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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

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, <e2y, eS eee eee ele tt ean ea aR ey ae
Part I. Vivifying the sacred objects_____-__-
Part II. Mother Corn assumes leadership —_____- a5
Part Il]. The Hako party presented to the powers _-_____.
Second division. The journey
Es teil GUS eee ee ae poe anne ee ee es Fe eens
Part I. Mother Corn asserts authority ___-----------------
Part II. Songs and ceremonies of the way ----_--_ __-
Part III. Mother Corn reasserts leadership __-.--__. _-
Third division. Entering the village of the Son and consecrating
TES. Cl 2G eee ee ee ene ee ee eee ee .
Sbqrlavbahnsr Ml. Soe ee ase Sumit ae pee es
Part I. The Son’s messenger received gn eons 3
Part II. The Hako party enter the village
SOvVenuheni hu alt see neem oes eee Se ee Ce
Part I. Touching and crossing the threshold __-__________-
Partita Consecrabing the lodges. 2-2). 22a ene
Part III. Clothing the Son and offering smoke __________-
WN) GORENONNY = = bees geo Boa eS Se
First division. The public ceremony- ee tea sore
Eighth ritual (first day). The ethers Peed the Giaideent Lee
Ninth ritual (first night). Invoking the visions _.-____-_____-
Gieraqlihrenibell, ANee VIDE att 2 2 ee ee = eee Bee eee
Teena I, AMA orb eiose IDEM aN See ee ar
Part II. The Morning Star and the new-born Dawn___----

92
93
93
97
101
105
105
105
117
123
123
128

8 CONTENTS

The Hako—continued.
The ceremony—continued.
First division—continued.
Tenth ritual—continued.
PartplligDaylight=saeeteres 2a. meen eee see. 4 ee
Part IV. The Children behold the day_---_-.-------------
Eleventh ritual (second day). The male element invoked____-
Part I. Chant to the Sun-
iPartells Day.sOng Ge eee eee Ae a) eee ee ee
Twelfth ritual (second night). The Hie came he @ vision. --
Thirteenth ritual (third day). The female element invoked -
Part I. The sacred feast of Corn
Part II. Song to the Earth
Part Ill. Offering of smoke __-
ParteliVes Songs Ol Desai Cd Spe ee eee ees een eee er ae
Fourteenth ritual (third night). Invoking the visions of the
ancients: ssee os ee
Second division. The secret ceremonies -
Fifteenth ritual (fourth night) -
Part I. The flocking of the birds -_-___-
Part II. The sixteen circuits of the lodge ~
Sixteenth ritual (fifth day, dawn)
Part I. Seeking the child _-
Part II. Symbolic inception~ _-
Part III. Action symbolizing life
Seventeenth ritual ______-
Part I. Touching the c hild
Part II. Anointing the child
Part III. Painting the child____
Part IV. Putting on the symbols
Eighteenth ritual. Fulfilment prefigured
Part I. Making the nest ___-
Part Il. Symbolic fulfilment
Part III. Thank offering __-
Third division. The dance of thanks
INineteenthinmituallss== 25 3222 ae
Part I. The call to the Children ____
Part II. The dance and reception of gifts
Fourth division. The presentation of the Hako
Twentieth ritual.
Part I. Blessing the ‘child. Pee ee LEP RSS See
Part II. Presenting the Hako to the Son and thanks to the
Children
Incidental ceremonies _-
Comforting the child__-
Prayer to avert storms -__-
Prayer for the gift of children
Changing a man’s name _
Analytical recapitulation _ -
Origin and geographic distribution of the c ceremony
Purpose of the ceremony ~~ t =
Structure of the ceremony --_____- : mere See
Rhythmic expression in the ceremony a

Page

CONTENTS

Analytical recapitulation—continued.
The preparation ___....._..._.-
First division. Initial rites _-_._____
First ritual. Making the Hako :
Part I. Invoking the powers. :
Part II. Preparing the feather ed stems ____

Part LT. Painting the ear of corn and preparing the other

sacred objects _- one
Second ritual. Prefiguring the journey ia ‘any Son
Third ritual. Sending the messengers
Fourth ritual - Ss ee wee

Part I. Vivifying the sacred objects -

Part II. Mother Corn assumes leadership eee ee

Part II. The Hako party presented to the powers

Second division. The journey -
Widtherituale cee aa ae ee ee ee

Part I. Mother Corn asserts authority

Part II. Songs and ceremonies of the way-

Part II. Mother Corn reasserts leadership

Third division. Entering the village of the Son and consecrating
MIshlod Sere en eee ae
SISCU DRG Le] eee ee

Part I. The Son’s messenger received.

