rated the event at the time when the leader instituted the custom of changing the name. hiri! harken! riru'tziraru, by reason of, by means of, because of. The word has a wide significance and force throughout the ritual. rasa, the man stood. raxsa, he said or did. pakara’ra, a loud call or chant, sending the voice to a great distance. witz, from tawitz’sa, to reach or arrive. pari, traveling. These five words tell of a religious rite per- formed by the leader. The first two refer to his going to a solitary place to fast and pray, seeking help and favor from the powers above; the last three describe his voice, bearing his petition, traveling on and on, striving to reach the abode of Tira’wa. hiri! harken! a call for reverent attention. ti'ruta, special or assigned places, referring to the places where the lesser powers dwell, these having been assigned by Tira’wa atius, the father of all. hirvi! harken! a call for reverent attention. tirakuse, sitting; present tense, plural number. tararawa hut, the sky or heavens. It implies a circle, a great distance, and the dwelling place of the lesser powers, those which can come near to man and be seen or heard or felt by him. FLETCHER] INCIDENTAL RITUALS 205 tiri, above, up there, as if the locality were designated by pointing upward. 1362 hiri! harken! riru'tziraru, by reason of, because of. rasa, the man stood. rtxsa, did. pakara’ra, send voice to a distance. witz. reached. pari, traveling. hiri! harken! a call for reverent attention. tiruta, the abodes of the lesser powers. hiri! harken! a eall for reverent attention. Tira’wa, Tira’wa atius, the father of all. ha! an exclamation of awe. tiri, above all; refers to Tira’wa atius being above all the powers. 1363 hiri! harken! riru tziraru, by reason of. sira, they took. waku, they said. ri kata, received. iwa‘hut, from iwa, to hand over or pass on to the one next, and tira’wahut, the circle above where the lesser powers are. TIwahut means handed or passed around the circle. hiri! harken! a call for reverent attention. tiruta, abodes of the lesser powers. hiri! harken! a call for reverent attention. tirakuse, sitting. tirarawa hut, the circle above of the lesser powers. tiri, up above. 1564 hiri! harken! riru tziraru, because of, by reason of. sira, they took. waku, they said. ‘ari'sut, gave consent, granted. hiri! harken! a eall for r_verent attention. tiruta, abodes of the lesser powers. hiri! harken! a call for reverent attention. Tira wa, Tira’ wa atius, the father of all. ha! an exclamation of awe. tiri, above all. 1365 hiri! harken! riru'tziraru, by reason of, in consequence of. Rarari'tu, an old term for Winds. It also means heavy storm elouds. Rari’tu, a eyelone. The word in the text has a double significance. It stands for the Winds, the lesser power, and for the summoning by this lesser power, the Winds, of the storm clouds, their messengers in the west. 276 1366 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 kata, rising up, climbing up. wi tixsutta, reached there (whence the summons came). Raki ris, Thunders, plural form. taka'ta, ascending, advancing. wi tixsutta, reached a given place. Raki'ris, Thunders. tarukux’pa, an action concluded. rarutura, from raru, at that, and tura, ground. The word means that at the conclusion of the action (here under- stood) they, the Thunders, descended to the earth. tuka’wiut, slantwise. tari, the end of a mission or an action. hiri! harken! riru'tziraru, by means of, or by the agency of, ruri, at that time. Papapi'chus, Lightning; papa, zigzag; pichus, darting, flashing. taka, within, inclosed. wi tixsutta, reached there. ruri, at that time. Papapi chus, Lightning. tarukux’pa, an action concluded. rarutura, and then they descended to earth. See translation of this word in line 1365, tuka wiut, slantwise. tari, the end of their mission. hiri! harken! riru'tziraru, by means of, by reason of. ruchix, they did. kuso ho, flock. riraka'ta, in front of. ktx’sata, from side to side, as when ranging a path. kaha riwisiri, swallows. ku, breast. katit, black. tiki, they were. kaha’riwisiri, swallows. ku, breast. paha ti, red. tiki, they were. kaha riwisiri, swallows. ku, breast. raka'ta, yellow. tiki, they were. kaha’riwisiri, swallows. ku, breast. taka, white. tiki, they were. FLETCHER] INCIDENTAL RITUALS Pel 1 i 1 368 370 Q7 371 hiri! harken. riru tziraru, by reason of, because of. sira, they took; refers to the leader and to the men who followed and depended on him. sura, possess; to become one’s own. waurux’, grasped, as a staff. para, walked. ‘aru tura, refers to that which descended to earth. tuka’wiut, slantwise. tari, end, or accomplished mission. rawa! attend! a call for attention at the moment. hawa, once more. urasharu, name. we, I. tatki wati, change. hiri! harken! tatux, we used to. tapakiaho, speak of him. hawa, once more. Rarutska tit, the former name, meaning black-feathered arrow. hiri! harken! raro, owner. rikcha, lying. These words refer to the achievement com- memorated by the name about to be thrown away. ro re, yocables used for euphony and measure. hiri! harken! wakoru, now we are. ratora, all people. pake'tsto, speak out and say. hiri! harken! akitaro, tribe. hiwa, in the. werataweko, prominent. hiri! harken! Shaku'ru Wa'rukste, the new name now announced (‘‘Sacred Sun”). hiriwa, in the process of making. witi, himself. ‘cakawa’karu, what he is. ko re, voeables used for euphony and measure. Closing Remarks of the Ku'rahus During the days I have been talking with you (the writer) I have been carried back in thought to the time when Estamaza (the father of Francis LaFlesche) came to the Chaui. I met him in this cere- mony; he was the Father, and as I have worked here day and night, 278 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 my heart has gone out to you. I have done what has never been done before, I have given you all the songs of this ceremony and explained them to you. I never thought that I, of all my people, should be the one to give this ancient ceremony to be preserved, and I wonder over it as I sit here. I think over my long life with its many experiences; of the great number of Pawnees who have been with me in war, nearly all of whom have been killed in battle. I have been severely wounded many times—see this scar over my eye. I was with those who went to the Rocky Mountains to the Cheyennes, when so many soldiers were slain that their dead bodies lying there looked like a great blue blanket spread over the ground. When TI think of all the people of my own tribe who have died during my lifetime and then of those in other tribes that have fallen by our hands, they are so many they make a vast cover over Mother Earth. I once walked with these prostrate forms. I did not fall but I passed on, wounded sometimes but not to death, until I am here to-day doing this thing, singing these sacred songs into that great pipe (the graphophone) and telling you of these ancient rites of my people. It must be that I have been preserved for this purpose, otherwise I should be lying back there among the dead. ANALYTICAL RECAPITULATION ORIGIN AND GEOGRAPHIC DISTRIBUTION OF THE CEREMONY Where the Hako ceremony originated and through how many gen- erations it has come down to the present time it may be impossible ever to determine. Even a partial knowledge of its geographic dis- tribution upon our continent would demand an archeologic and historical research too extended to be attempted at this time. How- ever, a few facts may be stated. From the Journal of Marquette, giving an account of his voyage of discovery in 1672, it is learned that the sacred symbols, the feathered stems, were held in honor by tribes belonging to the Algonquian, Siouan, and Caddoan linguistic stocks dwelling in the Mississippi valley from the Wisconsin to the Arkansas. Marquette calls the feathered stem a ‘‘calumet” and his descrip- tion of its ceremony, which he saw among the Illinois, due allowance being made for his lack of intimate acquaintance with native religious customs, indicates that the ceremony as he saw it over two hundred years ago in a tribe that no longer exists differs little from the same ceremony as observed within the last twenty years in the Omaha tribe. He says of this ‘‘calumet” that it is “‘the most mysterious thing in the world. The scepters of our kings are not so much respected, for the Indians have such a reverence for it that one may call it the god of peace and war, and the arbiter of life and death. . . . One with this calumet may venture among his enemies, and in the hottest battles they lay down theirarms before the sacred pipe. The Illinois presented me with one of them which was very useful to us in our voyage.” That the feathered stem was recognized over so large a part of the great Mississippi valley and among so many tribes differing in lan- guage and customs indicates considerable antiquity for its rites, as much time would have been required for so wide an avceptance and practice of the ceremony. As observed among the Pawnees, there is evidence not only that the ceremony is old, but that it has been built upon still older founda- tions, and has been modified in the process of time to adapt it to changed conditions of environment. For example, the substitution of the buffalo for the deer and the transference of songs, as that formally sung to the mesa while on the journey, which is now sung within the lodge. ale 280 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22 The leadership accorded to the corn indicates that an earlier form of the ceremony is to be sought among a people dependent upon agri- culture, and the peculiar treatment of water would seem to have arisen ina semi-arid region. Again, the development in the purpose of the ceremony from the simple longing for offspring to the larger desire of establishing intertribal relationships was most likely to have taken place among peoples whose settled mode of life had fostered an appre- ciation of the benefits to be derived from peace and security. Efforts to spread this ceremony among tribes less sedentary than those of the Mexican plateau and the Southwest may, on the one hand, have been prompted by prudential reasons, while on the other hand its adoption and promulgation over the wide territory occupied by the so-called hunting tribes marks the growth of politicai ideas and gives a higher place to these tribes in the line of social develop- ment than has usually been accorded them. PURPOSE OF THE CEREMONY The purpose of this ceremony was twofold: first, to benefic cer- tain individuals by bringing to them the promise of children, long life, and plenty; second, to affect the social relations of those who took part in it, by establishing a bond between two distinct groups of persons, belonging to different clans, gentes, or tribes, which was to insure between them friendship and peace. In every tribe where the ceremony was known this twofold pur- pose was recognized, and by no tribal variation in the details of the rite was it lost sight of or obscured. From a study of this ceremony it seems probable that its original instigation was a desire for offspring, that the clan or kinship group might increase in number and streneth and be perpetuated through the continuous birth of children. The ceremonial forms here used to express this desire were undoubt- edly borrowed from earlier ceremonies through which the people had been familiarized with certain symbols and rites representing the creative powers. Thus, the male and female cosmic forees, symbol- ized in greater or less detail by day and night, sun and moon, the heavens and the earth, are found in the Ilako ceremony. The eagle and the ear of corn also represent in general the male and female forces, but each is specialized in a manner peculiar to these rites. There are two eagles; the white, representing the male, the father, the defender; and the brown, representing the female, the mother, the nestmaker (see pages 288, 289). In the treatment of these eagles the dual forces are still further represented. The feathers of the white or male eagle are hung upon a stem painted green to symbolize the earth, the female principle; while those of the brown or female eagle are hung upon the stem painted blue to symbolize the heavens, the FLETCHER] PURPOSE OF THE CEREMONY 281 male principle. The same treatment of the corn is observed. The ear of corn, which is born of Mother Earth, is symbolically painted to represent a living contact with the heavens. These symbolie articles thus treated are peculiar to this ceremony and essential to its rites. They express with unmistakable clearness the original instigating desire for children. The second purpose of this ceremony, that of establishing a bond between two distinct groups of persons belonging to different clans, gentes, or tribes, which should insure between them friendship and peace, was probably an outgrowth of the first purpose and may have been based upon tribal experience in the practice of exogamy. In a tribe composed of clans or gentes, where exogamy prevailed, two factors tended to promote peace and security among the people, namely, children born to parents representing two distinct political groups, and rites which recognized a common dependence upon the supernatural and were obligatory upon all. With the growth of social ideas the thought seems to have arisen that ties might be made between two tribes differing from and even competing with each other, through a device which should simulate those influences which had proved so effective within the tribe. ‘The Father, representing one tribe, was the incentive foree; he inaugu- rated the Hako party. The tie was made by a ceremony in which the feminine principle, represented by the corn and Kawas, was the dominant factor. Through this mother element life was given and a bond was established between the Father and a Son of another tribe. Tt is remarkable how close to the model this device of an artificial tie has been made to correspond. Apart from the social and religious significance of the ceremony, it became a means of exchange of commodities between tribes. The garments, regalia, and other presents brought by the Fathers to the Children were taken by the latter to some other tribe, when they in turn became the Fathers. Thus manufactures peculiar to one tribe were often spread over a wide territory, and the handicraft of one region became known to different sections of the country. STRUCTURE OF THE CEREMONY The perpetuation and distribution of a ceremony is dependent upon its structure, its symbolism, and its purpose. Its parts must be so coordinated as to make it possible to keep the rite intact during oral transmission, while its symbolism must appeal to common beliefs and its purpose to common desires. Examining the ceremony of the Hako, we find it to possess these requisites. Its purpose awoke a response in every human heart, its symbolism appealed to the people wherever corn ripened and eagles flew; and though its structure was elaborate, it was built upon a sim- 282 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 ple plan. It is made up of many rituals, each complete in itself, but all so related to each other as to form an unbroken sequence from the beginning of the rites to their end. Each ritual contains one general thought, which is elaborated by songs and attendant acts. ‘These songs and acts are so closely related to the central thought that one helps to keep the other in mind; moreover, the thought embodied in one ritual leads so direetly to the thought contained in the next that they form a sequence that, in the mind of the Pawnee, can not logically be broken, and thus the preservation of the entirety of the ceremony is insured. The compact structure of the Hako ceremony bears testimony to the mental grasp of the people who formulated it. As we note the balane- ing of the various parts, and the steady progression from the open- ing song of the first ritual to the closing prayer in the twentieth, and recall the fact that the ceremony was constructed without the steady- ing force of the written record, we are impressed, on the one hand, by the intellectual power displayed in the construction, and, on the other, by the sharply defined beliefs fundamental to the ceremony. RHYTHMIC EXPRESSION IN THE CEREMONY When we examine the songs which accompany every ceremonial act we find that the thought to be expressed has determined the rhythm, which, in its turn, has controlled both words and music and fixed as well the time or duration of the notes. The unit of time is marked by pulsations of the voice or by drum beats, and the words are found bent by elisions or stretched by added vocables to make them con- form to the musical measure. . Rhythm dominates the rendition, which is always exact, no liberties being taken for the purpose of musical expression, in our sense of the term. Any such treatment would so blur the song to the native ear as to destroy its character. A further use of rhythm is manifest in the number of the musical phrases and stanzas. These are found to correspond tothe number of ceremonial motions used to indicate the powers which are being addressed. By close examina- tion this peculiarity will be apparent, but in order to facilitate an understanding the words of each musical phrase have been printed as a separate line, so that the eye can easily catch the rhythmic form, As a further help, a diagram has been prepared to show the relative time values of notes, the exceptional accents, and the voice pulsations of each musical phrase. To illustrate, take the first song: FLETCHER] RHYTHM IN THE CEREMONY 283 The unit of time is an eighth note, represented by a short dash, —; a quarter note is represented by a longer dash, two beats, —; a three- eighths note by a still longer dash, three beats, dots indicate the number of voice pulsations given to a tone while it is held. Where there is emphasis it is marked on the diagram by the accent sign | A rhythmie rendition, which aims not only to convey the literal meaning but to embody the elucidations of the Ku’rahus as well, has been made. Its words have been so chosen that the lines shall con- form to the rhythm of the corresponding phrases of the song. This rendition is for the purpose of presenting to the eye and the ear of the English reader the song as it appeals to the Pawnee who has been instructed in the rite. The variety of rhythmic forms in the songs of the rituals offers interesting material for the study of the relation of the musical phrase to the development of metrical language. The movements which accompany each song and act of the ceremony give further testimony to the fundamental character of rhythm. ,and soon. The In the folowing analysis the scheme of the ceremony will be closely observed. THE PREPARATION First Division. INITIAL RITES FIRST RITUAL. MAKING THE HAKO Part I. INVOKING THE POWERS The ceremony of the Hako, we are told by the Ku’rahus, is a prayer for offspring. It opens with a song which recalls the creation of man, the gifts bestowed on him by Tira’wa atius through the powers, and the establishment of rites by which he can appeal to the powers. The content of the song prefigures the fulfilment of man’s desire for the reproduction of his life, and the orderly approach by which he should make his desire known. Such a prefiguring seems to be essen- tial at the opening of a ceremony to give it a supernatural warrant. The preparation of the Hako constitutes the opening ritual, the first song of which is an appeal to the lesser powers in the order of their coming near to man from the holy place, Awahokshu (first song, line 4). They are said to descend by the four paths at the four car- dinal points (line 9), and the ceremonial motions indicating these quarters are an indirect way of mentioning the powers. Each stanza of the appeal, falling into four musical phrases, suggests this four- fold symbol. The appeal is in the form of a litany, each stanza beginning with a eall to “give heed,” and closing with the response that heed has been given. The climax in both words and musie is reached in the third phrase, which is a direct invocation of one of the powers. 