Part II. The Hako party enter the village
NOVEM UHI GOAL sess oss eee ee ee

Part I. Touching and crossing the threshold.

Part II. Consecrating the lodge.________-

Part III. Clothing the Son and offering saneihe

The ceremony - SE ere ee ea
First division, The public ceremony._.____.____.
Eighth ritual (first day). The Fathers feed the Children
Ninth ritual (first night). Invoking the visions
Tenth ritual—The Dawn _________

Part I. The birth of Dawn _- Se

Part II. The Morning Star and the new-born Dawn

iPtawnh MNL, Dy yebteleye | Be

Part IV. The Children behold the day 2
Eleventh ritual (second day). The male element pecneed

Part I. Chant to the Sun ____-

Part II. Day songs. . S
Twelfth ritual (second night). The rites came by a vision -
Thirteenth ritual (third day). The female element invoked

Part I. Sacred feast of Corn

Part II. Song to the Earth -

Part III. Offering of smoke __

Part IV. Songs of the birds _____ ie SS
Fourteenth ritual (third night). Invoking the visions of the

BUCIONGG eee a ee ee Re
Second division. The secret ceremonies
Fifteenth ritual (fourth night)_____
Part I. The flocking of birds -
Part II. The sixteen circuits of the lodge _

Page
288
288
283
283
287

289
292
294
295
295
296
297
299
299
299
301
306

308
308
308
808
809
309
310
312
313
3138
313
317

10 CONTENTS

Analytical recapitulation—continued.
The ceremony—continued.
Second division—continued.

Sixteenth ritual (fifth day, dawn)
Part I. Seeking the child
Part II. Symbolic inception -
Part III. Action symbolizing ite

Seventeenth ritual - el ES. ee in a rae
Part 1. Toue hing. ihe child! pes
Part II. Anointing the child. Leeks
Part III. Painting the a

Highteenth real Fulfilment pr Saee :
Partil. Makine themest:=-2----=- == =_-
Part II. Symbolic fulfilment _______-
Part Ill. Thank offering _______-
Third division. The dance of thanks___-
Nineteentheniiial === ans eee
Part I. The call to the Children ______._. :
Part II. The dance and reception ‘of gittseeee.
Fourth division. The presentation of the Hako
Twentieth ritual____________-_-
Part I. Blessing the child -

Incidental tia See eee
Comforting the child____--
Prayer to avert storms -_____-
Prayer for the gift of Children
Changing a man’s name __-
Ind ex®2 2. - Sees eels oes a Eee a

Part IJ. Presenting the Hake to the Son and thanks to ine
Childrens) cs ts oe eee ee oe ee

www w
2 2 Ct tO

or cr Ot Or Ot or

Oo wm

wa)

ot or

for)

pw Ww cw CD ww
SS

ee
eae

PuLatTE LXXXIII. James R. Murie_
LXXXIV. The Ku'rahus in ceremonial dress (front view)
LXXXY. The Ku'rahus in ceremonial dress (profile view)
LXXXVI. ‘* Kawas,”’ the brown feathered stem (female) __-
LXXXVII. The white feathered stem (male)
LXXXVIII. ‘* Mother Corn”

ILLUSTRATIONS

TXGXeXN he rattlesiso22 --=22 52-252 =

Figure 171.