984 THE HAKO, A PAWNEE CEREMONY [BTH. ANN.22 In this song we meet exclamations characteristic of many others of the ceremony. These exclamations express the emotions evoked in the progress of the appeal. few words are used, their iteration mak- ing the memorizing of the song easier than if the emotion had been fully elaborated in many different words. This apparent poverty of expression, which may in part be accounted for by the necessity of oral transmission, has not prevented metrical forms throughout the ceremony; with one exception, the songs are rhythmic. In the pres- ent instance the repetition of the exclamation I’hare! extended through the musical phrase by the echoing of its syllables, conveys even to the eye of a stranger the meaning as given by the Ku'rahus in his explanation of line 2. ‘The repetition of the word as we sing Vhare, “hare, ‘aheo indicates that our minds are dwelling upon the subject brought to our attention.” This opening song is in two parts. One refers to the powers, the other to the inauguration of rites through which man can turn toward these powers. Six stanzas belong to the first part, suggesting the six symbolie motions, indicating the four directions, the above, and the below. The first stanza is an appeal to Tira’wa; its form is noteworthy when viewed in connection with the opening stanza of the second part. Tira'wa is not addressed directly, but the mind is turned to his place of abode, Awahokshu, as to a definite locality where prayer should be sent, whence help may come. The fixing of the mind upon a holy place serves as a precedent for the establishment of a holy place, Kusharu (stanza Vit), where man is to think of Tira’wa, and where rites in accordance with his thought are to be performed. The order in which the powers are addressed in these first six stanzas reveals something of the Pawnee’s idea of man’s relation to the super- natural. First, the holy place, the abode of Tira’wa, the father of all, is addressed; second, Hoturu, the invisible Wind, the bearer or giver of breath; third, Chakaru, the Sun, the father of strength; fourth, IVUraru, the Earth, the mother, the conserver of life; fifth, Toharu, Vegetation, the giver of food; sixth, Chaharu, Water, the giver of drink. Starting from the abode of the central power, Tira’wa, designated in the first stanza, the lesser powers bring to man first breath, next Vitality or strength, then the ability to conserve and use that strength, and, finally, they give him food and drink to sustain his life. The physical man stands forth in these first six stanzas as the result of the gifts of the powers. The second part of the song is in seven stanzas. The number sug- gests the seven symbolic motions, indicating the four directions, the above, the below, and the center, the ego. The first stanza of the second part (vi) calls the people to ‘‘ give heed” to Kusharu, the place set apart for sacred purposes. Concern- [o.9) FLETCHER] FIRST RITUAL, PART I 285 ing this the Ku'rahus says: ‘‘The first act of a man must be to set apart a place that can be made holy and consecrated to Tira’wa, a place where a man can be quiet and think about the mighty power.” As the first part opens with the: mention of Awahokshu, the holy place, the abode of Tira’wa, whenee life is given to men by the inter- mediary powers, so the second part begins by indicating that man should set apart a holy place whence his thoughts can ascend to the powers which gave him life. The fixing of the sacred place made a center from which man’s daily life could be set in order, and made the inauguration of rites possible—rites which served as a common bond to hold the community together. In the next stanza (vit) the term h’Akaru is used. IV is the sign of breath, of the giving of life; akaru is a modification of akaro, a dwelling place. The change from ro to ru indicates that the word is typieal rather than special. h’Akaru conveys the idea of an abode of life, a place where life (h’, breath) can be received. The progression noted in the first part is here recalled; the power first mentioned after the holy place, Awahokshu, was Hotoru, the Wind, the giver of breath. The next stanza (IX) speaks of Keharu, an inclosure, the actual dwelling to be erected for the protection of life. Keharu seems to correspond to the male element which, in the first part, is represented by the Sun, the father, the giver of strength, and we find that throughout this cere- mony the position of the feathered stem, representing the male, is upon the outside, where it acts as guard and protector, a wall of defense to the interior of the lodge, with its fireplace, which represents the nest (see line 44). The fireplace, Kataharu, is next mentioned (x). This is the center, where the life within the lodge is conserved; it represents the female principle. This stanza corresponds to the fourth of the first part, where h’Uraru, Mother Earth, isinvoked. In the two following stanzas, Keharu, the glowing coals (x1), and Koritu, the flames, the word of the fire (x1r), refer directly to the act of making fire by friction, a ceremony which seems to underlie most, if not all, aboriginal rites through which man appeals to the powers for the means of sustaining life, food, and drink (stanzas V and Vt). The first six stanzas of the second part seem to be a reflex of the six composing the first part. In the first part physical life is created, in the second part psychical life is recognized. By the institution of rites a way is opened through which man turns toward the powers which created him. In the seventh stanza of the second part (XII), the passageway is spoken of. This passageway represents the ego, the path wherein man passes to and fro as he lives his individual and communal life. The structure of this song is notable when taken by itself, but. it becomes more remarkable when the scope of the ceremony is consid- ered. It will then be seen that this opening song foreshadows the movement and purpose of the entire ceremony. 286 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 SONG « Diagram of Time Rhythmic Rendition I We heed as unto thee we call; Oh, send to us thy potent aid! Help us, Oh, holy place above! We heed as unto thee we call. IL We heed as unto thee we call; Oh, send to us thy potent aid! Help us, Hotoru, giver of breath! We heed as unto thee we call. Ut We heed as unto thee we call; Oh, send to us thy potent aid! Help us, Shakuru, father of strength! We heed as unto thee we call. IV We heed as unto thee we call; Oh, send to us thy potent aid! Help us, h’Uraru, mother of all! We heed as unto thee we call. Vv We heed as unto thee we call; Oh, send to us thy potent aid! Help us, Toharu, giver of food! We heed as unto thee we call. VI We heed as unto thee we call; Oh, send to us thy potent aid! Help us, Chaharu, giver of drink! We heed as unto thee we call. VII We heed as unto thee we call: Oh, send to us thy potent aid! Help us, Kusharn, sacred to rites! We heed as unto thee we call. aSee the music on page 27. FLETCHER] FIRST RITUAL 287 VII We heed as unto thee we call: Oh, send to us thy potent aid! Help us, h’ Akaru, abode of life! We heed as unto thee we call. IX We heed as unto thee we call; Oh, send to us thy potent aid! Help us, Keharu, wall of defense! We heed as unto thee we call. x We heed as unto thee we call; Oh, send to us thy potent aid! Help us, Kataharu, center within! We heed as unto thee we call. XI We heed as unto thee we call, Oh, send to us thy potent aid! Help us, Kekaru, promise of fire! We heed as unto thee we call. XIt We heed as unto thee we call; Oh, send to us thy potent aid! Help us, Koritu, word of the fire! We heed as unto thee we cail. XIIT We heed as unto thee we call; Oh, send to us thy potent aid! Help us, Hiwaturu, emblem of days! We heed as unto thee we call. Part II. PREPARING THE FEATHERED STEMS The first thing to be made is the feathered stem carried by the Kurahus. Itrepresents the female element; it leads in the ceremony. Other sacred rites among the Pawnees explain this leadership as based upon the belief that life first took form through the female; ‘‘She was the first and the leader.” The stem is painted blue with blue clay mixed with running water. The running water, we are told, represents the continuation of life by generation following generation. The color is the symbol of the sky, the dwelling place of the powers. The song which accompanies the act of painting is in five musical phrases, suggesting the five motions symbole of the four directions and the above. The exclamation he! (a part of i‘hare! give heed!), at the close of each phrase, bears out this interpretation. The iterated words Wareri (h’, breath; areri, a particular place) tell that the thoughts of the singers are fixed on the giving of life by 288 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 the powers above, whose presence is symbolized by the blue paint now put upon the stem. Each stanza of all the songs throughout this ceremony is sung four times. The Ku'rahus tells us that this is in recognition of the four paths at the four cardinal points, down which the powers descend, and that it is also an indirect recognition of the powers themselves. FIRST SONG« Diagran of Time Rhythmic Rendition Take we now the blue paint, Touch with it the stem, putting on the sacred symbol. Emblem of the clear sky, Where dwell the gods, who, descending, bring us good gifts, Gifts of life and plenty. The feathered stem carried by the Ku'rahus’s assistant represents the male element. It is painted green, the color symbolizing Toharu, the living covering of Mother Earth. The key to the symbolism lies in the abbreviated word hure-e, ‘“‘coming from above.” It conveys the idea that the power by which Mother Earth brings forth her green covering, Toharu, comes from the power above, Tira’wa atius. The fan-shaped pendant hung upon the green stem is made of seven feathers from the young brown eagle, spoken of by the Ku’rahus as the white eagle. These are the feathers worn by warriors, and the bird is the war eagle, the fighter, the defender, the protector. The combining of the male and female forces on each of the leading requisites of the ceremony, the feathered stems and the ear of corn, has already been noticed. The song which is sung as the stem is painted green is in six musical phrases, corresponding to the six ceremonial motions: the four direc- tions, the above, and the below. SECOND SONG? Diagram of Time « Music on page 37. b Music on page 39. bo ao c& FLETCHER] FIRST RITUAL Rhythmic Rendition Take we now the green paint, Touch with it the stem, the mated stem, Putting on the emblem, the sacred and living symbol, Mother earth. From above descending, bountiful blessings on thee, Mother earth. The fan-like appendage of ten brown mottled feathers from the ma- ture brown eagle are here tied upon the bluestem. This eagle is called Kawas; it represents the mother. She is the bearer of life from aboye and shares with the corn the leadership throughout the ceremony. It is noticeable that the eagle receives the gifts it bears to man through the lesser powers and not directly from Tira’wa atius. Birds are not powers, but messengers, intermediaries between the lesser powers and man. A glimpse is here obtained of the order which natural forces and objects take in the mind of the Pawnee. The song of this act is in three phrases. The number three is not symbolized by ceremonial motions; throughout the ceremony songs accompanying acts which do not imply a direct appeal to the powers above fall into three musical phrases. THIRD SONG«a Diagram of Time Rhythmic Rendition Oh, Kawas, come, with wings outspread in sunny skies! Oh, Kawas, come, and bring us peace, thy gentle peace! Oh, Kawas, come, and give new life to us who pray! Part III. PAINTING THE EAR OF CORN AND PREPARING THE OTHER SACRED OBJECTS. The putting of a peculiar design in blue paint on the ear of corn is replete with symbolism. The ear of corn not only represents a life- sustaining product of the earth, but the omniscience which the earth is believed to possess. This omniscience, predicated of the ear of corn, constituted one of its qualifications to act as leader. The Ku'rahus says (line 118): ‘‘Mother Earth knows all places and all that happens among men; therefore the corn which comes from her must lead, must direct us where to go.” The painting of the ear of corn represents the securing of its cre- dentials as leader. The blue paint used on this occasion is not put into a shell, as it was when the stems were colored, but into a wooden bowl. The shape of the bowl, an inverted dome, typifies the arching sky, the blue paint its color (see the explanation of line 83). The design put on the ear of corn signifies its journey to the abode of the powers and its return, with their sanction, as leader. a Music on page 41. 22 ETH—pT 2—04——19 290 THE HAKO, A PAWNEE CEREMONY [ETH, ANN. 22 It is difficult to follow the Pawnee’s thought in the words and accompanying act of this song unless it is remembered that he regards the spirit of man, animals, and all other things as able to travel about independent of the body. Moreover, that he conceives it possible for a number of persons so to unite as to think and act as one spirit. In the song Mother, Atira, is the term applied to the ear of corn as the representative of Mother Earth. This word is preceded by the aspirate, h’, significant of the breath, the giving forth of life. h’Atira not only refers to the sustaining of life by food, but also carries the idea that, as leader, the corn bears life-giving power. The word weri, Iam, does not mean the man who paints the corn, but the concerted spirits of the Hako party, which are spoken of in the singular, as though they were one spirit. The use of the plural sign re a little later on in the stanza (line 86) implies the personifica- tion of the ear of corn; its spirit is standing with the spirit of the Hako party. These two spirits move together throughout this drama of the consecration of the ear of corn as leader. In the next stanza the two spirits are flying through the air. There is no incongruity in this procedure; the already mentioned belief rela- tive to spirits makes it rational. In like manner, the color of the paint can hold within it the spirit of the abode of the powers. The different stages in the progress of the ear of corn on its journey to the abode of the powers are depicted in the different stanzas of the song. In the first, she stands; in the second, she flies; in the third, she touches the boundary of the sky, ‘‘ where it begins”; in the fourth, she ascends; in the fifth, she reaches the dome, her destination; in the sixth, she descends, the purpose of the journey having been accomplished. The music is divided into six phrases; six stanzas record the stages of the journey; the number suggests the six ceremonial motions typify- ing the four directions, the above, and the below. It would seem from the acts accompanying this song that the ear of corn went up to the abode of the powers by the four paths at the four cardinal points, down which we are told the powers descend, as the lines representing these paths were drawn on the ear before the blue paint was spread over its tip to represent the dome of the sky. SONG« Diagram of Time ~ a Music on page 43. FLETCHER] FIRST RITUAL, PART IIE Rhythmic Rendition I Tira wa, harken! Mighty one, Above us in blue, silent sky! We standing wait thy bidding here. The Mother Corn standing waits, Waits to serve thee here: The Mother Corn stands waiting here. II Tira wa, harken! Mighty one, Above us in blue, silent sky! We flying seek thy dwelling there. The Mother Corn flying goes Up to seek thee there: The Mother Corn goes flying up. Il Tira’ wa, harken! Mighty one, Above us in blue, silent sky! We touch upon thy country now. The Mother Corn touches there, On the border land; The Mother Corn is touching there. IV Tira'wa, harken! Mighty one, Above us in blue, silent sky! The path we reach leads up to thee. The Mother Corn enters there, Upward takes her way: The Mother Corn ascends to thee. y Tira wa, harken! Mighty one, Above us in blue, silent sky! Behold! We in thy dwelling stand. The Mother Corn, standing there. Leader she is made: The Mother Corn is leader made. VI Tira’wa, harken! Mighty one, Above us in blue, silent sky! The downward path we take again. The Mother Corn, leading us, Doth thy symbol bear; The Mother Corn with power leads. 291 292 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 SECOND RITUAL. PREFIGURING THE JOURNEY TO THE SON The ceremony of offering the Hako was believed to bring great benefits. As the tie to be formed was a close one and likely to have a bearing on the welfare of two tribes, the selection of the man who was to be the Son was not left exclusively to the Father. His choice had to be submitted to the chiefs of his tribe for their approval. Nor did the matter end here, for the chiefs, seemingly unwilling to assume the entire responsibility of a final decision, threw the confirmation of the selection of the Son upon the supernatural, represented by the ear of corn. To be able to follow the Pawnee’s thought one should keep well in mind the native belief in the reality of an invisible world accessible to man. The Ku'rahus explained that in this rite the spirit of the corn and the spirits of the assembled company must meditate together upon the proposed candidate for the Son, must consider his qualifica- tions and his ability to meet the requirements for a successful issue of the ceremony. Hesaid: ‘‘As we meditate we sit with bowed heads, and Mother Corn sits with bowed head.” When the decision is reached ‘*Mother Corn lifts her head and stands erect, then she moves through the air on her journey to the Son, and we follow.” In this mystical journey Mother Corn ‘opens the way” between the land of the Fathers and that of the Children. She does more. She enters the village and passes around among the lodges of the people to that of the selected man. She goes in and touches him while he sleeps. It is the spirit of Mother Corn that touches the spirit of the man ina dream. He does not see her who has touched him, but he sees one of the birds which belong to the feathered stem, the eagle, the owl, the duck, or the woodpecker, for the spirits of these birds are there with the spirit of Mother Corn in the lodge of the sleeping man. If, when he awakes, he is able to recall his dream, it is because Mother Corn has ‘‘opened his mind.” Therefore when the messengers of the Father’s party arrive with the tidings, ‘‘ Your Father is coming,” the dreamer is not taken by surprise, but is ready to respond without unnecessary delay. The old man narrated this symbolic procedure of the ear of corn and its attendant spirits without consciousness that he was saying anything unusual or contrary to ordinary experience. His only com- ment was, that it was very difficult for the men of the party of the Father so to fix their minds upon the desired end as to secure its accomplishment. He referred to this difficulty several times while explaining the words and meaning of the song. When questioned as to whether the attempt was always successful, he said that when it failed the failure was always due to a lack of earnestness or sincerity on the part of the persons so fixing their minds. By this he did not mean that the men failed because they did not try hard enough to FLETCHER] SECOND RITUAL 293 keep their attention upon the desired object, but that there was in their character something which prevented them from effectually exerting their will power. He evidently had no doubt as to the rea- sonableness of the procedure. To him it was entirely logical. The journey prefigured by this flight of Mother Corn, afterward actually taken by the party of the Father, has its special songs. Several of them refer directly to this traveling of the spirit of Mother Corn. The song of this ritual is in two parts, each with four stanzas. The first part relates to finding the Son, ‘‘opening the way” to him. The second deals with the Son, preparing him to receive the Father, ‘“opening his mind.” The stanzas are in four musical phrases corresponding to the four paths down which the lesser powers descend to man. Each closes with the exclamation ha! calling attention, as to an invisible presence. SONG«a Diagram of Time Rhythmie Rendition I Mother Corn, Oh hear! Open our way! Lo! As we draw near, let our souls touch thine While we pray thee: Children give to us!’ Mother Corn, hear! II Mother Corn, Oh hear! Open our way! Lo! Our heads we bow, while our souls touch thine; Then as one mind Make the choice of Son. Mother Corn, hear! Ill Mother Corn, Oh hear! Open our way! Lo! With head erect Mother stands, and then Moves she through air On her mission bent. Mother Corn, hear! IV Mother Coin, Oh hear! Open our way! Lo! Now oyer hills, over streams. we go Taking our way Toward the Children’s land. Mother Corn. hear! a Music on page 50. 294 THE HAKO, A PAWNEE CEREMONY [BTH, ANN. 22 V Mother Corn, Oh hear! Open our way! Lo! Our journey’s end now is near, we look O’er the strange land, Seeking Children there! Mother Corn, hear! VI Mother Corn, Oh hear! Open our way! Lo! Our eyes behold where they dwell. In their Village we walk, Seeking there the Son. Mother Corn, hear! VII Mother Corn, Oh hear! Open our way! Lo! His lodge we find, through the door we pass. Sleeping he lies, Knows not we are there. Mother Corn, hear! VIL Mother Corn, Oh hear! Open our way! Lo! Now at her touch comes a dream; then a Bird calls, *‘ My Son! ”’ While his soul responds. Mother Corn, hear! THIRD RITUAL. SENDING THE MESSENGERS The four messengers were selected informally by the Father from among his near relatives. They were generally young men, lithe and strong of limb, and able to make a long journey quickly. The dis- tance to be traveled varied from a few miles to a hundred or more, and as they must carry all their provisions, it became necessary for them to get over the ground as rapidly as possible. The formal appointment of these messengers took place in the lodge of the Father, in the presence of the sacred objects spread at cere- monial rest. When the messengers arrived at the lodge of the Son, he sent for his kindred and consulted with them. Only a recent death in his family orsome catastrophe which deprived him of his property would be accepted as sufficient excuse for his not receiving the Hako party. If he accepted the tobacco he would bid the messengers return to the Father and say, ‘“‘I am ready.” In either case he must make gifts to the messengers in recognition of the proffered honor. The homeward journey was made as quickly as possible, for during the absence of the messengers nothing could be done. As soon, how- ever, as the returning young men were discerned on the prairie the village was astir, and the men of the Father’s party, with the Ku'ra- hus, assembled at his lodge to receive them ceremonially and to hear their tidings. The messenger dispatched on such errands was called Rawiska’- rarahoru, One who walks carrying the tobacco. The music of the song of this ritual is in three phrases. Like other songs in this ceremony having the same number, it accompanies acts FLETCHER] THIRD AND FOURTH RITUALS 295 which do not directly appeal to the supernatural. The first stanza is addressed to the messengers; the second to the Father’s party within the lodge. SONG « Diagram of Time Rhythmic Rendition I I bid you travel o’er the land to the Son, And with you take these words of mine unto him: ‘“Behold! Your Father comes to you speedily.” II We wait their journey o’er the land to the Son, When they will give these words of mine unto him: ‘Behold! Your Father comes to you speedily.” FOURTH RITUAL Part I. VIVIFYING THE SACRED OBJECTS These first four rituals are in sequence and deal with the pecuuar preparations required for the ceremony. In the first ritual the sacred articles are prepared; in the second ritual the Son is selected; in the third ritual the Father notifies the Son, who responds; and in the fourth ritual the sacred articles are vivified and assume leadership. In these preparations the supernatural powers bear a leading part. At the very beginning, in the first song of the first ritual, their presence is invoked, and in the fourth ritual, after man’s preparations for the ceremony are completed, they accept his work. The first, second, and third rituals took place in the lodge of the Father, where the sacred objects were guarded day and night by the Ku'rahus, his assistant, and the chief, or by persons appointed to act as their substitutes. In the fourth ritual the objects were for the first time taken outside the lodge, under the open sky, where the final act of their preparation took place. They were tied upon a pole and elevated in the early dawn, that they might be vivified by the powers and acknowledged as their representatives. The order in which these sacred objects were tied upon the pole indicates their relative significance in this ceremony. The two feath- ered stems were placed near the top, because they typify the powers of the upper world. But they also represent the male and female ele- ments, therefore the male stem was placed toward the south—the light, the day, the sun; and the female stem toward the north—the darkness, the night, the moon. Beneath the feathered stems were the rattles and the ear of corn, representing the living covering of a Music on page 56. 