. Diagram of the Father’s lodge during the second ritual
. Diagram of the Father’s lodge during the singing of the first

. Diagram of the Son’s lodge during the presentation of the

XC. The wildcat skin and crotched stick __

stanza of the song of the fourth ritual, part 11

. Diagram of the Father's lodge during the singing of the sec-

ond stanza of the song of the fourth ritual, part 1___._. __-

5. Diagram showing the movements of the principal members of

the Father’s party during the presentation to the powers -

. Diagram of the Son’s lodge at the beginning of the public cere-

1 OL. eee eee er ee ne we omens eae Se Ee

. Diagram of the Son’s lodge during the sixteenth ritual, part 111_
3. Diagram of the Son's lodge during the seventeenth ritual, part 1-
. The symbol of Tira’ wa
. Diagram showing the positions of the participants in the dance

Ofgbhank.s ee eee een en ee

Lak Opera ee ene eine ee ee, a be oe

; 7
7 noe TH)
re

THE HAKO: A PAWNEE CEREMONY

By ALICE C. FLETCHER

PREFACE

In the early eighties of the last century, while pursuing my study
of the Omaha tribe, I several times witnessed the ceremony described
in the following pages. Owing to the death of the only man who knew
all the rituals, it became impossible to secure a complete record, but
as the ceremony was an intertribalone I hoped to make good the loss
in some other tribe. From statements made by the Omahas, the
Ponkas, andthe Dakotas Iwas led to believe that among the Pawnees
this ceremony could be found still preserved in its entirety. I need
not recount the failure of efforts made during some fifteen years to gain
the desired information, since at last, in 1898, T found the long-sought
opportunity. Afterfour years of work, I am able to present the entire
ceremony, as observed in the Chaui band of the Pawnee tribe.

The difficulty of obtaining accurate first-hand information in
regard to religious rites and beliefs is so well known that it seems
proper to state briefly how I came by my opportunities. An extended
and intimate acquaintance in one tribe opens the way in another. The
warm friendship of old and leading men of the Omahas became my
credentials to other tribes where these leaders were influential; and
with the further assistance of Mr Francis LaFlesche, the son of the
former head chief of the Omahas, I was able to establish relations of
confidence with some of the old and prominent men of the Pawnees.

My experience has shown that no linguistic training will enable a
student by himself to accomplish successfully the difficult task of
recording and interpreting the rituals of areligious ceremony. [emust
have a native collaborator, one with a good knowledge of English and
well versed in the intricacies of his own tongue, able to explain its
‘sacred language ” and possessing those gifts of mind and character
which fit him not only to grasp the ideals of his race but to commend
himself to the keepers of the ancient rites. Such a collaborator makes
a clear vision of the native mind possible to a student of another race.

14 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

My collaborator in the present work has been Mr James R Maurie,
an educated Pawnee whom I have known since he was a school-
boy, twenty yearsago. Mr Murie has taken up the task of preserving
the ancient lore of his people, and he has not spared himself in his
labor. Tlow difficult his undertaking has been, and still is, can only
be appreciated by those who have attempted to accomplish a similar
work. Tis patience, tact, and unfailing courtesy and kindness have
soothed the prejudice and allayed the fears of the old men who hold
fast to the faith of their fathers and are the repositories of all that
remains of the ancient rites of the tribe.

Tahirtissawichi, a full-blood Pawnee, who is the authority for the
text and explanation of the ceremony which forms the subject of this
paper, officially accompanied the Hako when it was carried by his
people to the Omahas. Tle thus became acquainted with the leading
men of that tribe, who were my friends, and this circumstance has
favored the successful prosecution of this work. During the fall of
1898 and again in 1900 he and Mr Murie were my guests in Wash-
ington; then, and also during my visits to the Pawnees in 1899 and
1901, we were engaged upon the rituals of this ceremony. <A final
review of the manuscript was made with Mr Murie inthe spring of 1902.

Tahirtssawichi is a member of the Chaui band of the Pawnee tribe
and about 70 years of age. He is tall and well made, and preserves
much of the vigor of his earlier days. He is mentally alert, quick to
observe, possessed of a tenacious memory, and gifted with a genial
nature. Ile enjoys a joke and is always ready with good-fellowship,
but he never forgets the dignity of his calling, or fails to observe the
conduct befitting his position as the guardian of sacred rites.
Although he is childlike and trusting, he has a keen discernment of
character and a shrewd common-sense way of looking at men and
things. While he is not indifferent to the great changes which have
overtaken his people, new conditions have failed to disturb in any
way the convictions of his early religious training.

He has struggled to avoid living ina house, and has held to an earth
lodge until it has dropped to pieces about him. He said:¢ ‘IT can not
live ina white man’s house of any kind. The sacred articles com-
mitted to my care must be kept in an earth lodge, and in order that
IT may fulfill my duties toward them and my people, I must live there
also, so that as I sit I ean stretch out my hand and lay it on Mother
Earth.” Last fall (1901) IT saw how he had propped up a part of the
ruins of his lodge so that he might still keep the sacred objects in a
primitive dwelling.

When he was in Washington in 1898 he was taken to the Capitol
and the Library of Congress. While the vastness and beauty of these
structures gave him pleasure, they did not appeal to him, for such

aSee A Pawnee Ritual Used When Changing a Man’s Name, American Anthropologist, n. s.,
vy. 1, January, 1899.

BUREAU OF AMERICAN ETHNOLOGY TWENTY o NN RT

JAMES R. MURIE

FLETCHER] HOW THE RECORD WAS OBTAINED 15

buildings he said were unfitted to contain the sacred symbols of the
religion of his ancestors, in the service of which he had spent his
long life. He admired at a distance the Washington Monument, and
when he visited it he measured the base, pacing and counting his
steps. Then he stood close to the white shaft and looked up, noting
its great height. After going inside, he was asked which he would
take, the elevator or the stairs, and replied: ‘‘I will not go up. The
white man likes to pile up stones, and he may go to the top of them;
IT will not. I have ascended the mountains made by Tira’wa.”
Equally characteristic was his interview with the Commissioner of
Indian Affairs. When introduced, he said: ‘Slam glad to see you
and to take you by the hand. Many chiefs of my tribe have done so.
I never expected to do it. I came here to talk of the religion of my
fathers, which I follow. You can ask my sister (referring to me)
what I have said.”

Tahirtssawichi had never been east of the Mississippi river until
he came to Washington to engage in the preservation of this rite.
Of the genuineness of his statements there can be no doubt. His
position in the Pawnee tribe is that of a man worthy of respect—one
versed in a knowledge of serious things, whose life has been devoted
to the acquisition and maintenance of certain sacred rites. He is
esteemed as a man of truth—one who has the favor of Tira’wa. He
possesses a knowledge of curative roots, and often attends the sick,
using herbs as medicine. He is the keeper of certain old and sacred
objects, and leads in their attendant ceremonies. His great care in
observing all the details of the intricate ceremony of the Hako is well
known in the tribe, and much good fortune is believed to follow his
leadership in this ceremony. Tis title is Kurahus. This term is
applied to a man of years who has been instructed in the meaning
and use of sacred objects as well as their ceremonies. ‘The word is
sometimes employed as a synonym for a venerable man, one who
commands respect, but throughout this paper it is used in its official
sense—the leader of the ceremony.

It has taken four years of close friendly relations with my kind old
friend to obtain this ceremony in its entirety. Many of its rituals
deal with very sacred subjects, and it has required much patience
in the presentation of reasons why they should be explained to over-
come the scruples born of the early training of the Ku'rahus. That
he has finally made this record complete, so that the ceremony as
known among his people can be preserved, is worthy of commenda-
tion. His work as it now stands shows Tahirtssawichi to be broad-
minded as well as thoughtful, reverent, and sincere.

Graphophone records were taken of all the songs belonging to this
ceremony. The music as here printed has been transcribed from the
eylinders by Mr Edwin 8. Tracy and each transcription has been
verified by him from the singing of the Ku’rahus. It is to be regretted

16 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

that the exactions of Mr Tracy’s professional work in the field of musie
make it impossible for him to prepare an essay upon the character of
these songs and the light they throw upon the evolution of musical
expression. His familiarity with native songs, growing out of several
years of first-hand research, would render him peculiarly fitted to
speak concerning them.

The songs are commended to the general student of music and
particularly to the young composers of our country as offering native
themes worthy of musical treatment.

In arranging the material for this paper it has seemed best to group
it into two parts. The first contains such introductory explanations
as are essential to the understanding of the ceremony, which is given
without comment in the words of the Ku’rahus, together with his inter-
pretation of the songs and accompanying rites. The second part
consists of an analysis of the ceremony and treats of its structure,
purpose, and teaching. The translations of the songs aim to convey
to the English reader something of their native spirit and meaning.