296 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22 the earth, and below these was the wildeat skin. These typify the powers of the lower world. All these articles were tied on the pole so as to face the east. We are told in the song of the ninth ritual that down the path at the east came the powers that are potent in this rite. Behind these objects, toward the west, where dwell the powers which influence the life of man and control disaster and death, were bound the right and left wing of an eagle. These wings were spread as though supporting the sacred objects, as the wings sustain the body of a bird in the air. Throughout the ceremony the position of the two eagle wings, both when on the pole and when borne at each end of the line of men, serves to unify the different sacred objects into the similitude of a winged body. This unification does not, however, interfere with the separate functions of each article or with the character of its symbols. The dawn ritual throws light on the significance of the elevation of the sacred objects under the open sky before the break of day. Before this act, these objects had lain at rest; but after it, when they had been vivified by the wind and the sun, they at once became active and thenceforth they led the people throughout the ceremony. Part Il. Morner Corn Assumes LEADERSHIP This activity is manifest in the song of part 11, where the ear of corn passes to the front and assumes the position of leader. The ceremonial steps taken by the chief, as he carries this representative of Mother Earth with her life-sustaining force, dramatically represent the corn as advancing out of the past (from behind the Ku'rahus with his sym- bolic feathered stem), coming into the present (beside him), and then going on before, moving along the unbroken path that stretches out of the past intothe future. The four steps taken by the chief bearing the ear of corn refer to the four paths down which the powers descend to man, and the four steps taken by the six men following Mother Corn as the second stanza is sung indicate the dependence of man upon these supernatural powers. This song falls into six phrases. The number suggests the recog- nition of all the powers which come near to man, which are represented by the four directions, the above, and the below, thus bearing out the full significance of the symbolic steppings. SONG«a Diagram of Time a Music on page 60. FLETCHER | FOURTH RITUAL 297 Rhythmic Rendition I Mother with the life-giving power now comes, Stepping out of far distant days she comes, Days wherein to our fathers gave she food; As to them, so now unto us she gives, Thus she will to our children faithful be. Mother with the life-giving power now comes! II Mother with the life-giving power is here. Stepping out of far distant days she comes. Now she forward moves, leading as we walk Toward the future, where blessings she will give, Gifts for which we have prayed granting to us. Mother with the life-giving power is here! Part III]. THe Hako Party PRESENTED TO THE POWERS The recognition of man’s dependence on the supernatural is still further emphasized by the peculiar dramatic movements which accompany the songs after the Hako party for the first time as a body passes outside of the lodge, within which all the preceding ceremonies have taken place. The sacred objects, which under the open sky had been vivified and acknowledged by the supernatural powers, now lead the party along certain lines defined by their symbolically numbered steps to face the localities where these powers were believed to dwell. First the east was faced and the powers there were addressed; then the west; next the south; and then the north. At each of these points the sacred objects were elevated, while the people invoked the powers to ‘‘ behold” (to recognize and accept) those who were about to perform the ceremony. When each of the four cardinal points had been addressed and the leader had completed the ceremonial steps, the outline of a man had been traced upon the ground. Concerning this outline the Ku’rahus explained that it ‘“‘is the image from Tira’wa.” ‘‘Its feet are where we now stand, its feet are with our feet.” This figure wouid seem to represent a visible answer to the ceremo- nial appeal of the people and to indicate a willingness of the super- natural powers to grant their presence throughout the coming ceremony. This interpretation of the tracing is borne out by the words of the Ku'rahus when he says that ‘‘it will move with our feet as we now, bearing the sacred objects, take four steps in the presence of all the powers, and begin our journey to the land of the Son.” The song addressed to the east is in four musical phrases, while the songs to the west, south, and north are insix musical phrases. The four-phrase song is sung to Tira’wa atius, the father of all things, and it is noticeable that all the songs throughout the ceremony which specially address this power are in a four-phrase rhythm. When all 298 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 the other powers are addressed, those at the four directions, the above, and the below, a six-phrase rhythm is used. The number of the repeats and phrases of the songs seems also to be connected with the ceremonial steps, which are in groups of four, eight, and sixteen. The number sixteen is said by the Ku’rahus to represent completeness. According to native measurement, the height of a man is equal to the stretch of his arms. Looking at the diagram of the figure stepped upon the ground, we note that sixteen steps give the spread of the arms and the same number of steps marks the length of the man. This bears out the statement of the Ku’rahus that sixteen, or four times four, represents completeness. FIRST SONGa Diagram of Time Rhythmic Rendition Look on us as here we are standing, raising our voices! Look on us as here we, presenting, lift now these emblems that are so holy up to thy gaze! Swift, a flash from out of the heavens Falls on us as here we are standing, looking at thee. SECOND SONG ? Diagram of Time Rhythinic Rendition I Look down, West gods,¢ look upon us! We gaze afar on your dwelling. Look down while here we are standing, look down upon us, ye mighty! Ye thunder gods, now behold us! Ye lightning gods, now behold us! Ye that bring life, now behold us! Ye that bring death, now behold us! a Music on page 63. b Music on page 65. ¢ Gods, meaning powers, is used solely on account of the rhythm. FLETCHER] FOURTH AND FIFTH RITUALS 299 II Look down, South gods, look upon us! We gaze afar on your dwelling. Look down while here we are standing, look down upon us, ye mighty! Ye daylight gods, now behold us! Ye sunshine gods, now behold us! Ye increase gods, now behold us! Ye plenty gods, now behold us! II Look down, North gods, look upon us! We gaze afar on your dwelling. Look down while here we are standing, look down upon us, ye mighty! Ye darkness gods, now behold us! Ye moonlight gods, now behold us! Ye that direct, now behold us! Ye that discern, now behold us! The structure of the first division of the Preparation, initial rites, is worthy of notice. Each of its four rituals is complete in itself, but the symbols, rhythms, and movements of all are closely connected, forming a drama of two worlds. The four rituals are a compact whole, from the opening appeal in the first song of the first ritual to the culmination in the fourth ritual, from the appeal to the powers in the order of creation for their presence to the answer of this appeal made visible by the rhythinic ceremonial steps, in the form of the symbolic presence whose “‘ feet will move with” the feet of the suppli- ants as they journey to the land of the Son. SECOND DIvIsion. THE JOURNEY FIFTH RITUAL Part I. Morwer Corn Asserts AUTHORITY The three songs of the first part of the fifth ritual have a fixed sequence, and relate to the supernatural leadership of the ear of corn. The first refers to the second ritual, where the spirits of those assem- bled in the lodge became as one spirit and joined the spirit of Mother Corn in her search for the Son (see explanation by the Ku'rahus, fifth ritual, first song). The journey then prefigured is now about to begin. The Father’s party are again enjoined to become as one spirit, and as one spirit to follow Mother Corn over ‘‘the devious way.” FIRST SONG« The first song, like that of the second ritual, is in four musical phrases. Both refer to the four paths down which the lesser powers descend. Diagram of Time a Music on page 68. 3800 THE HAKO, A PAWNEE CEREMONY [BTH, ANN, 22 Rhythmic Rendition I The Mother leads and we follow on, Her devious pathway before us lies. She leads us as were our fathers led Down through the ages. II The Mother leads and we follow on, Her pathway straight, where a stage each day We forward walk, as our fathers walked Down through the ages. When the familiar landmarks about the village had disappeared in the distance and the people looked over the wide stretch of country, the dangers of the journey were naturally suggested, so that the first stanza of the second song is an appeal to Mother Corn, asking her whether a safe path lies before them. The second stanza gives her assuring answer, that the path does lie straight before them. This song, being one of procedure only, is in three phrases. SECOND SONG“ Diagram of Time Rythmic Rendition I Looking o’er the prairie, naught our eyes discern there, Wide the land stretches out before us: Then we cry aloud to Mother Corn: *‘ Doth thy pathway lie here?” Il Heeding now our crying, while our eyes she opens, Mother Corn moveth out before us On the lonely prairie. where we see straight the pathway lies there! In the third song, Mother Corn reminds the people of the super- natural leadership bestowed on her by the powers above in the distant past, and now renewed in the ceremonies which have just taken place. This song, referring directly to the powers above, is in five musical phrases, suggesting the motions toward the four directions and the above. a Music on page 70. FLETCHER] FIFTH RITUAL 301 THIRD SONG« Diagram of Time Rythmic Rendition I Hark! She speaks, and quickly we turn to her. Looking toward the west to the spot where we Passed ’neath the eyes of gods; and now do we heed her words: * Yonder is the place in the distant west Whence I have come out of the past to you.” Il ** Born of the earth and touched by the deep blue sky, Have I chosen been by the gods to lead. You are to hear my voice and follow my strict commands, As your fathers did in the days gone by. Thence come I to open your pathway here.” These three songs, the first part of the fifth ritual, seem to have been disciplinary in their influence. They tended to restrain the individual from self-seeking by placing over the party a supernatural leader, on whom all minds must be fixed and to whom all must give obedience. Thus, from the very outset, an authority was established against which none dared rebel. Part II. Sones AND CEREMONIES OF THE Way The Hako party was an impressive sight as it journeyed over the country. It could never be mistaken for an ordinary group of hunters, warriors, or travelers. At the head of the long procession, sufficiently in advance to be distinguished from the others, walked three men—the Kurahus, holding before him the brown-eagle feathered stem, on his right the chief, grasping with both hands the wildcat skin and Mother Corn, and at his left the assistant Kurahus, bearing the white-eagle feathered stem. These three men wore buffalo robes with the hair outside. On their heads was the white downy feather of their office and their faces were anointed with the sacred ointment and red paint. They bore the sacred objects forward steadily and silently, looking neither to the right nor left, believing that they were under supernat- ural guidance. Behind them walked the doctors with their insignia, the eagle wings; then the singers with the drum, and behind them the a Music on page 71. 302 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 men and women of the party with the ponies laden with gifts and needed supplies of food. Over the wide prairie for miles and miles this order was preserved day after day until the journey came to an end. If from some dis- tant vantage point a war party should desery the procession, the leader would silently turn his men that they might not meet the Hako party, for the feathered stems are mightier than the warrior; before them he must lay down his weapon, forget his anger, and be at peace. No object met on the journey to the Son presented its ordinary aspect to the Hako party. Everything seen was regarded as a mani- festation of the supernatural powers under whose favor this ceremony was to take place; hence the trees, the streams, the mountains, the buffalo were each addressed in song. This attitude toward nature is strikingly brought out in the two songs, which are in sequence, sung at the crossing of a stream. Throughout this ceremony water is treated as one of the lesser powers. Itis employed only for sacred purposes, and is never used in the ordinary way. To profane water would bring punishment upon the whole party (see the first ritual, line 29), and consequently when a stream ran across a line of travel no person could step into it as he commonly would do. A halt was called and the Ku’rahus led in the singing of the song in which Kawas is asked to grant the party permis- sion to ford the stream. According to Pawnee rituals, water at the creation was given to the woman, so Kawas, representing the mother, could grant permission. The request is embodied in four stanzas. In the first the water touches the feet; in the second the feet stand in the water; in the third the feet move in the water; in the fourth the water covers the feet (note the resemblance of entering the stream to entering the lodge, seventh ritual, part I). After the stream was crossed the people halted on the bank to sing the song to the wind, led by the Ku’rahus. It also is in four stanzas. The wind is cailed upon to come and dry the water which the people may not irreverently touch. In the first stanza the wind touches the people; in the second it ightly brushes their bodies; in the third it circles about them; in the fourth if envelops them. Thus the wind, one of the lesser powers, comes between the people and the penalty incurred by profanely touching water. In these ceremonies the people were constantly reminded that they were in the presence of the unseen powers manifested to them in the natural objects met upon the journey. To those initiated into the inner meaning of the rite, the appeal at the crossing of the stream to Kawas (the feminine element) and to the wind (typical of the breath of life) was connected with the symbolism of running water, explained in the seventh ritual as representing the giving of life from genera- tion to generation. The seventh, eighth, ninth, and tenth songs originally belonged to the journey, but we are told the buffalo are no longer seen; neither PLETCHER] FIFTH RITUAL, PART II 3038 are the mountains or the mesas; so these songs are now sung in the lodge and only that the objects seen by past generations may be remembered. There are no present means of ascertaining whether the songs here given comprise all that were used by the Pawnees on the journey; they are all that had been taught the Ku’rahus who is the authority for this record of the Hako ceremony. SONG TO THE TREES AND STREAMS«4 Diagram of Time Rhythmic Rendition I Dark against the sky yonder distant line Lies before us. Trees we see, long the line of trees, Bending, swaying in the breeze. II Bright with flashing light yonder distant line Runs before us, swiftly runs, swift the river runs, Winding, flowing o’er the land. It Hark! Oh hark! , , vA / / fi Rhythmic Rendition I Kawas, bearing new life, entereth this dwelling, Comes as to her own nest, on her spread pinions; There so gently she hovers over these her Children. Il Kawas, bearing new life, flieth through this dwelling, All the lodge she cleanses, with her wings sweeping. Making clear the place, sweeping out the harm and danger. a Music on page 97. » Music on page 98. 312 THE HAKO, A PAWNEE CEREMONY [ETH. ANN 22 Parr III. CLorHine THE SON AND OFFERING SMOKE The lodge having been made ready as a nest within which life might be given and made secure, the Father performed his first act of reecog- nition and responsibility. He put upon the Son the garments he had previously prepared for the purpose. When clad in the finely embroidered clothing, the Son was told to make the offering of smoke to Tira’wa atius, as a prayer for the consecration of the new-born relationship. FIRST SONG« Diagram of Time Rhythmic Rendition I My son, now heed, attend to the command I give to you: Oh, speak to the gods list’ning ” above us! Oh, let your prayers ascend to the mighty ones on high! I My son obeys. His voice is now trav’ling far, speeding on; It goes to the list’ning gods above us; There will his prayer be heard by the mighty ones on high. The ceremony of offering smoke was conducted by a priest, who instructed the Son as to the order in which the stem of the pipe and the smoke must be offered to the various directions. Meanwhile the Fathers with the Hako stood before the Son singing this song, which voiced their participation in the offering. SECOND SONG? Diagram of Time Rhythmic Rendition See the smoke pass by! Rising high above, follows where his voice Sped. intent to reach Where the gods“ abide in the deep blue sky. See the smoke pass by! «a Music on page 101. eThe word gods, meaning powers, is used be- 6 Music on page 103. cause of the rhythm. FLETCHER] SEVENTH AND EIGHTH RITUALS 313 See the smoke ascend! Now the odor mounts, follows where his voice Sped, intent to reach Where the gods“ abide. There the odor pleads, Pleads to gain us help. In the first ritual of the Preparation, when the making of the Hako had been completed, the Father had offered smoke to Tira’wa atius, the father of all, the giver of life. It was a prayer for the fulfilment of the ceremony about to be inaugurated. Now when the lodge had been made ready as a nest, smoke was offered by the Son, who was to be the recipient of the gifts promised by Tira’wa through the ceremony. This act of the Son, performed at the request of the Father, bringing the two together before Tira’wa atius, closed the first division of the Hako ceremony. THE CEREMONY First Division. THE PUBLIC CEREMONY EIGTHTH RITUAL (FIRST DAY). THE FATHERS FEED THE CHILDREN Heretofore the rites of preparation had been in the presence of the Hako party, the Son, and his immediate kindred, but after the offering of smoke the heralds were commanded to summon the people to the lodge. Anyone could now come in and join the party of the Son in the making of gifts, and share in the general benefits of the ceremony. When the messenger of the Son had come to the Fathers, outside the village, he had been fed, as a paternal act, and now, when the people, representing the Children, were gathered within the lodge, the Father’s first act was to place food before them. While it was — yet standing beside the fire, the sacred objects were taken up from their place at the west and carried four times around the lodge. The songs which accompanied these circuits were for the instruction of the people, teaching them to remember the powers before partaking of their gifts. The first, an appeal to Tira’wa atius, is in five musical phrases, suggesting the five motions symbolic of the four directions and the above. It was sung four times. FIRST SONG? Diagram of Time / / / / 7 , / , aGods, meaning powers, is used because of the rhythm > Musie on page 107 314 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22 Rhythmic Rendition Father, unto thee we cry! Father thou of gods “ and men; Father thou of all we hear; Father thou of all we see— Father, unto thee we cry! The second song refers to the lesser powers only, they who can approach man, bringing him help derived from Tira’wa atius. Their symbols are the four motions, indicating the four paths at the car- dinal points down which they descend. The song is in four musical phrases; it was given four times. SECOND SONG? Diagram of Time Rhythmic ic yn Father, thou aboye, father of the gods, @ They who can come near and touch us, Do thon bid them bring us help. Help we need. Father, hear us! The third song refers to Mother Corn, who leads in all the opening ceremonies. She is an intermediary between the lesser powers and man, and as she now walks before the Children, bearing the promise of peace and plenty, they give her thanks. THIRD SONG?’ Diagram of Time Rhythmic Rendition I See! The Mother Corn comes hither, making all hearts glad! Making all hearts glad! Give her thanks. she brings a blessing; now, behold! she is here Il Yonder Mother Corn is coming. coming unto us! Coming unto us! Peace and plenty she is bringing: now, behold! she is here! «The word gods, meaning powers, is used solely on account of the rhythm >» Music on page 108 eMusic on page 109 FLETCHER] EIGHTH RITUAL 315 The purpose of the ceremony, in the carrying out of which the male and female elements were so fully symbolized, was kept continually before the people. The lodge was divided, the north half was female, the south was male; the north was night and the south was day. The brown-eagle feathered stem, Kawas, when at rest in the holy place, lay toward the north, and the white-eagle feathered stem, the male, was toward the south. When the feathered stems were waved over the heads of the people to the rhythm of the songs, as they moved from the west by the north, east, and south, to the west again, Kawas, the mother, was carried next to the Children, and the white-eagle feathered stem was borne on the outside, as the defender. Each time the sacred objects were taken up four circuits were made. These, we are told, were in recognition of the four paths; they also signified the four powers which were active at the creation of man, and they represented the two eagles, the ear of corn, and the wildcat. This multiplication of symbols is not uncommon. In this instance they all refer to the gift of life, the birth of children. Down the four paths came the lesser powers; four of these were instrumental in placing man upon the earth; and the four ceremonial articles are the bearers of the promise of unfailing generations. During each circuit a stanza was sung four times. At the end of the fourth cireuit ‘‘the symbol of completion,” four times four, had been given in song. While the lodge in general referred to the nest, the holy place at the west, back of the fire, was its special representative. There the Hako were laid at ceremonial rest after each four circuits of the lodge. From the beginning of the public ceremony this act was always accom- panied by songs and movements expressive of its meaning. The songs are in groups of two. The first in each group relates to the eagle flying toward her nest, the young birds crying out at her approach. Their welcoming ery is signified by the song, and the fly- ing of the eagle by the movements of the feathered stems. The second song refers to the alighting of the bird upon its nest. At the close of the second stanza the stems were leaned upon the crotched stick, their feather pendants resting upon the cat skin, thus symbolizing the mother bird settled down upon her nest. The songs of these two groups are repeated a great many times during the progress of the ceremony, for after every fourth circuit of the lodge the feathered stems must be laid at rest and the act accom- panied by one group of these songs, according to the choice of the Ku'rahus. 316 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 SONGS FOR LAYING DOWN THE FEATHERED STEMS SONG« Diagram of Time Rhythmic Rendition I See where she comes to her little ones lying so snugly and safely the nest in! Hark! She is calling; hear her, List as her nestlings make answer; See how she gently hovers. Happy our hearts as we look on her hovering over her nestlings so gently. I See where she comes to her little ones lying so snugly and safely the nest in! Hark! She is calling; hear her, List as her nestlings answer; See her alighting gently. Happy our hearts as we see her alighting there over her nestlings so gently. SONG? Diagram of Time Rhythmic Rendition I Loud, loud the young eagles cry, cry, seeing their mother come; Flies she to them slautwise, flies; Then over the nest she hangs, there hovering, stays her flight; Thanks, thanks as we look we give. I Thanks, thanks, from our hearts we give, thanks give as we watch the bird As she to them slantwise flies: Then over her nest she drops; there, folding her wings, she rests, Rests safely within her nest. a Music on page 111. b Music on page 113. FLETCHER] EIGHTH AND NINTH RITUALS 317 SONG« Diagram of Time / / Rhythmic Rendition I Behold! An eagle now approaches; sedately flying, her course straight winging to us she is coming: ‘Tis Kawas we are watching, ‘tis Kawas coming to seek here her nest. Behold her ever nearer flying, still nearer coming, her young ones calling her. Will she alight? Il Behold! An eagle now is circling, is widely circling above us, winging her way to her nestlings: ‘Tis Kawas we are watching, “tis Kawas coming to seek here her nest. Behold her ever nearer circling, still nearer circling, her young ones calling her there to alight. SONG) Diagram of Time Rhythmic Rendition I Now she soareth, Kawas soareth, leaves her nestlings, flies above them; will she leave them. leave her young? Far she gazes, sees no danger, then contented she descends. II Slow she falleth, Kawas falleth. wings outspreading, hovers o’er them, o'er her nestlings, o’er her young: Long she hovers, then, descending, on her nestlings she alights. When the Hako had been laid at rest the Fathers served the food, which had been waiting by the fire, to the children. At the conclu- sion of the meal the Children dispersed to their homes, and the first day’s ceremony came to an end. NINTH RITUAL (FIRST NIGHT). INVOKING THE VISIONS The gathering of the Children, the four circuits of the lodge by the Hako, and the partaking of food provided by the Fathers were intro- duectory to the opening of the ceremony proper, which took place on the first night. aMusic on page 114. 6 Music on page 116. 318 THE HAKO, A PAWNEE CEREMONY (ETH, ANN. 22 The stars were shining when the Children were again seated in the lodge. The wood was piled upon the fire, and as the flames leaped high, the Ku’rahus, his assistant, and the chief arose from behind the holy place and took up the Hako. Among the Omahas this act was accompanied by a song referring to the eagle rising from its nest, which the movements of the feathered stems vividly pictured. The Pawnees had no such songs, and the Hako were taken up without any symbolic movements. In the song belonging to this first night, the visions that ‘‘attend the Hako” were invoked. According to the explanations of the Ku'rahus, these visions resembled dreams, inasmuch as they often came during sleep, but they also appeared when the dreamer was awake. They might be called revelations, which served either to strengthen a purpose or to suggest means by which a plan could be carried out to insure suec- cess to some cherished project. Through such visions, we are told, the manner of procedure of the ceremony had been taught and its details prefigured, details which were afterward carefully followed so as to conform to what was regarded as a supernaturally given model. The birds, the animals, and the products of the earth represented on the Hako communicated with man by visions. In the song of inyoeation these visions are personified. They hear the summons in their dwelling place above; they descend and pass over the quiet earth, making their way to the door of the lodge, where they pause; they cross the threshold and ‘‘ walk within”; they move around and fill the space, touching all the people; this accomplished, they ‘* walk away” and ascend to their abode on high. We note that the visions follow the same sequence of movements that the Hako party followed in entering the lodge; they pause at the door, then enter and ‘‘ walk within”; they move about and touch the people in prefiguration of the bestowal of gifts promised through the ceremony. This song was quite impressive, sung as the writer heard it by a hundred or more voices. The Ku'rahus and his assistants, as they moved around the lodge, were followed by the choir, singers bearing the drum, and the song was taken up by all the people and ehildren—until the lodge vibrated with the sonorous melody. At the close of the fourth stanza the Hako were laid at rest with the songs belonging to that act; the eagle had gone to her nest, leaving the space clear for the mystic visitors, the visions, who now walked within the lodge. After a time the Hako were again taken up and the last four stanzas were sung; then the eagle once more alighted upon her nest, the visions had departed, they had ‘‘ touched” the Chil- dren, and, as the Ku'rahus said, ‘‘the people could now go home to men, women, have pleasant dreams.” The face of the old man was radiant as he explained this song and FLETCHER] NINTH RITUAL 319 dwelt upon the happiness brought to all by the touch of the visions which attend the Hako. This song and all others which belong to the night season he would sing and talk about only in the evening, never during the day. SONG « Diagram of Time Rhythmie Rendition I Holy visions! Hither come, we pray you, come unto us, Bringing with you joy: Come, Oh come to us, holy visions, Bringing with you joy. II Holy visions! Near are they approaching, near to us here, Bringing with them joy; Nearer still they come—holy visions—- Bringing with them joy. IONE Holy visions! Lo! Before the doorway pause they, waiting, Bearing gifts of joy; Pausing there they wait—holy visions— Bearing gifts of joy. IV Holy visions! Now they cross the threshold, gliding softly Toward the space within: Softly gliding on—holy visions— Toward the space within. : v Holy visions! They the lodge are filling with their presence, Fraught with hope and peace: Filling all the lodge—holy visions Fraught with hope and peace. VI Holy visions! Now they touch the children, gently touch them, Giving dreams of joy: * Gently touch each one—holy visions— Giving dreams of joy. a Music on page 118. 320 THE HAKO, A PAWNEE CEREMONY [BrH. ANN, 22 VIL Holy visions! Ended now their mission, pass they outward, Yet they leave us joy: Pass they all from us—holy visions— Yet they leave us joy. VIll Holy visions! They, the sky ascending. reach their dwelling; There they rest above; They their dwelling reach—holy visions— There they rest above. TENTH RITUAL. THE DAWN Part J, THE BirtH oF Dawn The opening ceremonies began after dark and continued until past midnight. At their close the Children and the Fathers retired to their tents, but the Son remained at his post near the inner door of the lodge, while the Ku’rahus and his assistants watched from behind the holy place, where the Hako lay at rest. The fire burned to embers, the noise of the camp died slowly away, and darkness and silence settled down within the lodge. It was a long watch, but at length the Ku'rahus bade his server lift the skins, hanging at the inner and the outer door of the long passage- way, and stand outside to report when the gray hue was seen in the east. When the voice of the server was heard proclaiming the sign of dawn, the Ku'rahus and his assistants rose, and as they stood behind the holy place, facing the open door, they sang the first song in this drama of the mystic birth of Day. It was sung ‘‘slowly and with reverent feeling, for it speaks of the mysterious act of Tira’wa atius in the birth of dawn,” said the Ku’'rahus; ‘‘it is something very sacred, although it happens every day.” In the first stanza, the Earth, h’Atira (h’, breath; atira, mother), Mother breathing forth life, is called on to awake, that she may receive fresh power of life to be given with the new day. In the second, h’Atira responds, she wakens from the sleep of night. In the next stanza, h’Kawas (h’, breath; Kawas, as the represen- tative of the upper powers), the life-breathing powers above, are called to awake and receive fresh life through the new-born Day. In the fourth stanza, h’Kawas, awakening from sleep, responds. All the forces below and above have now been called, they are awake’ and ready to receive the gift of the new life. In the fifth stanza, Kawas, the mother, the leader in this ceremony, stands up and speaks from her nest. She explains to the Ku’rahus that day is born of night by the power of Tira’wa, that it is the breath of this new-born child, the Dawn, which gives fresh life to all things FLETCHER] TENTH RITUAL, PART I 321 below and to all things above. The Ku'rahus replies, in the sixth stanza, that now he understands the meaning of the signs of the east, where Tira’wa, moving on Darkness, causes her to bring forth the Day, whose breath, awakening man and all things, gives them new life. In the seventh stanza the Ku'rahus turns to the Son, bidding him awake to receive the breath of the new day. In the eighth the Son awakes, and with the Ku’rahus watches the coming of Dawn. This opening song of eight stanzas is in two parts; the first relates to the male and female forces, the above and below, awaking to receive a fresh influx of power from the breath of the new-born Day. In the second, the meaning of the signs in the east is revealed to the Ku’rahus by the mother, Kawas. With the assurance that new life is to be given, he awakes the Son, that he may receive the promise from the new-born child of Night. The second song is in two parts. In the first the Morning Star, rep- resentative of Tira’wa atius, the father, is discerned slowly advancing from the far distance, the birthplace of Dawn. The light is dim, and as the people look it is gone; then they catch sight of it again, steadily approaching, growing brighter and brighter until, in the second stanza, it stands resplendent as a man girded with the strength of youth, the breath of life stirring the downy feather upon his head, symbol of Tira’wa atius, already rosy with the touch of the advancing sun. As they gaze, he slowly recedes and vanishes from their sight. In the third stanza, along the path opened by the Morning Star, the representative of the Father, comes the new-born Dawn, dim at first and difficult to discern, but ever advancing, coming nearer and nearer, its breath stirring all things with life newly given from Tira’wa atius, the father of all. In the fourth stanza the sky is fillcd with the bright- ness of dawn; then the Dawn recedes and vanishes in the light of day. The third song opens with the shout, ‘‘ Day is here!” The light is everywhere and all things are clearly seen. The Son is called to lift his head and behold the light. In the second stanza, the glad shout, ‘‘ Day is here!” calls from their coverts the animals, led by the deer, bringing her young into the light of day. All creatures are now alert and moving about; the new Day has given new life. In the fourth song the Ku’rahus bids the Son awaken the Children. In the second stanza the Children arise, and, as they step out under the glowing sky, they, too, are touched by the breath of the new- born Day. The four songs represent four movements or parts of this ritual: (1) The awakening of the forces; (2) the approach of the new-born Dawn; (3) the stir of life among the creatures; (4) the touch of the breath of Dawn upon the Children. The sixteen stanzas make the symbol of completeness. 22 era—pr 2—04——21 322 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Such is the drama of the dawn as it appeared to the instructed Pawnee. The explanation of the Ku’rahus has given us a view of its imagery and meaning from the center of the circle, rather than from the outer edge, which otherwise would have been our only point of view. Seen as the Ku'rahus shows it to us, through its words and music, its simplicity, beauty, and reverent feeling can not fail to appeal to everyone who has watched the silent majesty of the dawn. SONG « Diagram of Time Rhythmic Rendition I Awake, Oh Mother, from sleep! Awake! The night is far spent; The signs of dawn are now seen In east, whence cometh new life. Il The Mother wakens from sleep; She wakes, for night is far spent; The signs of dawn are now seen In east, whence cometh new life. Tit Awake, Oh Kawas, from sleep! Awake! The night is far spent; The signs of dawn are now seen In east, whence cometh new life. IV Now Kawas wakens from sleep, Awakes. for night is far spent; The signs of dawn are now seen In east, whence cometh new life. v Then Kawas stands and speaks forth: “A child from Night is now born: Tira wa, father on high, On Darkness moving, brings Dawn.” VI I understand now, I know A child from Night has been born; Tira wa, father on high, On Darkness moving, brings Dawn. a Musie on page 123. FLETCHER] TENTH RITUAL 323 VIL Oh Son, awaken from sleep! Awake! The night is far spent; The signs of dawn are now seen In east, whence cometh new life. VIII The Son awakens from sleep: He wakes, for night is far spent; The signs of dawn are now seen In east, whence cometh new life. Part Il. THE MORNING STAR AND THE NEW-BORN DAWN SONG « Diagram of Time Rhythmic Rendition I Oh Morning Star, for thee we watch! Dimly comes thy light from distant skies; We see thee, then lost art thou. Morning Star, thou bringest life to us. II Oh Morning Star, thy form we see! Clad in shining garments dost thou come, Thy plume touched with rosy light. Morning Star, thou now art vanishing. iil Oh youthful Dawn, for thee we watch! Dimly comes thy light from distant skies; We see thee, then lost art thou. Youthful Dawn, thou bringest life to us. IV Ob youthful Dawn, we see thee come! Brighter grows thy glowing light As near, nearer thou dost come. Youthful Dawn, thou now art vanishing. a Music on page 128. (St be ns Part III. DAYLIGHT SONG « Diagram of Time Rhythmic Rendition I Day is here! Day is here, is here! Arise, my son, lift thine eyes. Day is here! Day is here, is here! Day is here! Day is here, is here! Look up, my son, and see the day. Day is here! Day is here, is here! Day is here! Day is here, is here! II Lo, the deer! Lo, the deer, the deer Comes from her covert of the night! Day is here! Day is here, is here! Lo, the deer! Lo, the deer, the deer! THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 All creatures wake and see the light. Day is here! Day is here, is here! Day is here! Day is here, is here! Part IV. Tur CHILDREN BEHOLD THE Day SONG ») Diagram of Time Rhythmic Rendition I Arise, my son, and follow my command; Go to the Children, bid them all awake, Bid them look where day now breaks; Go, send them forth into the light of day. i The son arose and followed these commands; He bade the Children all awake, arise; He bade them look where day now breaks; He sent them forth into the light of day. « Musie on page 131. b Music on page 182. FLETCHER] ELEVENTH RITUAL, PART I 325 ELEVENTH RITUAL (SECOND DAY). THE MALE ELEMENT INVOKED Part I, CHANT TO THE SUN The chant to the Sun, the recognition of the male principle, took place the second day. It was in two parts, the first sung during the morning hours, and the second in the late afternoon and at sunset. The first ray of the morning sun comes, we are told, ‘ direct from Tira'wa” and is ‘like a man” untouched by weakness or age. It is particularly powerful, and can impart strength to whomsoever it reaches, therefore the advent of the first ray of the sun was watched with eagerness. In the chant the ray is spoken of as if it were a bird; it alights and climbs in and out of the lodge (akaro). This term is used with double significance, for the earthly abode, the wide stretch from horizon to horizon, and for the lodge, erected for the protection of the family— the nest. In the first verse of the chant, the ray enters the door and goes through the long passageway into the lodge. The passageway typi- fies the individual life, the career of a man (first ritual, part I, stanza xu). %Intheseventh ritual the Hako touches the threshold, crosses it, and takes within the passageway the four steps symbolic of length of days. Inthe ninth ritual, the Visions halt at the door and then go through the passageway to reach and touch the Children; and now the ray, coming directly from above, enters as did the Hako and the Visions, bringing vitality and strength to the Son. The ray comes from h’Ars (h’, breath; ars, a contraction of atius, father), the father of breath; it is the bearer of breath from the Sun, the intermediary which received this gift of vitality and strength from Tira’wa atius (first ritual, part 1, stanzas I and It). After the Son had been touched by the ray, which entered through the long passageway, the Fathers gave the Children their morning meal, which had been prepared outside the lodge and brought within during the first verse. At the conclusion of the meal the chant was resumed. The second verse speaks of the ray alighting on the edge of the central opening in the roof of the lodge, over the fireplace. The fireplace was femi- nine, and represented the protected center where life was conserved (first ritual, stanza x). The alighting of the ray over that center refers to the coming of the father bird to its nest. In the third verse the ray climbs down, and in the fourth verse reaches the floor of the lodge and walks within the open space to touch the Children, bringing them the gift of vitality. At the close of this verse the Hako were laid at rest with ceremo- nial movements and song. The last four verses of the chant were sung late in the afternoon. In the fifth verse the ray has walked around the lodge and touched 326 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 all within; in the sixth it climbs up and out, and in the seventh it rests upon the top of the hills that stand as a wall and inclose as <¢ lodge the abode of the people. In the eighth verse the ray returns to the sun, having accomplished its task. This is the only song in the ceremony which is in the form of a chant. CHANT Part If. Day Sones Diagram of Time Rhythmic Rendition I Now behold; hither comes the ray of our father Sun; it cometh over all the land, passeth in the lodge, us to touch, and give us strength, II Now behold, where alights the ray of our father Sun; it touches lightly on the rim, the place above the fire, whence the smoke ascends on high. Ill Now behold; softly creeps the ray of our father Sun; now o’er the rim it creeps to us, climbs down within the lodge; climbing down, it comes to us. IV Now behold; nearer comes the ray of our father Sun; it reaches now the floor and moyes within the open space, walking there, the lodge about.” v Now behold where has passed the ray of our father Sun; around the lodge the ray has passed and left its blessing there, touching us, each one of us. L VI Now behold; softly climbs the ray of our father Sun; it upward climbs, and o’er the rim it passes from the place whence the smoke ascends on high. VIL Now behold on the hills the ray of our father Sun; it lingers there as loath to go, while all the plain is dark. Now has gone the ray from us. VIII Now behold; lost to us the ray of our father Sun: beyond our sight the ray has gone, returning to the place whence it came to bring us strength. Between the fifth and sixth verses of the chant two songs had place. The first compares the noise and bustle of the coming of the Hako party to the alighting of a flock of birds. The significance of a flock is given in the fifteenth ritual. In the first stanza of the second song the Father expresses his thank- a Music on page 135. b Here the Hako are laid at rest. PLETCHER] ELEVENTH RITUAL, PART II 327 fulness for the good he is permitted to bear. In the second stanza the Son responds with thanks for the coming of the Hako. These are the only songs belonging to the ritual of the second day, but, if the Children desire, they can ask for one of the extra songs which can be sung in the daytime only. Such a request must be accompanied by a gift. The first extra song is a request to Mother Corn that she will lead the Father to the Son. The song is in four stanzas. In the first Mother Corn is asked to lead; in the second she consents; in the third the Father asks if they are near; in the fourth the end of the journey is discerned. The second extra song refers to a young man who mounts his horse and makes his way toward the lodge to offer the animal as a gift to the Fathers. Such an act gives to a man honor and recognition among his people. FIRST SONG « Diagram of Time Rhathmic Rendition I Hark, the sound of their wings! Mighty birds are here now alighting, bearing . promised good. Hark, the sound of their wings! Surely the Hako is coming. Children, forward bring your gifts. II Hark, the sound of their wings! Mighty birds are here now alighting, bearing promised good. Hark, the sound of their wings! See! The Hako hascome. We children forward bring our gifts. SECOND SONG) Diagram of Time Rhythmic Rendition I We are thankful, thankful that now we are here With the Hako, bearing its bountiful gifts. As a son you will be, By the Hako bound unto us as a Son. Il IT am thankful, thankful that now you are here With the Hako, bearing its bountiful gifts. As ason I will be, By the Hako bound unto you as a Son. a Music on page 140. > Music on page 142. 