As the purpose of this record is not primarily linguistic, it has been
judged best not to observe the finer phonetic distinctions in recording
native words. The vowels have their continental values, as in are,
they, peque, go, rule; ow is used as in how; and t represents oo in
good. The consonants p, b, t, d, k, g (always hard), j, s, z, f, v, m,
l, r, w, y, h are used approximately as in English, but k and t have
been allowed to represent the semisonants (medial between k and g, t
and d) as well, and the r has a slight trill. Dh represents th in the,
h a guttural breathing (German ch, Spanish j) and hr a surd or
breathed r; th is used as in thorn, wh and ch as in which, x as in box,
sh as in shall; n indicates that the preceding vowel is nasalized; and
h at the end of a syllable indicates that the breath must be heard.
When a consonant is doubled if is heard twice or distinetly prolonged.
An accent mark is used to indicate stress where if Seems necessary.

INTRODUCTION

NAME OF THE CEREMONY

The ceremony is called Skari by the Ku’rahus and by all who have
been taught its rites and sacred songs. This word is from ska, hand,
ri, many, and refers not merely to the many hands required for the
preparation of the sacred articles used in the rites, but also to the
culminating ceremony of touching the little child with the hand, which
occurs on the morning of the fifth day (sixteenth and seventeenth
rituals).

A peculiar expression is used to characterize the consultation which
a man who desires to inaugurate this ceremony has with his kindred
in reference to their assistance in the undertaking. This consultation
is called ‘‘ touching them.” The Ku’rahus explained this expression
as being connected with the meaning of the word Skari, many hands,
in its double significance already noted.

Although the term Skari is said to be old, its descriptive char-
acter seems to be against its acceptance as the original name of the
ceremony.

Among the people at large of the Pawnee tribe the ceremony is
spoken of as Ruktaraiwarits. This composite word can be analyzed
as follows: ruk, from rukkis, wood, or a stick of wood; ta, from tita,
hung upon; ra, coming; iwaritts, shaking or waving. This descriptive
term refers to the two objeets peculiar to this ceremony, the two
feathered stems which are waved to the rhythm of the songs. The
Pawnees who receive those who bring the sacred articles call the cere-
mony Haktara. The word is composed of hak, from hakkow, trans-
lated below; ta, have; ra, coming: haktara, they who have the
breathing mouth of wood are coming. The Osages speak of it as
‘Bringing the drum,” and the Omahas as ‘‘ To sing with.”

Hako is a comprehensive term used to designate all the articles
which belong to the ceremony. The term is derived from the com-
posite word hakkowpirus, meaning drum. Hakkow is from akow,
mouth, with the aspirate prefix h, signifying breath, and the k added
to the first syllable represents the word rukkis, wood. Hakkow may
then be said to mean a breathing mouth of wood. Pirus means to
whip or beat.

Three customs among the Indians ean be traced in the composition
of this word: first, the peculiarity of pulsating the voice on a note
that is sustained over more than one count of the measure, by which

22 Era—pr 2—04——2 17

18 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

a beating effect is produced; second, the custom of waving the hand
to and from the mouth or beating the lips, so as to break a continu-
ous note or call into a series of sounds or beats; third, the making of
the drum from a section of a tree, hollowed out, with a skin stretched
over the open end. From this analysis of the word hakkowpirus we
discern that the pulsating voice and the beaten lips were the first
means employed to produce an effect which was afterward empha-
sized in an instrument, the drum (hakkowpirus, the breathing mouth
of wood), which was made to give forth a series of sounds by the
same device of whipping by the hand.

In Indian musie the rhythm of the drum always follows closely the
emotion expressed in the song; it is like a great pulsating voice.

In the term Hako the k of the first syllable in hakkow is dropped
for the sake of euphony, and for the same reason the rough sound ow
is changed to o. The word Hako carries the idea of the breath-
ing, vibrating tones from the wooden mouth. It is applied to all the
articles used in the ceremony, because, according to the explanations
of the Ku'rahus, ‘‘everything speaks; the eagle, Kawas, speaks;
the corn speaks; so we say Hako—the voice of all these things.”