328 THE HAKO, A PAWNEE CEREMONY [BTH. ANN, 22 EXTRA DAY SONG« Diagram of Time Rhythmic Rendition I Let us seek him, led by her who breathes forth life. Seeking the Son With the Mother, Mother Corn, seeking the Son let us go. I Now we travel, led by her who breathes forth life. Seeking the Son With the Mother, Mother Corn, seeking the Son now we go. Il May we find him, led by her who breathes forth life. Grant we find him, Oh our Mother, Mother Corn, grant we may find, find the Son. INV; We are near him, led by her who breathes forth life. Nearer we come; Now our Mother, Mother Corn, answers our prayer. He is here. EXTRA DAY SONG?! Diagram of Time ’ Rhythmic Rendition I Look where yonder rides One who swiftly speeding o’er the prairie takes his way! Who may he be? Whence has he come, riding on so fast, He who yonder comes? II Look! He turns this way, He who rides so swiftly o’er the prairie turns this way Hither comes he; With a purpose brave within his heart Rides he straightway here. ‘TWELFTH RITUAL (SECOND NIGHT). THE RITES CAME BY A VISION. In the ritual of this second night the supernatural origin of the ceremony is asserted, that its promises may be more fully depended upon. a Music on page 144. 6 Music on page 146. FLETCHER] TWELETH RITUAL 329 In the first song of the ritual the question is asked if the rite by which a Father could bind to himself a Son was prefigured in a vision? The affirmative answer is given in the second stanza. The second song has the same theme, and reiterates that, verily, all knowledge of the rite was given through the vision which, the Ku'ra- hus stated, came down by the east. The second stanza implies the promise that similar visions from the same direction will descend to the Children. FIRST SONG« Diagram of Time ~ Rhythmic Rendition Was it, we ask, in dreams that the Fathers saw Clearly the Hako, wherewith I make you now As my son, My own begotten? Was it in dreams they learned how to make you thus My offspring? Truly. in dreams it was that the Fathers saw Clearly the Hako, wherewith I make you now As my son, My own begotten. Truly, in dreams they learned how to make you thus My offspring. SECOND SONG?) Diagram of Time Rhythmic Rendition This is the teaching, this is the word sent Down to us from our fathers: All of the wise words, all of the good gifts, Brought unto you as a Son, Verily, through a dream all of these things, A‘l, by the east descended. aMusic on page 147. b Music on page 149. 330 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 This is the teaching, this is the word sent Down to us from our fathers: All of the wise words, all of the good gifts, Now brought to you as my Son, Verily, as of old, all of these things, All, by the east descended. The song addressed to the Pleiades held a peculiar place in the ceremony. It had to be substituted for the last stanza of any song which was being sung when the constellation was reported as rising above the horizon. This right to set aside the stanza of a regular song preceding the act of laying down the Hako seems to bear out the explanation of the Ku’rahus, that the song to the Pleiades belonged “to the time when the ceremony was being made,” and would imply that it was part of a ceremony from which the Hako drew authority. “Tira’wa,” the Ku’rahus said, “appointed the stars to guide their steps.” The Pleiades not only guided but taught the people, as by an object lesson, ‘‘to remain together.” The song would seem to have been received in some locality to the south of the dwelling place of the Pawnees, since the man who obtained it ‘‘ turned to the north and reached his country.” This song is one among many indications that earlier forms of the Hako ceremony will probably be found among the people of the Mexican plateau. SONG TO THE PLEIADES" Diagram of Time Rhythmic Rendition Look as they rise, up rise Over the line where sky meets the earth: Pleiades! Lo! They ascending, come to guide us, Leading us safely, keeping us one; Pleiades, Us teach to be, like you, united. The songs which belong to the rituals of the night did not fill up the entire time, and extra songs could therefore be requested by the Children, provided a gift was made when the song was called for. A man would step up to the holy place, lay there a small stick, repre- senting the gift of a horse, and say, ‘‘ Father, sing for us!” a Musie on page 151. FLETCHER] TWELFTH RITUAL 3381 From the fizst extra song we learn that the visions had a dwelling place called ‘‘Katasha,” located just below the abode of the lesser powers. The visions could be summoned by these powers from Katasha and dispatched upon a mission. After its accomplishment, the visions returned to their dwelling place to ‘‘lie at rest” until again summoned by the powers. According to the Ku'rahus, visions were not transitory, called into being for some special occasion and then ceasing to exist, but they were of an enduring nature, retaining an identity by which they could be recognized by one whom they had visited. This differentiates the vision from the dream, which would seem to be the memory of a vision which came while one slept. Waking visions are not spoken of as dreams. The Pawnees locate more or less definitely the powers which can affect man. In the above, far beyond the light, fleecy clouds, where no man has been or can see, dwells Tira’wa atius, the father of all, the giver of life and breath; in a circle below are the lesser powers, like a great council; beneath them is Katasha, the abode of the visions. The birds, the animals, and plants are intermediaries between man and the powers above and the powers below in the earth; they bring him the life and strength which is drawn by the powers from Tira’wa atius. Such is the outline,.but the details are complex, no one power or intermediary being fixed or unchangeable in fune- tion or character. The second extra song, as explained by the Ku'rahus, seems to point out that disaster is sometimes disciplinary and necessary to the strengthening of a man’s purpose. The third extra song teaches that when one dreams of Mother Corn one should go toa shrine where the sacred corn is kept and there offer smoke to the power which sent the corn to him in his dream. EXTRA NIGHT SONG" Diagram of Time 7 oS: , os vy) , , Rhythmic Rendition I Give heed! We tell of Katasha holy, Whence the dreams come down, when draweth the night time near: Near the gods? is their dwelling, They who watch o’er men; all silently come they down. a Music on page 152. >Gods, meaning powers, is used on account of the rhythm only. 332 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 Il Give heed! The bird of whom we are telling Sends the dreams to us, when draweth the night time near; Kawas, she that is sending Holy visions, bringing, silently bringing peace. Til Give heed! The birds of whom we are telling Climb with dreams to us, when draweth the night time near; Down the path they are climbing; Where the gods to men are traveling come they down. IV They climb, these birds; a dream each is bearing; Bear they dreams to us, when draweth the night time near; Kawas—she that is sending Down the birds with dreams; so faithful the Hako birds! Vv Then back they speed, the birds that were bringing Down the dreams that come when draweth the night time near: Birds and dreams are ascending Where the gods are dwelling, watching there over men. VI Now this we know in truth—where are resting Dreams that come to us when draweth the night time near; True it is that he did see them; In a vision saw he Katasha, where they dwell. EXTRA NIGHT SONG" Diagram of Time ~ Rhythmic Rendition q Mother Corn! Mother Corn! We pray thee, Be our leader, foes entrapping! Trusting in thee, we wander far, yet we see no foe; Food is gone, hope is dead within us. Il Then in dreams Mother Corn spoke to me: ‘*T will lead you, foes entrapping! “Testing your courage, far have I let you go astray; ** Rise, my child, follow me to vict’ry!”’ a Music on page 157. PLETCHER] TWELFTH AND THIRTEENTH RITUALS 333 EXTRA NIGHT SONG« Diagram of Time Rhythmic Rendition I As I lay sleeping, as I lay dreaming, Out of the distance came one advancing One whom I ne’er had seen before, but when her voice addressed me, straight- way I knew her— Lo! “Twas our Mother, she whom we know. II I rose from sleeping, my dream rememb‘ring Her words I pondered, words of our mother, Then I asked of each one I met, Tell me, how far may her shrine be? When I found it Sweet smoke I offered unto our Mother. THIRTEENTH RITUAL (THIRD DAY). THE FEMALE ELEMENT INVOKED Part I. THE SacRED FEAST OF CORN On the morning of the third day the ritual of the Dawn was repeated. The Children gathered at the lodge before sunrise and their morning meal was given them by the Fathers. On the preceding day the masculine principle, the sun, had been ‘‘remembered.” On this day the feminine, the earth, was to be honored. The ceremonies began by the sacred feast of Corn. It followed closely upon the morning meal and was wholly ceremonial and com- munal in form, the people taking a spoonful from bowls that were passed around the lodge from one group to another. The corn was provided and prepared by the Children, they who were to be the recipients of the good promised by the Hako and pre- figured by this act—the gift of plenty that they were to receive. Part Il. SonG TO THE EARTH The song to the Earth followed the rite. Its responsive liturgical form calls to mind the song which opens the first ritual. Its theme is similar. As the ceremony proceeds, its purpose, the perpetuation of the clan or tribe by the gift of children, is brought more and more clearly to light. a Music on page 159. 384 THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22 The two songs which precede the song to the earth were sung at the opening of the public ceremony (eighth ritual); they fix the mind upon the teaching that all power is derived from the great unseen force, Tira'waatius. The power of the fructifying ray of Father Sun and the power of Mother Earth to bring forth, the ability to generate life and to conserve it, come from Tira’wa atius, the father of all. FIRST SONG« Diagram of Time f / / {4 / fi / / . / / Rhythmic Rendition Father, unto thee we cry; Father thou of gods ? and men; Father thou of all we hear; Father thou of all we see; Father, unto thee we cry. SECOND SONGe Diagram of Time Rhythmic Rendition Father! Thou above, father of the gods,? They who can come near and touch us, Do thou bid them bring us help. Help we need. Father, hear us! THIRD SONGe Diagram of Time / / / / / / a Music on page 162. b The word gods, meaning powers, is used solely on account of the rhythm, e Music on page 163. FLETCHER] THIRTEENTH RITUAL, PART I Rhythmic Rendition I Behold! Our Mother Earth is lying here. Behold! She giveth of her fruitfulness. Truly, her power gives she us. Give thanks to Mother Earth who lieth here. II We think of Mother Earth who lieth here: We know she giveth of her fruitfulness. Truly, her power gives she us. Our thanks to Mother Earth who lieth here! It Behold on Mother Earth the growing fields! Behold the promise of her fruitfulness! Truly, her power gives she us. Give thanks to Mother Earth who lieth here. IV We see on Mother Earth the growing fields; We see the promise of their fruitfulness. Truly, her power gives she us. Our thanks to Mother Earth who lieth here! Vi Behold on Mother Earth the spreading trees! Behold the promise of her fruitfulness! Truly, her power gives she us. Give thanks to Mother Earth who lieth here. VI We see on Mother Earth the spreading trees; We see the promise of her fruitfulness. Truly, her power gives she us, Our thanks to Mother Earth who lieth here! VIL Behold on Mother Earth the running streams! Behold the promise of her fruitfulness! Truly, her power gives she us. Give thanks to Mother Earth who lieth here. VIII We see on Mother Earth the running streams; We see the promise of her fruitfulness. Truly, her power gives she us. Our thanks to Mother Earth who lieth here! 335 336 THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22 Part II]. OFFERING OF SMOKE This teaching is further accentuated by the offering of smoke which follows the song. The feathered stem, Kawas, the mother, is used as the pipestem for this purpose. The offering of smoke is the closest and most sacred form of direct communication with the great unseen power, Part IV. SonGs oF THE BrRDS In the songs of the birds, which close the day, the people are in- structed in their parental duties. They must take upon themselves the care of providing for their children, even before they are born; they are to be cheerful and thankful for all they receive; they are to guide and protect their families, to be watchful and faithful in storm and in sunshine, by day and by night. By following these teachings they will receive in full measure, in completeness, the gifts of the Hako. The diagram of time of each of the six songs of the birds is here given in the order of the text, but no rhythmical rendition has been made, as the story elaborates the meaning of each song. THE SONG OF THE BIRD'S NEST« Diagram of Time THE SONG OF THE WREN? Diagram of Time ~ THE SONG OF THE TURKEY AND THE WOODPECKER?* Diagram of Time a Music on page 169. b Music on page 171. ce Music on page 172. FLETCHER] THIRTEENTH AND FOURTEENTH RITUALS THE SONG OF THE DUCK« Diagram of Time THE SONG OF THE OWL? Diagram of Time THE SONG OF THANKFULNESS ¢ Diagram of Time 337 FOURTEENTH RITUAL (THIRD NIGHT). INVOKING THE VISIONS OF THE ANCIENTS On the third night the visions which in the distant past had taught this ceremony to the fathers were called upon and asked to come from their abode on high, to enter the lodge and recognize the man who was to be made a Son. The song was an appeal for supernatural sanction of the rites which had taken place and of those which were to follow. With this song the public ceremony came to an end. SONG’ Diagram of Time a Music on page 174. > Music on page 175. ¢ Music on page 177. d Music on page 178. 22 ErH—pT 2—04——22 338 THE HAKO, A PAWNEE CEREMONY Rythmic Rendition I Oh, come hither, Holy dreams—Onur fathers knew them— Hither come to us! Thanks we give unto them. They our message will hear, Calling them to come. II This way come they, Holy dreams—Our fathers knew them— Come they now this way. Thanks we give unto them. Coming now, they draw near, Coming now this way. iil They come nearer, Holy dreams—Our fathers knew them— Come they now this way. Thanks we give unto them. On the threshold stand they, Holy visions stand. IV Now they enter, Holy dreams—Our fathers knew them— Enter now the lodge. Thanks we give unto them. Enter they the lodge now, Enter now the lodge. Vi The Son they see, Holy dreams—Our fathers knew them— See him now within. Thanks we give unto them. Entered now, they see him, See the Son within. VI Now they hover, Holy dreams—Our fathers knew them— Hover us above. Thanks we give unto them. Pausing here above us, Hover they above. VII Now depart they, Holy dreams—Onur fathers knew them— Now they go away. Thanks we give unto them. They are passing from us, Going from the lodge. VIII Above rest they. Holy dreams—Ovnr fathers knew them— Rest they now above. Thanks we give unto them. Where they rest we send thanks, Thanks send far above. (ETH. ANN. 22 FLETCHER] FIFTEENTH RITUAL, PART I 339 SECOND Division. THE SECRET CEREMONIES FIFTEENTH RITUAL (FOURTH NIGHT) Part I. THE FLOCKING OF THE BIRDS The last meal given by the Fathers was eaten by the Children dur- ing the forenoon of the fourth day. Afterward gifts were presented to the Children and they went to their homes. The afternoon was occupied in preparation for the approaching secret ceremonies, which began at sunset and at which no one could be present but the Fathers, the Son, and his near relatives—those primarily concerned in the promises of the Hako. These ceremonies opened with a song suggesting the fulfilment of the promises and the joy of the people. Again we note the use of prefiguration at the beginning of a rite. This song—the flocking of birds—is in three groups of two stanzas each. The first group speaks of the flock, the old birds, with their young now grown, moving about with strength and power, shaking the trees by their numbers as they alight and rise; so shall the people increase and be powerful by their numbers. The second group speaks of Kawas as bringing from the powers the gift of this increase. She comes as a special messenger. Leaving the flock she flies direct to the people, as the eagle flies straight to its nest. The lodge of the Son is her nest, and she is coming to fulfil the promise of increase. The third group deals with the rejoicing of the people over the promise received through this ceremony. The joyful noise which they make as they bring their thank offerings to the Fathers is like that of a great flock of birds. The song not only pictures the increased power which is to come to the people through the Hako; it also refers to the immediate joyous influence of the ceremony on the people, in the happiness and grati- tude felt in the giving and receiving of the required gifts. The realistic whistle, made from the wing bone of the eagle, used to accompany the songs of these secret ceremonies, emphasizes the prophetic assurances of Kawas. SONG« Diagram of Time a Music on page 184. 340 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22 Rhythmic Rendition I All around the birds in flocks are flying: Dipping, rising, circling, see them coming. See, many birds are flocking here, All about us now together coming. II Yonder see the birds in flocks come flying: Dipping, rising, circling, see them gather. Loud is the sound their winging makes, Rushing come they on the trees alighting! II From the flock an eagle now comes flying: Dipping, rising, circling, comes she hither. Lond screams the eagle, flying swift. As an eagle flies, her nestlings seeking. IV It is Kawas coming, Kawas flying; Dipping, rising, circling, she advances. See! Nearer comes she, nearer comes. Now. alighted, she her nest is making. y Yonder people like the birds are flocking, See them circling, this side, that side coming. Loud is the sound their moying makes, As together come they. onward come they. VI Toward the lodge where sits the Son they hasten, Bringing forward gifts with joyful shouting. Hark! Now they like the eagle scream. Glad of heart, as when her nest she seeth. Parr Il. THE SIXTEEN CIRCUITS OF THE LODGE After the song the Hako were laid at rest with ceremonial song and movement. When they were next taken up it was to make the final circuits of the lodge, sixteen in number, symbolie of completion. The songs which accompanied these circuits are in four groups, and in them are summed up the teaching and the promises of the ceremony. The two songs of the first group refer to Mother Corn, she who had opened the way and led to the Son, breathing forth the power of Mother Earth in life, food, and plenty. Thanks and reverence are given to her. In the two songs of the second group the eagle, Kawas, comes to the Son. Her shadow, passing over him, attracts his attention and FLETCHER] FIFTEENTH RITUAL, RART II 341 he watches her and her mate as they guard and cherish their young in the nest. Then he learns that his lodge is the nest; that the powers above, through the eagle, are sending him the promise of life that shall fill his nest and make strong the people. The two songs of the third group refer to the Hako with its prom- ises. The second song records the prayer of an old Ku'rahus aud its fulfilment, and gives the assurance that Tira’wa answers the prayer of man made through the Hako ceremony. The four songs of the fourth group had all been previously sung. The first two were given at the opening of the publie ceremony, and again at the close of the sacred feast of Corn. They were now repeated, that the thoughts of the people might be turned toward Tira’wa atius, the father of all things, the giver of life, and to his messengers to man, the lesser powers. The third and fourth songs had been sung in the first ritual, when the feathered stems were painted to symbolize the powers above and the powers below, the male and female forces, which make for the perpetuation of all living forms. The secret ceremonies contain the heart of the rite, its vital center. In the sequence of songs through which this center was approached we note a reflex of the order of the ceremony itself, a turning back from the external leadership of the corn and of Kawas to the silent prayer of the Ku’rahus, the appeal to Tira’wa atius as symbolically present. At the close of the last circuit of the lodge the Hako were laid at rest with ceremonial song and movement for the last time. Midnight had passed, and the Children went to their homes, leaving the Fathers alone in the lodge to watch for the dawn. FIRST SONGa Diagram of Time Rythmic Rendition I Look on her! She who sought far and near for a Son! Look on her! She who led from afar unto you! Look on her, Mother Corn, breathing life on us all! II Thanks we give unto her who came here for a Son! Thanks we give unto her who has led us to you! Thanks we give, Mother Corn, breathing life on us all! a Music on page 188. 342 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 SECOND SONG Diagram of Time Rythmic Rendition I Rey’rent our hearts turn unto the one who brings to us Long life and children, peace, and the gifts of strength and food. Rey’rent our hearts turn unto our Mother Corn! II Rey’rent our hearts turn unto the source whence come to us Long life and children, peace, and the gifts of strength and food, Gifts from Tira wa, sent through our Mother Corn. THIRD SONG? Diagram of Time Rythmic Rendition I O’er the prairie flits in ever widening circles the shadow of a bird about me as I walk; Upward turn my eyes, Kawas looks upon me, she turns with flapping wings and far away she flies. Il Round about a tree in ever widening circles an eagle flies, alertly watching o’er his nest; Loudly whistles he, a challenge sending far, o’er the country wide it echoes, there defying foes. FOURTH SONG © Diagram of Time Rhythmic Rendition I Kawas flying where her nestlings now are crying; loudly cry they when they hear her wings; Kawas flying, cry her children, as they hear her come. ‘Tis Kawas who now homeward comes! ‘Tis Kawas who now homeward comes! Quickly flying as she hears her young ones in the nest. a Music on page 189, b Music on page 191. ¢ Music on page 193. FLETCHER] FIFTEENTH RITUAL, PART IL 343 II Kawas flying, o’er us flying, we her nestlings cry for joy as now we see her come; Kawas flying! Glad our hearts as now we see her come. ‘Tis Kawas brings to us good gifts! “Tis Kawas brings to us good gifts! Kawas brings gifts to us; we, like her nestlings, cry. FIFTH SONG« Diagram of Time / oe Q 50 , / / / / , / / Rhythmic Rendition I Atira comes, she brings you life, she gives you joy; to her give thanks as she draws near. Now in the lodge before our eyes Atira moves: Look upon her who brings you life, who gives you joy. Oh, offer thanks to Mother Corn! Il The Hako comes within the lodge, it walks within; let us give thanks as it draws near. Now in the lodge with Mother Corn the Hako moves: Thanks do we give for all the joy it brings to us, the children here, from realms above. SIXTH SONG? Diagram of Time Rhythmic Rendition I I know not if the voice of man can reach to the sky; I know not if the mighty one will hear as I pray; I know not if the gifts I ask will all granted be: I know not if the word of old we truly can hear; IT know not what will come to pass in our future days: I hope that only good will come, my children, to you. a Music on page 195. »b Music on page 1%. 344 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22 Il ITnow know that the voice of man can reach to the sky; IT now know that the mighty one has heard as I prayed; I now know that the gifts I asked have all granted been; IT now know that the word of old we truly have heard; IT now know that Tira’ wa harkens unto man’s prayer; I know that only good has come, my children. to you. SEVENTH SONG«a Diagram of Time / , / / / / / uy / , Rhythmic Rendition Father, unto thee we cry! Father thou of gods and men; Father thou of all we hear: Father thou of all we see. Father, unto thee we cry! EIGHTH SONG« Diagram of Time Rhythmic Rendition Father! Thou above, father of the gods, They who can come near and touch us; Do thou bid them bring us help. Help we need; Father, hear us! NINTH SONG?) Diagram of Time a Musie on page 199. b Musie on page 200. FLETCHER] FIFTEENTH AND SIXTEENTH RITUALS 345 Rhythmic Rendition Take we now the blue paint, Touch with it the stem, putting on the sacred symbol, Emblem of the clear sky, Where dwell the gods, who, descending, bring us good gifts, Gifts of life and plenty. TENTH SONG« Diagram of Time Rhythmic Rendition Take we now the green paint, Touch with it the stem, the mated stem: Putting on the emblem, the sacred and living symbol. Mother Earth, From above descending, bountiful blessing on thee, Mother Earth! SIXTEENTH RITUAL (FIFTH DAY, DAWN) Part I. SEEKING THE CHILD At the first sign of dawn the Ku'rahus and his assistants, with the principal men of the Hako party, started for the lodge of the Son, there to seek his child and perform certain rites symbolic of birth. It is to be noted that these rites took place at the same hour as the singing of the Dawn ritual, which celebrated the mysterious birth of day. They sang the first song of the ritual as they started, but when they were nearing their destination they repeated the song they had sung when they were about to enter the village of the Son (sixth ritual, second song). The repetition of songs sung in the earlier part of the ceremony had the effect of tying back the later acts to those which were pre- paratory in character, and tended to consolidate the entire ceremony. When this song was sung for the first time the Father was seeking the Son, to whom he was bringing promises of good; when it was sung the second time the Father was seeking the child of the Son, that on it the promises brought might be fulfilled. Of this part of the ceremony not only every detail, with its special meaning, but the function of each article used had been prefigured. a Music on page 200, 346 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 FIRST SONG«a Diagram of Time s Rhythmic Rendition With the dawn will I seek, seek my child, Among the Children seek One the gods ? shall here make; My offspring, my own child. SECOND SONGec Diagram of Time Rhythmic Rendition I Where is he, the Son? Where his dwelling place that I seek? Which can be his lodge, where he sits Silent, waiting, waiting there for me? Il Here is he, the Son, Here his dwelling place that I seek; This here is his lodge where he sits Silent, waiting, waiting here for me. Part II. SympBouic INCEPTION The warriors—the male element—were the first to enter the lodge, in warlike fashion, as if to capture and hold it securely. The child was first touched by the representative of Kawas, that it might be given endurance; then it was touched by the chief, that it might be wise. After the warriors had performed their part, the Ku’rahus entered singing the song which had been sung when the messenger representing the Son was received outside the village (sixth ritual, first song). At that time he looked upon one who was to lead him to the Son; now he is looking upon the child which represents the con- tinuation of the life of the Son. a Music on page 202. b> The word is used because of the vkythm. eSee sixth ritual; music on page 203. FLETCHER] SIXTEENTH RITUAL, PART II 347 FIRST SONG « Diagram of Time Rhythmic Rendition I Now our eyes look on him who is here: He is as the Son we have sought; He brings us again tidings of the Son: ‘Father, come to me, here I sit Waiting here for thee.”’ The Ku 'rahus first touched the child with the ear of corn (second song), singing the same song as when the ear of corn made its myste- rious journey to the sky and received its authority to lead in the cere- mony (first ritual, fifth song). The power granted at that time was for this ultimate purpose, to make the paths and open the way for the child to receive the gift of fruitfulness. SECOND SONG?) Diagram of Time Rhythmic Rendition I Tira wa, harken! Mighty one Above us in blue, silent sky! We standing wait thy bidding here; The Mother Corn standing waits, Waits to serve thee here; The Mother Corn stands waiting here. a See sixth ritual. Music on page 204. > Music on page 205. 348 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 II Tira wa, harken! Mighty one Above us in blue, silent sky! We flying seek thy dwelling there; The Mother Corn flying goes Up to seek thee there; The Mother Corn goes flying up. Ill Tira wa, harken! Mighty one Above us in blue, silent sky! We touch upon thy country fair; The Mother Corn touches there Upon the border land; The Mother Corn is touching there. IV Tira wa, harken! Mighty one Above us in blue, silent sky! The path we reach leads up to thee; The Mother Corn enters there. Upward takes her way; The Mother Corn to thee ascends. y Tira wa, harken! Mighty one Above us in blue, silent sky! Behold! We in thy dwelling stand; The Mother Corn, standing there, Leader now is made; The Mother Corn is leader made. VI Tira wa, harken! Mighty one Above us in blue, silent sky! The downward path we take again; The Mother Corn, leading us, Doth thy symbol bear; The Mother Corn with power leads. Then the Ku'rahus united the two feathered stems, the male and the female (third song), and with them touched the child, following with the gift of procreation the paths opened by the corn. THIRD SONG«a Diagram of Time a Musie on page 206, FLETCHER] SIXTEENTH RITUAL 349 Rhythmic Rendition I Here stand we while upon Tira wa now we wait; Here Kawas stands, her mate with her is standing here: They both are standing, waiting, bringing gifts with them. Il We flying are, as on Tira wa now we wait; Here Kawas flies, her mate with her is flying here; They both are flying, flying with the gifts they bring. Til We touching are, as on Tira wa now we wait: Now Kawas and her mate the child so gently touch; Its forehead touch they, there they gently touch the child. IV We op’ning are, as on Tira wa now we wait The four straight paths upon the child we open here, Where soon descending from on high shall flow new life. v We spreading are, as on Tira wa now we wait; Here Kawas spreads, her mate with her is spreading here; New life and power, the gifts that they are bringing here. WAL We finished are, as on Tira wa now we wait: The task of Kawas with her mate accomplished is, And all the work they came to do is finished now. Part Ill. Action SYMBOLIZING LIFE The child, surrounded by the creative forces, is urged to move, to arise as the first song is sung. FIRST SONGa Diagram of Time f. oe o/s o- “ss oe +. . / Rhythmic Rendition Tam ready; come to me now, fearing nothing; come now tome here! Little one, come, come to me here; fearing nothing, come! Then it was made to take four steps, symbolic of life, of long life, during the singing of the second song. In the symbolizing, within the lodge of the Son, of the gift of birth by the power of the Hako, brought thither by the Father, we get a glimpse of the means by which the tie between the two unrelated men, a Music on page 211. 350 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 the Father and the Son, was supposed to be formed; namely, the life of the Son was perpetuated through the gift of fruitfulness to his child, supernaturally bestowed by the Hako; consequently the Father who brought the Hako became symbolically the father of the future progeny of the Son. SECOND SONGa Diagran of Time Rhythmic Rendition Stepping forward is my child, he forward steps, the four steps takes and enters into life: Forward stepping, four steps taking, enters into life. The child was taken upon the back of one of the party and led the way to the ceremonial lodge, followed by the Ku'rahus and all the rest singing the third song. THIRD SONGa Diagram of Time Rhythmic Rendition Here we go singing, looking on the child Borne in his father’s arms, he leading us; Follow we singing, looking on the child. SEVENTEENTH RITUAL Part I. ToucHING THE CHILD On reaching the lodge the child was seated at the holy place and surrounded by the Kurahus and his assistants with the Hako, and guarded by a wall of warriors, while an old man prepared it for the further reception of the promised gifts. On the preceding night water had been taken from a stream; this water was now put intoa bowl. Every detail of this act was symbolic. The time when the water was obtained was night, the mother of day; running water symbolized the continuity of life, one generation fol- lowing another; the bowl which held the water resembled in its shape the dome of the sky, the abode of the powers which bestowed life. The child was touched with the water upon the head and face, an invisible outline being made, which afterward was to become distinct. This first touching with water, one of the lesser powers, was to cleanse and give strength. a Music on page 212. Slat FLETCHER] SEVENTEENTH RITUAL, PART I 351 The song (first) which accompanied this act is in three musical phrases and six stanzas. Again the symbolism of number, already noted, is suggested. FIRST SONG « Diagram of Time / Rhythmic Rendition I Give heed, my child, lift your eyes, behold the one who is standing here; Behold, my child! waiting here to bring the gift of strength to you. Give heed, my child. Look! Water waits to bring to you gift of strength II Give heed, my child, lift your eyes, behold the one who is flying here; Behold, my child! flying here to bring the gift of strength to you. Give heed, my child. Look! Water flies to bring to you gift of strength. Ill Give heed. my child, lift your eyes, behold the one who is touching here: Behold, my child! touching here your head, to bring the gift of strength. Give heed, my child. Look! Water, touching, brings to you gift of strength. IV Give heed, my child, lift your eyes, behold the one who now follows here. Behold, my child! Now the paths it follows, paths where the gods descend. Give heed. my child. Look! Water down the four straight paths brings its gift. Vv Give heed, my child, lift your eyes, behold the one who is spreading here; Behold my child! cleansing you, and spreading o’er you gift of strength. Give heed, my child. Look! Water spreading over you gift of strength. VI Give heed, my child, lift your eyes, behold the one who has brought you strength. Behold, my child! Strength you have and finished is the task. Give heed, my child. Look! Water now has brought to you gift of strength. Following the outline made by the water, the head and face of the child were next touched with grass, the representative of Toharu, the verdant covering of the earth. The song (second) sung during this act is in the rhythm of the first. In these two acts we note that ‘‘the order in which the powers come near to man,” shown in the opening song of the first ritual, is observed in this rite. In that opening song, after the Winds, the Sun, and the Earth had brought life to man, food and drink were given that his a Music on page 215. 352 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 life might be sustained. So, after the symbolic birth in the lodge of the Son, the child was touched by water and the product of the earth, that it might receive from them sustaining power. SECOND SONG« Diagram of Time Rhythmic Rendition I Give heed, my child, lift your eyes. behold the one who is standing here; Behold, my child! waiting here to bring the gift of food to you. Give heed, my child. Look! Grass now waits to bring to you gift of food. II Give heed, my child, lift your eyes, behold the one who is flying here: Behold, mv child! flying here to bring the gift of food to you. Give heed, my child. Look! Grass now flies to bring to you gift of food. IIL Give heed, my child, lift your eyes, behold the one who is touching here: Behold, my child! touching here your head to bring the gift of food. Give heed, my child. Look! Grass now touching brings to you gift of food. TV Give heed, my child, lift your eyes, behold the one who now follows here. Behold, my child! Now it follows the paths where the gods descend. Give heed, my child. Look! Grass now down the four straight paths brings its gift. vy Give heed, my child, lift your eyes, behold the one who is spreading here; Behold, my child! spreading plenty o’er you, promised gift of food. Give heed. my child. Look! Grass is spreading o’er you gift of food. VI Give heed, my child. lift your eyes, behold the one who has brought you food. Behold, my child! Food you have received. and finished is the task. Give heed, my child. Look! Grass has now here brought you the gift of food. Part II. ANOINTING THE CHILD The order of the opening song is followed still further in the anointing of the child. The seventh stanza of the opening song speaks of IXusharu, the holy place, set apart for the observance of rites. The Kurahus explained that ‘‘the first act of a man” must be to set apart sucha place, ‘‘where new life could be given.” Following this order, the child was anointed and by this act of consecration set apart as the center of the rites which were to follow. The song of this act follows the rhythm of the two preceding. « Music on page 219. FLETCHER] SEVENTEENTH RITUAL By5K3 SONG « Diagram of Time Rhythmic Rendition I Give heed, my child, lift your eyes, behold the one who is standing here, Behold, my child! waiting now to fit and set you here apart. Give heed, my child. Look! Sacred ointment now is here come to you. II Give heed, my child, lift your eyes, behold the one who is flying here. Behold, my child! flying here to make a consecrated child. Give heed, my child. Look! Ointment flies to consecrate you, my child. Ii Give heed, my child, lift your eyes, behold the one who is touching here, Behold, my child! touching here your head, as consecrating you. Give heed, my child. Look! Sacred ointment touches upon your head. IV Give heed, my child, lift your eyes, behold the one who now follows here. Behold, my child! Now the paths it follows, paths where the gods descend. Give heed, my child. Look! Ointment down the four straight paths comes to you. Vv Give heed, my child, lift your eyes, behold the one who is spreading here. Behold, my child! Sacred ointment, spreading, consecrates you. Give heed, my child. Look! Sacred ointment over you spreads its power. VI Give heed, my child, lift your eyes, behold the one who has holy made. Behold, my child! You are set apart, and finished is the task. Give heed, my child. Look! Sacred ointment now has set you apart. Part III. PAIntTiInG THE CHILD The red paint put on the child’s head and face symbolized the dawn, the rising sun. The color was spread over the entire face to represent ‘“‘the full radiance of the sun,” ‘‘ giving to the child its vigor of life.” The song and the rest of the songs of this ritual are in the same rhythm as the preceding. SONG!) Diagram of Time a Music on page 223. b Music on page 227. 22 ErH—pT 2—04 23 354 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 Rhythmic Rendition I Give heed, my child, lift your eyes, behold the one who is standing here, Behold, my child! waiting here to bring the gift of life to you. Give heed, my child. Look! Red paint waits, the vigor of life to bring. Il Give heed, my child, lift your eyes, behold the one who is flying here, Behold, my child! flying here to bring the gift of life to you. Give heed, my child. Look! Red paint flies, the vigor of life to bring. HI Give heed, my child, lift your eyes, behold the one who is touching here, Behold, my child! touching here your head to bring the gift of life. Give heed, my child. Look! Red paint touches, the vigor of life to bring. IV Give heed, my child, lift your eyes. behold the one who now follows here. Behold, my child! Now the path it follows, paths where gods descend. Give heed, my child. Look! Red paint follows, vigor of life to bring. vy Give heed, my child, lift your eyes, behold the one who is spreading here, Behold, my child! over you is spread the glowing gifs of life. Give heed, my child. See! Red paint brings the vigor of life to you. VI Give heed, my child, lift your eyes, behold the one who has brought you life. Behold, my child! Life you have received and finished is the task. Give heed, my child. Look! Red paint leaves the vigor of life with you. The next act was the painting of the child’s face with blue, the color of the sky, the abode of Tira’wa atius. The design outlined by the water, the grass, the ointment, and the red paint was now clearly seen—an arch, crossing the forehead and resting on the cheeks, from the middle of which a line was drawn downward on the nose. This design was said to ‘‘picture the face of Tira’wa.” The arch was the dome of the sky, his abode; the line, falling from the zenith, was the breath of Tira’wa descending on the child, meeting its breath. We are told that this design came from the constellation Corona Borealis and was the insignia of a chief, as he who leads does so by the authority of Tira’'wa and must bear his sign on the face. In this ceremony this design, taken in connection with the symbols next placed on the child, seems to represent the presence of the power, “the father of all things.” FLETCHER] SEVENTEENTH RITUAL 355 SONG « Diagram of Time / Rhythmic Rendition I Give heed, my child, lift your eyes, behold the one who is standing here, Behold, my child! waiting here to make the sign of him above. Give heed, my child. Look! Blue paint waits to bring to you sign of him Il Give heed, my child, lift your eyes, behold the one who is flying here, Behold, my child! flying here to make the sign of him above. Give heed, my child. Look! Blue paint flies to bring to you sign of him. Ii Give heed, my child, lift your eyes, behold the one who is touching here, Behold, my child! touching here to make the sign of him above. Give heed, my child. Look! Blue paint touches, bringing you sign of him. IV Give heed, my child, lift your eyes, behold the one who now follows here. Behold, my child! tracing here the arching dome, his dwelling place. Give heed, my child. Look! Blue paint makes the line of the breath of life. Vv Give heed, my child, lift your eyes, behold the one who is spreading here, Behold, my child! spreading on your face the sacred lines of blue. Give heed, my child. Look! Sacred now the picture the blue paint makes. VI Give heed, my child, lift your eyes, behold the one who has brought the sign, Behold, my child! brought to you the sign. Accomplished now the task. Give heed, my child. Look! Blue paint now has left with you sign of him. Parr IV. PuTrrinG ON THE SYMBOLS Eagle down was next put upon the head of the child. The down was taken from under the wing, ‘‘close to the heart” of ‘‘the white eagle, the father of the child,” so representing the eagle’s ‘‘ breath and life.” It also typified the high, light clouds, and when the child’s head was covered with it the Ku’rahus said: ‘‘The head of the conse- erated child now rests in the soft white clouds which float near the dwelling place of Tira’wa atius.” It is noticeable that the song of this act has five stanzas, indicating the five motions, the four directions and the above. aMusic on page 231. 356 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 FIRST SONG« Diagram of Time , Rhythmic Rendition I Give heed, my child, lift your eyes, behold the one who is standing here, Behold, my child! waiting here to bring the sign of clouds above. Give heed, my child. Look! Down of eagle waits with the sign of clouds. Il Give heed, my child, lift your eyes, behold the one who is flying here, Behold, my child! flying here to bring the sign of clouds to you. Give heed, my child. Look! Down of eagle flies with the sign of clouds. Til Give heed, my child, lift your eyes, behold the one who is touching here, Behold, my child! touching here your head to bring the sign of clouds. Give heed, my child. Look! Down of eagle touches and brings the clouds. IV Give heed, my child, lift your eyes, behold the one who is dropping here, Behold, my child! drops on you the sign of fleecy clouds above. Give heed, my child. Look! Sacred symbol dropping upon your head. Vv Give heed, my child, lift your eyes, behold the one who has laid on you, Behold, my child! sign of fleecy clouds that near Tira wa float. Give heed, my child. Look! Rests on you sign of the clouds above. With the following song a white downy feather was tied on the head of the child. The Ku’rahus said: ‘‘ This feather, which is ever moving, as if it were breathing, represents Tira’wa, who dwells beyond the blue sky which is above the soft white clouds.” This feather was double; it had a little plume like a branch, to stand for the child. The larger feather symbolized Tira’wa. The song has tive stanzas like the preceding. SECOND SONG? Diagram of Time Rhythmic Rendition I Give heed. my child, lift your eyes, behold the one who is standing here, Behold, my child! waiting here to bring the last great gift to you. Give heed, my child, Look! Waits to bring the emblem the Father sends. a Music on page 255 b Music on page 238. FLETCHER] SEVENTEENTH AND EIGHTEENTH RITUALS 357 II Give heed, my child, lift vour eyes, behold the one who is flying here, Behold, my child! flying here to bring the last great gift to you. Give heed, my child. Look! Flies to bring the emblem the Father sends. III Give heed, my child, lift your eyes, behold the one who is touching you, Behold, my child! with the last great gift touching now your head; Give heed, my child. Look! Touches with the emblem the Father sends. . IV Give heed, my child, lift your eyes, behold the one who is placing here, Behold, my child! on your head is placing now the sonship sign; Give heed. my child. Look! Placing there the emblem the Father sends. Vv Give heed, my child, lift your eyes, behold the one who has left on you, Behold, my child! left on you Tira'wa’s breathing feather sign. Give heed, my child. Look! On you rests the emblem the Father sent. When the child was thus decorated, it was told to look at the reflee- tion of its face in the bowl of water. To quote the words of the Kuwrahus: ‘‘The little child looks upon the water and sees its own likeness, as it will see that likeness in its children and children’s children. The face of Tira’wa is there also, giving promise that the life of the child shall go on, as the water flows over the land.” After this prophetic view, a black covering was put over the child’s head. The symbols were not for the people to see; they were holy and belonged only to the powers. In the final disposition of the water remaining in the bowl there is a hint of other and older rites, fragments of which appear in the Hako ceremony. EIGHTEENTH RITUAL. FULFILMENT PREFIGURED Part I. MAkING THE NEST During the singing of the next song the movements of the feathered stems simulated the flight of eagles. The white eagle passed through the line of warriors by the south, the masculine side of the lodge, and the brown eagle by the north, the feminine side. The white eagle flew back and forth in front of the warriors, enacting the protecting duty of the male, while the brown eagle flew to the fireplace and made a circle, a nest, at each of the four directions. The location of these four nests, corresponding to the four paths, indicated a desire that the powers might descend on them. This. desire was also manifested by the outlining of the circles with down, the symbol of the high clouds *‘ which float near the abode of Vira’wa.” The bits of fat dropped within the circles were not only a prayer for plenty, but also a promise that the prayer would be granted. The 358 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22 oriole’s nest represented security. The four circles around the fire as made by the Ku'rahus carrying the brown-feathered stem pictured to the Pawnees the promise of children, the gifts of plenty and of peace from the powers above. SONG « Diagram of Time Rhythmic Rendition Behold where two eagles come forth! Now they soar high over head: See where one flies, watching flies, guarding he His mate who has gone to her nest, dropping there; *Tis Kawas who brings there new life. Part II. SyMBoLic FULFILMENT The little child was put within each of these prophetic circles, its feet touching the nest and the promised plenty. Four times it was taken around the fireplace and each time it touched the four circles. The child was covered during the act of putting its feet in the nest. This act symbolized the birth of children, a mystery to man, as ‘‘only Tira’wa could know when generation would take place.” This simulated fulfilment of the promise of the Hako completed the sequence of acts in the drama of birth. SONG” Diagram of Time Rhythmic Rendition Within the nest the child rests its little feet, Awaiting there the gift sent by gods above; Descending there to him comes the promised life. Parr Ill. THANK OFFERING The offering of sweet smoke followed immediately. As the smoke ascended all the articles of the Hako were waved through it, the child was touched with it, and all the people passed their hands through it. The sweet smoke offering was given that the powers above might a Music on page 242. 6 Music on page 245. FLETCHER] EIGHTEENTH AND NINETEENTH RITUALS 359 know that the ceremony had been carried out in accordance with the teachings given to the fathers in the visions. Its odor reached the abode of Tira’wa, bearing the touch of all faithful participants in the rite. After the offering of smoke all traces of the nests were obliterated, the coals used for the offering of smoke were returned to the fire, and the lodge once more was open to all the people. THIRD DIVISION. THE DANCE OF THANKS NINETEENTH RITUAL Part I. THe CaLL TO THE CHILDREN The purpose of the rite was recognized by the important place given to children in this part of the ceremony. The ponies presented to the Fathers were each lead up by a little child; the acting out of a man’s warlike deeds was to honor his child, and the little child with the black covering upon its head and the picture of Tira’wa upon its face received, with the chief, the gifts as they were presented. In every instance the child was the tie between the two groups, the Fathers and the Children. FIRST SONGa Diagram of Time Rhythmic Rendition Harken! List! Weare calling you. Come! Come! Children, come! Come! We're ready and waiting, your Father’s waiting. Come! Children, come! Hear us calling, calling you! Children, come! Children, come! Come hither! Harken! List as we call you, call to the Children to come. SECOND SONG? Diagram of Time a Music on page 249. 360 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Rhythmic Rendition Ready and waiting, we call you, loud we call you, loudly call; “Come to us, Children,’’ call we loudly, call we long: Oh, come! Come! Come! Come! Hear us calling, calling, Children! Oh, come! Hear us calling, come to us here! Come! THIRD SONG« Diagram of Time Rhythmic Rendition Look, where they come, see them, see them, young ones and old ones! Look! Here they come, this way, that way flocking together. Hither they come, shouting like eagles. Shouting come. Joyous, happy, gladly come they, gaily coming, coming hither. See where they come, flocking like birds, shouting like eagles As they come to the Fathers. Part Il. THkt DANCE AND THE RECEPTION OF GIFTS The two young men as they danced waved high above their heads the feathered stems and simulated by their movements the flying and sporting of birds. The lightness and beauty of this final dance ean never be forgotten by one who has been so fortunate as to see it well executed. DANCE SONG?! Diagram cf Tine DANCE SONGe Diagram of Time « Music on p. 251. 6 Music on p. 254. ¢ Music on p. 255 FLETCHER) TWENTIETH RITUAL 361 FOURTH DIVISION. PRESENTATION OF THE HAKO TWENTIETH RITUAL Parr I. BLESSING THE CHILD At the close of the dance and the reception of gifts by the Fathers, the little child was again taken to the holy place and once more touched with the Hako upon all sides, from the east, the south, the west, and the north. The song accompanying these movements was ‘‘a prayer to call down the breath of Tira’wa” upon the child that had been consecrated. SONG « Diagram of Time Rythmic Rendition Breathe on him! Breathe on him! Life thou alone canst give to him. Long life, we pray, Oh Father, give unto him! Part Il. PRESENTING THE HAakO TO THE SON AND THANKS TO THE CHILDREN The Father (the chief) then removed the emblems from the face of the child, using for the purpose the fur of the wildcat, and took the covering and the symbols from its head. These with the Hako he rolled together within the wildcat skin and placed the bundle in the arms of the child. The Hako, which had been the medium of bringing the promises, was carried by the recipient of these promises, the little child, to its father, the Son, who received them from the hands of his offspring. The tie had now been formed, and the little child was released from its symbolic duties and ran out into the sunlight to join its playmates. Within the lodge the Fathers thanked the Children, and the people departed to their daily avocations. While the various articles of the Hako were generally scattered at the close of the ceremony, the two feathered stems were preserved intact and frequently passed from tribe to tribe as long as they held together. Sometimes the Son was unwilling to part with those pre- sented him, so, when he inaugurated a party, he had a new set made with the proper ceremony. At all times and under all conditions the feathered stems were never handled carelessly, but were treated with respect and their sacred character was remembered. During the entire a Music on p. 257. 362 THE HAKO, A PAWNEE CEREMONY [BrH, ANN. 22 the feathered stems to be placed on the floor or laid upon a chair; they were always carefully deposited on the wildeat skin with a decorum that was not once abated. The Hako ceremony seems to have been peculiarly adapted to impress the mind of the people and to win their confidence and affee- tion. It was picturesque, varied in movement, and communal in feeling. Its songs were rhythmic and attractive, and frequently choral in form, particularly those belonging to the public ceremony, where all, young and old, joined in the melody as the feathered stems were swayed over their heads when the Ku'rahus and _ his assistants made the circuits of the lodge. The teachings of the public ceremony were general in character. They emphasized, on the one hand, man’s dependence on the super- natural for all the gifts of life, and on the other hand, his dependence on the family tie for the gifts of peace and happiness. The specific teachings were reserved for the Son. These began in the ritual to the Dawn (tenth ritual) on the morning of the second and third days, which prefigured the secret ceremonies of the fifth morning, when the bond of the family relation was extended beyond blood kinship through the symbolic rites which recognized the common source of life in Tira'wa atius. Looking over the entire ceremony, it is interesting to note how older rites have had their share in the development of the Hako, and how the trend of thought among the native seers has borne them toward a conception of the brotherhood of man, a conception recoenized as the noblest known to the human family. INCIDENTAL RITUALS COMFORTING THE CHILD The incidental rituals could be called for and given during the publie ceremony. The three songs which belong to the first ritual have a common musical motive, but this motive is treated differently in each song so as to conform to the movement of the ceremony. The appeal of the parents to the Ku’rahus is in the first song passed on to Kawas. It is sung by the Ku'rahus at the holy place as he waves the brown-eagle feathered stem. The words are in the nature of a prayer, the music has the swing of a lullaby. FIRST SONG«a Diagram of Time a Musie on p. 261. FLETCHER] INCIDENTAL RITUALS 363 Rhythmic Rendition Kawas, harken; thy baby is crying! It grieveth, wailing and weeping and crying so sore, Ah! It cries, crieth so sorely; Kawas, hasten, thy little one cryeth so sore. The second song was sung as the Ku’rahus and his assistant walked toward the child. In the music one hears the coming of Tira’wa in the footsteps of his creatures, both great and small. SECOND SONGa«a Diagram of Time Rhythmic Rendition Father cometh, now he cometh; See him, little one; hark! his footsteps! With him, see! coming are the eagles, All are coming now to thee. The third song is sung as the brown-eagle feathered stem is waved over the little child, who ‘‘ looks up and smiles.” The caressing, almost playful, rhythm of the music twines about the religious feeling expressed in the words like the arms of an infant about the neck of its thougtful, reverent parent. THIRD SONG? Diagram of Time Rhythmic Rendition I Look, my child, who is coming unto you; Look up, my little one, now your trouble goes away, away: Look! Above you flies one who guards you, Whose presence brings you joy. Now your sorrow has departed. II Ah, you look! See the eagles flying over you. From up above they come, from the clear blue sky where Father dwells; They to you this peace-bringing solace give. A happy little child now is smiling here light-hearted. a Music on page 262. b Musie on page 263. 364 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 PRAYER TO AVERT STORMS SONG « Diagram of Time PRAYER FOR THE GIFT OF CHILDREN FIRST SONG Diagram of Time and Rhythm SECOND SONG « Diagram of Time THIRD SONGd Diagram of Time FOURTH SONGe Diagram of Time CHANGING A MAN’S NAME Before the graphophone record was taken the Ku’rahus engaged in silent prayer, after which he entoned the ritual. Rather a high piteh was taken for the recital, probably from habit, as the ritual was always given in the hearing of a multitude. The words were separated into syllables. Sometimes an entire word or parts of two words were represented by a single syllable, and each syllable in the ritual was uttered as though it were a complete word. — ~ « Music on page 266, ¢ Musie on page 269. e Music on page 27). > Music on page 268. @ Music on page 270. FLETCHER] INCIDENTAL RITUALS 365 Mr Murie spent three days in the translation and study of the ritual, assisted by the Ku'rahus, who explained many points that were somewhat obscure, owing to elisions, the employment of a single word as a mnemonic to call up the picture of a complicated action, and the forcing of words to a different application from that of ordi- nary speech—a not uncommon occurrence in rituals. The latter carefully watched the work lest mistakes should be made, remarking that the ritual ‘‘speaks of the powers above, of whom man should be eareful what he says.” There is one aspect of the ritual, essential to ifs understanding, that was carefully explained by the Ku’rahus, and the substance of many conversations on the subject follows. A man’s life isan onward move- ment. If one has within him a determined purpose and seeks the help of the powers his life will ‘‘climb up.” Here the Ku’rahus made a gesture indicating a line slanting upward; then he arrested the movement and, still holding his hand where he had stopped, went on to say that as a man is climbing up he does something that marks a place in his life where the powers have given him the opportunity to express in acts his peculiar endowments, so this place, this act, forms a stage in his career, and he takes a new name to indicate that he is on a level different from that which he occupied previously. Some men, he said, can rise only a little way, others live on a dead level, and he illustrated his words by moving his hands horizontally. Men having power to advance, climb step by step, and here again he made his idea plain by a gesture picturing a slant, then a level, a slant, and alevel. In this connection he called attention to the words, in line 1359, ‘‘rutu’rahwitz pari,” ‘‘to overtake walking,” saying that the people who desire to have a name, or to change their name, must strive to overtake in the walk of life an upper level, such a one as these ancient men spoken of in the ritual had reached, where they threw away the names by which they had been known before. *“Rutu rahwitz pari,” is a call to the Pawnees, bidding them emulate these men and overtake them by the doing of like deeds. Three facts connected with the Pawnee custom of taking a new name should be stated: First. A man was permitted to take a name only after the perform- ance of an act indicative of ability or strength of character. Second. The name had to be assumed openly before the people to whom the act it commemorated was known. Third. It was necessary that it should be announced in connection with such a ritual as that here given. These facts indicate (1) that a man’s name stood for what he had shown himself to be in the light of his actions; (2) that this was recog- nized by his tribesmen; and (5) that it was proclaimed by one haying in charge the mediatory rites through which man could be approached by the supernatural. 366 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22 The ritual isin three parts. The first gives a brief narration of the institution of the custom of changing the name in consequence of some new achievement. The second shows how the man was enabled to accomplish this act. It began with his lonely vigil and fast, when he cried to the powers for help. The scene then shifts to the circle of the lesser powers, who, in council, deliberate on the petition which makes its way to them and gains their consent. Then the Winds summon the messengers, and these, gathering at the lesser powers’ command, are sent to earth to the man erying in lonely places, to grant his desire. This part closes with a few vivid words which set forth that only by the favor and help of the powers had the man been able to do the deed. The third deals with the man’s names, the one to be discarded and the one now to be assumed. This dramatic poem is in a rhythmic form impossible to reproduce in English; neither is a literal translation adequate to convey its meaning, since a single word sometimes represents a complex action, to the understanding of which a knowledge of the customs and beliefs of the tribe is essential. The terseness of expression was also intended to close the meaning to the uninitiated, keeping it sacred from the common people. Although the form of the following rhythmic ren- dition could not be determined as heretofore by musical phrases, the English version contains nothing which is not in the original text explained and amplified by the Ku'rahus. Rhythmic Rendition of Pawnee Text 1358 Harken! °Twas thus it came to pass: In ancient days. a Leader and his men Walked this wide earth, man’s vast abode Roofed by the heavens, where dwell the gods. They reached a place, the spot no man can tell, Faced dangers dread, and vanquished them: Then, standing as if born anew to life. Each warrior threw away the name That had been his ere yet these deeds were done. 1359 Harken! The Leader and his men Made there the Vict ry Song, and set the mark Ye must o’ertake. if ye would be like them! 1360 Harken! The Leader and his men Turned then toward home. Their Vict’ry Song Proclaimed them near; the village rose. Looked toward the hill, where on the top Stood the brave men singing their Song, Heralding thus the favor of the gods By which they had surpassed all former deeds, Made new their claim to be accounted men. aGods, meaning powers, is used solely on account of the rhythm. FLETCHER | i361 1562 1363 1364 13865 INCIDENTAL RITUALS Harken! And whence, think ye, was borne Unto these men courage to dare, Strength to endure hardship and war? Mark well my words, as I reveal How the gods help man’s feebleness. The Leader of these warriors was a man Given to prayer. Oft he went forth Seeking a place no one could find, There would he stand, and lift his voice Fraught with desire, that he might be Invincible, a bulwark ‘gainst all foes Threat’ning his tribe, causing them fear. Nighttime and day this cry sped on, Traveling far, seeking to reach— Harken! Those places far above— Harken! Within the circle vast Where sit the gods, watching o’er men. Harken! This poor man’s prayer went on, Speeding afar into the blue Heavens above, reached there the place— Harken! Where dwell the lesser gods— Harken! And great Tira’'wa. mightier than all! Harken! It was becausea god | Received this prayer, considered it. Favored its plea, and passed it on To him whose place was next, in that grand ring, Who, in his turn received the prayer, Considered it, and sent it on— Harken! Around that circle yast— Harken! Where sit the gods above. Harken! And thus it was the prayer Sent by this man won the consent Of all the gods. For each god in his place Speaks out his thought, grants or rejects Man’s suppliant cry, asking for help; But none can act until the Council grand Comes to accord, thinks as one mind, Has but one will, all must obey. Harken! The Council gave consent— Harken! And great Tira’wa, mightier than all. Harken! To make their purpose known, Succor and aid freely to give, Heralds were called, called by the Winds: Then in the west uprose the Clouds Heavy and black, ladened with storm. Slowly they climbed, dark’ning the skies; While close on every side the Thunders marched On their dread way, ‘till all were come To where the gods in stately Council sat Waiting for them. Then, bade them go Back to the earth, carrying aid To him whose prayer had reached their circle vast. This mandate given, the Thunders turned toward earth, Taking their course slantwise the sky. 868 1366 1367 1368 1369 1370 THE HAKO, A PAWNEE CEREMONY Harken! Another followed hard— Lightning broke forth out of the Cloud, Zizzag and dart, cleaving their way Slantwise to earth, their goal to reach. Harken! For these two were not all That hastened to proclaim the gods’ behest; Swiit on their wings, Swallows in flocks Swept in advance, ranging the path, Black breasts and red, yellow, and white, Flying about, clearing the way For those who bore the message of the gods Granting the man courage to dare, Strength to endure, power to stand Invincible, a bulwark ‘gainst all foes. Harken! *Twas thus it came to pass: The Leader grasped the help sent by the gods; Henceforth he walked steadfast and strong, Leading his men through dangers drear, Knowing that naught could strike at him To whom the gods had promised victory. Attend! Once more I change his name! Harken! Riruts katit, it was We used to call him by, a name he won Long days ago, marking an act Well done by him, but now passed by. Harken! To-day all men shall say— Harken! His act has lifted him Where all his tribe behold a man Clothed with new fame, strong in new strength, Gained by his deeds, blessed by the gods. Harken! Shaku’ru Wa'rukste shall he be called. (ETH. TN EEE Page Alphabet used in record of Hako cere- MONY:: aoa Scaae ane e ees 16 Ash wood, use of, in Hako ceremony-___- 19 Atara, use of name, in Hako ceremony_- 44 Awakokshu, the holy place__--_-___-_-_.. 283 Bath, sweat, of Kurahus --._....-...------ 26 Birds, regard for, in Hako ceremony-_-_- 23 trea tment/Ole--pecse ene = see eee ee 55 Bird’s nest, symbolism of___..___._.-._--- 170 Blue, symbolism of, in Hako cere- MON Yenc cane = DO Oe AA: Bowl, wooden, symbolism of__-______- 44, 289, 350 TSO Of Bee Seta ae eae ee rk 20, 42 Buffalo, fat of, use of in Hako ceremony. 20 Hairior. symbolism! ofeses=see= see 22,47 UISClofastece sist ee ee ee 20 mselofropelofass =< 2- 52 2-- -=---<25 26 robe of, use of 26 symbolism of, in Hako ceremony-___- 80, 81 Chaui band of Pawnee tribe, obtaining of record of Hako ceremony from 13 Chief, sacred objects in Hako ceremony carried by Child, rite of anointing the rite of blessing the --..---_-----_-. rite of cleansing the, with water_ 216-218, 351 rite of painting the rite of placing the, in the nest______ 244,245 rite of putting the symbols on the _ 235-242 rite of seeking the 201-203, 345 rite of touching the 214-222, 348 thank offering for the symbolism of, in Hako ceremony -- Children, feeding of, by fathers selection and duties of Clay, colored, use of, in Hako ceremony 20 See Paint. Corn, ear of, function of, in Hako cere- WNONY ooo seem eens cose sans 46 journey to the sun by_____----_- 50-56 leadership of, assertion of _- 68-73 85-89, 299, 306, 307 leadership of, assumption of ___- 59 meaning of design painted on 44-46 painting of___.-.-..-.----.. 42-46, 289, 290 44 156 ------ 22,23, 44, 289 MISCO fe ees sash asee cen seetlecaeass 20 sacred feastio£--.2--..---------------- 161, 333 Corona Borealig.: <--=---=-=<:.-=--<2----= 234 Dakota Indians, information from, re- garding Hako ceremony among the Pawnees. -..----- 13 24 22 ETH—pT 2—04 227-234 | 246 | | Dreams, | Fat, symbolism of - Page | Dance, ceremonial Hako, before de- parture _-..-.- 183 _-- 253, 360 of thanks, diagram of positions | MMe es ac osacie see c= 2 eee 248 performance of__________ 247-256, 360 selection of dancers for -___- 58 Dancers in the Hako ceremony --.____- 247,249 Dawn, consideration of, in Hako cere- D1 Oy ee ee ee 58 Pawnee conception of_______ 124, 125,320,321 Day, child of Night and Tirawa-_-_-_---- 127 representation of, in Hako cere- | MONY S22 2226 shes oe esasesae- 21 symbolism of, in Hako ceremony-_- 42 Deer, fat of, use of, in Hako ceremony. 20 skin of, use of, in Hako ceremony _- 21 | Doctors, part taken by, in Hako cere- Se0O0 Vee = 19 Down, eagle, symbolism of -- -- 41,236, 247 relation of, to visions, in Pawnee philosophy 121, 122 Drums, ceremonial, of the Hako ______- 247 | Duck, heads, necks, and breasts of, use of, in Hako ceremony ------- 20 symbolism of 21, 40,175 Dwelling, treatment of, in Hako cere- TN OD 2 stra se ae ae ant 33, 34 Eagle, breast feather of, symbolism of. 22, 47 use of, in Hako ceremony-_----- 26,58 ee eee 20 symbolism of 20, 21, 42, 173, 194, 339 treatmentof, in Hako ceremony 29 down of, symbolism of 41, 236, 247 feathers of, use of, in Hakoceremony 20 golden. See Eagle, brown; Eagle, brown, identity of symbolism of, in Hako ceremony 40,99, 100 treatment of, in Hako ceremony --- 111-117 white, identity of 21 symbolism of wings of, use of, in Hako ceremony_ Earth, regard for, in Hako ceremony _- representation of treatment of___- 21, 192, 288 20 19, mse/Of: 22. 5- esse ote eee Father, articles furnished by, in Hako COLOMON Vee eae eee 20 ceremonial dress of --.....--..-.---- 58 lodge of, diagrams of, during rit- Wa lices 2 ese cei cas == -02 186, 49:59; 62 rituals of Hakoceremony taking place at ...-5:..-5-~-------2 19, 26-58 369 370 INDEX Page Father, preparation of, for the journey to; the|son = 22-2522 25-25 60 requirements and duties of _ -. 18,19, 23 Fathers, feeding of children by 105-117,313-317 Piftiof poniesito) s..se=225 saan 260, gifts to, by outsiders__...._..___.._- 147,827 selection and duties of -_-______ - 18,19 Feathered stem, blue, painting of - -39, 287 SYMMUDOMSMVO Lessee ee 42,99 brown-eagle. See Feathered stem, blue. decorationofssssesse ss eae 37-42 green, painting of ...----.--------- 39, 40, 288 symbolism of esee 42,99 preparation of sticks for____--.__--- 35 songs for laying down -----.----_--- 111-117 symbolismiofce s-ssteee ee sone ee 111 white-eagle. See Feathered stem, green. Feathered stems, construction and sym- Ibolismiofssnsee-see es 20, 21, 283-291 NAM ESIOL=ee aoe 8.2 eee ee eee 19,20 plates representing Bee; 40) reverence of many tribes for-__.-.. 21,279 transfer of, from tribe to tribe___ 20,21.361 Female force, invocation of-___---__-.-- 333-336, symbolsiofe: 2. tas seecte cases 42, 280, 288, 289 Fire, treatment of, in Hakoceremony-_ 34,35 Fireplace, treatment of, in Hako cere- 34 Fletcher, Alice C., paper on the Hako, a Pawnee ceremony, by__-_- 1-368 Four, symbolism of, in Hako ceremony - 68, | 93, 96, 187, 283, 315 Four times four, symbolism of ________- 298 Four times four circuits of the lodge_-- 187- 201, 340, 341 Gifts, bringing of, by children ____- 106, 117, 121 distribution and acknowledgment Of HAKO)-=2) tore = seesce acess 183 final, of fathers to childrens_______- 182 presentation of, to the fathers__ 253-256, 260 Grass, brush of, symbolism of -_-.-____- 220, 352 sweet, use of, in Hakoceremony-.- 20,26 Green, symbolism of -_-...---.-.------ 21, 40, 288 Hako, meaning and use of the name..-. 17,18 Pawnee ceremony of, paper by A.C. Fletcher on -_- presentation of, to the s supernatural origin of __-_.___.. 149,150,328 theimakineiolssecsss eee 27-48, 283-291 | Hako ceremony, antiquity and wide prevalence of_____.-_-.._.-.- 279,280 | arrangement of paper on ---.------- 16 diagram of the son’s lodge during-- 105 diagram showing movements of father’s party during -_-__-- 67 exchange of commodities through - 281 harmonious structure of _____- ™ 282 initial nites ofeosass—=—eseeee 27 48, 283-291 INGANIN POL aes oe ee AOD, Names Of=2.4_. 2. ee 17,18 origin of __ Be eee these) personnel ofS s-2- =e 18,19 preparation for oe eaiaees * 26-58 preparation of, scheme of ___.._____- 24 public ceremony of __.-----. 105-183, 318-839 se5 - 1-368 | n_. 256-260, 361,362 Page Hako ceremony, purpose of _____- 49, 50, 280, 287 rendition and explanation of, by the | ni ra iS eerene eee 26 | requisites of 420s eas ae 19-23 rhythmic expression in -_--..._-.--- 282, 283 sacred objects of, care of ___.______._ 100 vivification of __.....__.... 58,59, 295, 296 | scheme of -__-_- 24-25 secret rites of __ - 183-247, 339-359 symbolism of __ 0-23, 280, 281, 361, 362 23, 24 unvarying sequence of__-__-___.____ 282 work of, division of, among mem- é bers of Hako party~-..----.- 100 Holy place, treatment of, in Hako cere- MON =: apse see Sena 32, 38 Horsehair, use of, in Hako ceremony -- 21 Kawas, regard for, in Hako ceremony - 74,302 | See Eagle, brown; Feathered stem, | blue. Kurahus, articles furnished by, in Hako ICOTEMON Vine = eee ee 20 ceremony and dress of _____- 26,58, 59, 60, 296 duties of 19, 26 elfts to 2 ee ee 260 meaning of title |. 2252522 = ae 15 preparation for Hako ceremony by- 26 preparations of, for journey to the BOD ene ee enced nen eee 59, 60 Kusharu, a sacred place —----.__- =Ei3 284 La Flesche, Francis, aid rendered to " author of paper on the Hako ceremony by. =-2 ses - oe aaa 13 | Lodge, entrance way to, treatment of, in Hakoceremony__-_-_._.-_-- 36, 37 the father’s, diagrams of -__..-_.__- 59, 62 the son’s, consecration of -__--_____- 309-311 | diagram of, before taking the child ae See ee eee 210 | during the preparation of tholchild eee anes 214 during presentation of the Hailkosssee ye See poe 257 | treatment of, in Hakoceremony--_ 33,34 Male force, invocation of -__-._-__._---- B25 Symbolismiofio. = see eee eee 34, 285 Symbolsiofasnelese. = = eee 34, 42, 280, 288 Marquette, the feathered stem called a calumetibye eee 27 Moon, representation of, in Hako cere- MOD Yes sean eee sae ee 21,42 symbolism of, in Hako ceremony ~~ 42 Murie, James R.,aid rendered to author | of paper on the Hako cere- | MOMMY, Dy; =2— ose eee 14 | Name,changingone’s, Pawnee custom of 272,365 Titelofesoa. 2 sates eee ae ee 272-27. Nest, oriole’s, treatment of, in Hako | ceremony --.--.----- 20 | USO) Of oe ee oe zs 20 rite of making the_________ . 242-244, 357, 358 Symbolism ofesesse as = ee 34, 243-245, 358 treatment Of: . 22. fs. ese- acne 11 Night, representation of, in Hako cere- | MODYe eee S22 eee 21 symbolism of 2 North symbolism) Ofe aes sess aaa 42 ————— INDEX 371 Page | Page North star, treatment of, in Hako cere- Sons OUTRGy LO sss see eee eee 68-89, 301-308 MMOMY Es sa =e se eee ee 29 lodge of, consecration of_____ 97-100,310-313 Ointment, composition of, for anoint- entrance of Hako party into____ 93-96, ingetine Childi=-=2- oss. ae = 222 309, 310 sacred, used in Hako ceremony ---- 22,23 SONeSsisunpn see eee 80,81, 84, 85 Omaha Indians, influence of, among messenger of, clothing the _______ 89,91, 308 IPawmneesin = smear te 13 messengers sent by Hako party to_- 56, statement of, regarding Hako cere- 57, 294, 295 mony among the Pawnees_- 13 prefiguration of journey to______. 49- witnessing of Hako ceremony | reception of the message by the__- 294 RINON Sse ee ss 13 requirements and duties of________- 18,19 Oriole, nest of, use of, in Hako cere- sending of messengers to_......__._ 56-58 TM ONMY meee ee nee aoe ae Ne ae 20 | Owl, feathers of, use of, in Hako cere- TONY, See ee eo oe as 20 | 21, 40,176 Paint, blue, origin of - - 46 symbolism of __- & 233 use of, in Hako ceremony-_____- 37,42 | Ted. SymObDOlMsmilofss= seas = eee 228,353 | use of, in Hako ceremony ______- 26 Pawnee Indians, paper on the Hako ceremony observed among. _ 1-368 Phonetics. See Alphabet. | Pipe, use of, in Hako ceremony -______- 48 Pipestems, use of, in Hako ceremony. 19,20 Plum wood, use of, in Hako ceremony- 20 | Syambolismiof Soss-- Seee= =e oe yee 22,42 | Ponka Indians, report of, on Hako cere- mony among the Pawnees __ 13 Powers a bodel Ofc ess. seme ss een eee 29 | lesser, function of = Pawnee idea of -___.-.....__. 283,284,285 manner of descent of, to man __ 22 presentation of Hako party to__ 63-68, 297-299 diagram of movements made during fei === eaeeee eee 67 symbolic steps in recognition of 68,93, 299, 309 | Rabbit, hair of, use of, in Hako cere- 21 | Rain, conjuring---_- = 167 Rain shrine, pipe of, use of _______ - 101-104 priest of, duties of 19,48 | part played by, in Hako cere- MOTH Stee eae eee ---. 101-104 Raristesharu society —_- 234, 235 Rattles, gourd, plate representing -____ 46 Symiboligny ofS 2 sscceaese eee eee 22,47 Ray,thesun’sfirst,strengthening power Of i= 2 28 exc 3522 See aes Saas 58,134, 325 Red, symbolism of, in Hakoceremony~ 20,23,38 Robes, gift of, to the poor -_------------ 256 Shell, symbolism of, in Hako ceremony 37 use of, in Hako ceremony----------- 20 Skidi band of Pawnee tribe, peculiari- ties of Hako as made by ---- 47 Sky, representation of, in EF ako cere- MOY 28s an ese =e 20, 22 Smoke, offering of 48, 101-104, : 36, 858, 359 forlongevity, == 2228a-=-0-58 ane 168 Son, articles furnished by -------------- 20 choice of, in Hako ceremony ___-- 49-56, 292 Glotbin Pole - =. ose = Reet 101 duties of, in Hako ceremony ---- 81 27 | village of, arrival of Hako party at. 87,308 entrance of Hako party into__ 92,93,308 Song acknowledging that Tirawa an- swers prayer -.----.----- 196, 197, 343 asking the way of the ear of corn. 70,300 at the crossing of streams -______ 75, 303, 304 enjoining the Hako party to follow tThejeamon corneas sass 68, 300 extra, acknowledging the gift of a POM Yess seas aoe oe See 146 invoking the earth to plenty eases oe eo eee of the abode of visions -___- 3 of the consecrated ear of corn. - 159, 160, 333 of a talismanic ear of corn___--- 157, 382 Hakovdance; of gitts= ses -5 = eee eae | DD. ofithanks |<) ss ere eae 254 incidental, to avert a threatening BLOT we eee nce ae 266 in praise of lesser powers -__--___--- 108, 163, 199, 314, 334, 344 invoking visions== 2225. 2--2 223-2. 118, 319, 320 invoking the visions of the ancients- 178, 179, 338 of anointing the child___________ 223,224,353 of appeal of the son to the powers__ 101,312 of approaching the son’s village under the leadership of the earioficoMM= sno. Hate e = 86, 807 of blessing the child _______ . 257,361 of blue paint for the feathered stem_ 37, 38, 200, 288, 345 of carrying the child____________ 212,213,350 of cleansing and strengthening the child with water __.......... 215,351 of coaxing the child_---._--.-..-.... 211,349 OLiGai wie = 2 2s ae 123, 124, 322 ofidayleht 225. -- = ssa = = 5 ee eee 131, 824 of dreams of Hako coming from the east. c saa seen a2 149, 329, 330 of tindine: theison)=--— a 50,51, 293, 294 of gratitude for Hakoin the sixteen circuits of the lodge_________ 195, 343 of gratitude in the sixteen circuits Of thelodge =e nsbn- = sana ae 189 of gratitude of the children for of green paint for the feathered stem ...--.-.--.--. 39,200,201, 289, 345 of greeting to the son _____.__ 90,204,308, 347 of greeting to theson’s messengers. 90,308 of making the nest ___--..._...-_.... 242,358 372 INDEX Page | Song of painting the ear of corn________ 43,205 of painting thechild with blue paint_ 231,355 of painting the child with red paint_ 227,354 | of praise to Tirawa before feeding the children. 107,162,199, 314, 334, 344 of putting eagle down on the child_ 235, 236, 356, of seeking the child -__._..___.__.... 202,346 of seeking the son's lodge____ 92, 203,309,346 of sending the messengers ________- 56, 295 ofthanks tor Hakoiess sss seneee = liz of the arrival at the son’s village___ 88,307 of the ascent of the ear of corn. ___- 43, 205, 201, 347, 348 of thejbird’smestmess:---ses.-oseee = 169 of the brown eagle covering her VOUNP <2 Sooo eieense se cee 116,317 of the brown eagle entering the son’s lodge------.--. pee 98,311 of the brown eagle flyingto her nest_ 114,317 of the brown eagle in the sixteen circuits of the lodge____. 193, 342, 343 of the call to the children_______ 249,250,359 of the child in the nest ---- of the child taking the symbolic steps\=---=- 4S 212, 350 of the coming of the children __ 251,252,360 of heiduck’* 245.225 a oe se li4 of the eagle hovering over the nest_ 1H, 112,316 of the eaglets crying to the mother bird! oe eee 113,316 of the ear of corn asserting au- thority 5 --0c20-s 2 see eee 71,301 of the ear of corn entering the son’s lodges aon. Sose ene eee 94,310 of the ear of corn resuming leader- Ships. re et 60, 61, 297 of the Hocking Ofjbirds:2) 22.225 184, 340 of the gathering of the children ____ 250,360 Of theOwles ese ease See 175,176 of the promise of bufalo Sas 80, 305 of the smoke offering of the son_ 103,312,313 ofthe son’slodgess----- a eee 90,309 of the vision of Hako ---- 147,329 of the white eagle in the sixteen circuits of the lodge________. 191,342 of the woodpecker and the turkey - 172 of the’ wren. -= 2 <--- S23 ose ee 171 of touching the child with the brush Of gerass': 2x2 22- so o2-5 Soest oe eee 77, 304 to Tirawa before setting out __.__ 63, 64,298 to trees and streams -_-__--_......-- 73, 303 Songs, incidental, on changing a man’s mame! ee ---- 272,273, 366-368 to quiet the child____________ 261-263, 363 South, symbolism of, in Hako cere- MODY pas ets ee ee 42 Spirit, Pawnee belief concerning. ______ 52 Pawnee conception of_____-______- J 290 | Steps, four symbolic __..__..____ ____..- B49 Sun, representation of, in Hako cere- MODY! =o ono eee ene ee 21,42 symbolism of, in Hako ceremony ~- 42 treatment of, in Hako ceremony __- 30 Sweat lodge, use of, in Hako ceremony- 26 Tahirussawichi, Hako ceremony as given and explained by -__-- 26-278 sketchiof? 222 2 ee eee 14,15 Mira wa, abode ol s-= sees eee 28 belief in answer to prayer by ----_- 198 fathor of,alll—.2---"- 22222 - ease se en 162, 284 mediation between man and._______ i Pawnee ideas concerning -__________ 107,109 Symbol oft .--©.0e5 = ee 233, 354 diagram of the _- 233, tracing of image of . 67,68 Tobacco, offering of, to the powe ~ 102-104 use of, in Hako ceremony.- ---------- 56-58 Toharu, the living covering of the ORTH st = Seen eee cee 220 Tracy, Edwin S., transcription of Hako MUSICIDYHs2ce seo ae 15,16 Vegetation, treatment of, in Hakocere- MONY-- oe ee 31 Visions, abode of __- — 155,156, 331 invocation of 2, 317-320, 337 Pawnee beliefs concerning - - 119,318 Water, running, use of, in ERIE cere- MODY 2555 ee 39,42, 44 SYID DOLISM Of ao- eee ee 250 treatment of, in Hako ceremony __- 32, 74,77, 302 Whistle, making of, of eagle’s wing [DONG int 2s ee oe 185, 193 use of, to imitate eagle’s scream ._.. 183,339 Wild-cat, skin of, plate representing __- 48 symbolism of, in Hako cere- MON Yee eons soe ea Pee ee 47,48 use of, in Hako ceremony --.---- 23 symbolism of,in Hako ceremony... 23,111 Wind, regard for, in Hako ceremony -- 59 treatment Of 2-2 2asse es seen eee 29,30 Woodpecker, head of, used in Hako COLSOMOM y= a= ees 20 Sym bolismiofe ss] sae eee eae - 21,40,173 Wren sym bolismiof a: so=-e=— eee eene 172 Vis he Fan ST MC TY VE dh | UID SUR ed AG Lea i Diy ih noe ‘ wer pete, i ian (aaa ; men mr i aT? ide Aaeic Ue aia sy ae een, ies bi i : hee - va : ’ *. y - Brae ie oy, wit PRN tay toa See ee in ie) a a 7 Ti ys > by ; ia i Mi my i ’ te ie he ie , a is) Mm ie Wy ine aa i" - i A ROL Gr Ac. oh 7 Bieri ay ee Fe | " é ae P i A ae Ae rn eee.) 4 7 ab * vey . penints i fer Hives i 7 7 mat: on ‘a BD : ve DS a i rel an ii, * ‘ to cae oe ie ones i -) 1 ao an nv i ‘ i; al r aoa , ¥ Py te a yey a ee NW ni Mh nal aa. ean Pins vu “ i) My o) | 2 ae a) ae len ie eo ns — ‘a vant 1 ee nie ee ae "1 mm nee aay - a my _° a fa i Py - ‘ iy mn |. , tae i Arana ; i, my tein . : 7 aA way ™) on inal n hin ; - my mh i ' p,!, mri ATS yu we ahaa ne NAY ae os Be Ks a 2 ol i ") Vee as a a ’ Hii ‘ a Wa ay eee a rw ny i nips a i i As i ih: ity a =) oe A ( ny Waal mat a, ; ai E fi ma?) cae , ; aM 7 Vast ye ui i : i i 1: LED, Of Bah ily La ie aL are , 7 7 son ce .. a yy Hn. AMS bY DP Bei a Mik , ae ony us a Me i " : 7 ‘i iy ti, J 1 ey Any ; y 7 ie a a a i: eae wn io MM Ys, Fi Aa hia ia nda, Geto aan eet if oat i 7G mM i te Wh : _ ia ph Ua nt oe ruts i a Pi Wii iN Wy . i lf Dex, Ny errieny a f a 7 Wy Mi Lae: an 4 Paes a Ty cee nih (a Cae ne ih - Hh ae "i if 1! UY We Tilley es, nay ie in a ci o . 4 as . val iy ave v" 4 yy! 1 acs .* § yy a a sd Bh ae an " i oy ee 1 ue wey en * uy wal rd hs Wi A hy ‘ bah ; a 7 i nt ie ae ie 5 he . ‘4 it 7 eb! ie Ae fi: Ny J ore iG a hig Bie i HOM ed Fauiyy mi ane mn stl mat ein a a Bes ee a u ee a ee whet a nen ey oh i ae Uf ne "h | hi Leni Ni Wy 7 wh SR Weg) Go Uk ek OU i ey ae ks ro pay Why ei a ” a ' hd ae ve oe er, ee I a a MA i, a (i ee i 7 A ae a oe ae Che yan a : yn DeWiy) a a” oe ae ate i © ete . ‘Paik Oe -. Ly Se ik No 1 VAR Oe ae | ia Vie i, 2) oh VD } ni) near : oat nee no : tas i)! a a Ae Big a i ‘iN : aa 45 ar ip a ae) i an yo Py ‘iy i ‘ Lo 7 a ia ee aa ; APY lo? | in i" ho oe? mee ot) a ry lt th a Sr . Ni: it ty ee rn Pa aa ame 1) 4 an ap } / y ila 7 H Rice iH) Mu iv im Be a ik yy ie ay Bi PO i a ek ut ; yy) ) i ae 7 Hi a Dee Ne Bh he | ry LY Loa ae a a ae fh ee iD fi a ue ‘ ae iy cm vibe ts = any ae ; %, i" DuNT ee if \ Pi ih if t i i 1) : Th any. ne iy a, 7 N y mi’ fig 1 ae i Me ie a ‘i 4A ue ty yi Ry er) of at . : if hi y 4 ae we ee i 7 “ R a) Jee ah Mes hii te ie ba WAN) gO a hd Ne wy Cr rh iia . «| ta a a OT ier My," a iy A Nias : vn 4 ai ee ti Af ee a) bea iy un a ie as yt ME hae Be i , bate: Wh ae ohh i) Ah hs 4 me i a At EAI iy ie oo Ni oa i hue pee | he ; wt wa ar rae 7 ie i es ‘ i a wii aT Ws i Pe "I Ore as | any) rs a a r ie We ue i 6 ay Bra } ay ph wv te Orne, on a “i A ' De ie Vn ball ; my tan ih RT a A i ee | YW i, i a el ha ior io , 9 San hs a > oe ny By i hi yi) be Ment a t BAN, i: ime ip ary he 4 ae Sul i a Wit. y! iy! ve ea Pal 1 ee ke Ean, ils) ane a \ ae ony nd LY, bis j ja ay hy gil he i Ae PG a tf led ; me} hy ai hae’ on int: sige oe am ip Slip ile Ts ih Lan on ee aa Mua aa TP a) > rad iain ne : - eee as) te badd Aad is = ‘ bes ae ¢ 7 hn Peter é a ; an, re aia 4 aY fw - ‘ E re, * tig re. Wate - ° e : 3) ove .. i i rae NS Wt \ iT sh 7) Banvene it wi WAT mae i ny aN a “INI 9088 01453 2063