In the preparation of the record of the different rites, rituals, and
songs of this ceremony it became necessary to adopt a convenient
term which should apply to the ceremony as a whole, including the
party inaugurating the ceremony, the rites, the rituals, and the arti-
cles used. The term ‘‘Hako” has been chosen as best fitted for the
purpose. Three considerations influenced the choice: first, the
fact that Hako is the native name by which the articles used in the
eeremony are spoken of collectively; second, the meaning of the term
Hako, as revealed by an analysis of the word and by the explana-
tion given by the Ku'rahus; third, the ease with which this word ean
be spoken and remembered by the English reader.

PERSONNEL OF THE CEREMONY

Two distinet groups of persons were essential to the performance of
this ceremony. These two groups could not belong to the same elan
or gens of a tribe, and they were often of different tribes. One group,
called the Fathers, was composed of the kindred of the man who had
taken the initiative in organizing a party for the performance of the
ceremony. This man was called the Father. His party comprised
from 20 to 100 persons, and represented the well-to-do class in the
tribe, the requisites for the ceremony being of such a character that
only skillful hunters and thrifty households could supply them. The
second group, called the Children, was made up of the relatives of the
man chosen by the Father to receive the visiting party of the Fathers.
The leader of this group of Children was called the Son. Each of
the two groups, as well as the leaders of each group, had peculiar

FLETCHER] PERSONNEL OF THE CEREMONY 19

duties throughout the ceremony. Each had a special place in the
lodge, and was the recipient of peculiar benefits supposed to be derived
from the ceremony.

The Father was usually a chief, or a man prominent in the tribe,
who not only had accumulated property, but had a large following of
relatives who could contribute to the store of articles required for
these rites. The tribal standing of the Son was always equal to that
of the Father.

The Father selected a man from among those who had been taught
the rites and ritual songs to take charge of the ceremony from begin-
ning to end. Such a man was called Ku’rahus, and to him the entire
party was required to yield obedience in every particular. The
Ku'rahus chose an assistant, and also took with him a third person,
a sort of acolyte, to whom he was teaching the rites.

If the Father was a chief, then he had to invite one other chief
to be of his party, to act as substitute whenever he was obliged to be
absent from his post of duty. If, however, the Father was not him-
self a chief, then it became necessary for him to secure the attend-
ance of two chiefs, cne to act as substitute for the other, as the
constant presence of a chief was required throughout the ceremony.

The priest who had charge of the shrine sacred to rain was also of
the Father’s party. It was his duty to furnish the pipe and conduct
the ceremony of offering smoke to Tira’wa. The Father’s party also
included two doctors, men who had received a knowledge of healing
plants, either directly through visions or by initiation into certain
rites by which this knowledge was communicated. Each was required
to bring an eagle’s wing, one the right wing and the other the left.
The wing of the eagle is the official mark of a doctor. The Father
must also secure a number of singers, whose duty it was to carry the
drum and act as a choir to accompany the Ku'rahus, who always led
the singing. The rest of the party of the Father was made up of his
kindred, with such of his friends as might desire to contribute to the
required food and gifts and thus to become entitled to share in the
return gifts made to the Fathers by the Children.

The preliminary ceremonies (the first three rituals) took place at
the lodge of the Father, and from it the party of the Fathers started
on its journey.

REQUISITES OF THE CEREMONY AND THEIR SYMBOLISM

The objects peculiar to this ceremony were two feathered stems
about a meter in length, made of ash wood. They were rounded and
smoothed, and the pith was burned out to leave an opening for the
breath to pass, as through a pipestem. One of these stems was
named Raha’katittu, from ra, the, this one; ha=hak, a part of the
word hakkow, breathing mouth of wood, the k being dropped for
euphony (see translation of hawkowpirus, drum, page 17); katit, dark,

20 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22

brown, or black; tu=ruru, moving, the change of the r to t being for
euphony. The translation of the whole word would be, the breath-
ing mouth of wood with the dark moving feathers. The other stem
was named Rahak'takaru, from ra, the, this one; hak, from hakkow,
breathing mouth of wood; taka, white; ru, from ruru, moving or
swaying. The translation of the whole word would be, the breath-
ing mouth of wood with the white moving or waving feathers.

Associated with these two feathered stems, and sharing with them
the prominent place in the rites, was an ear of white corn. In addi-
tion there were required two small, round, straight sticks from the
plum tree; a crotched stick, also of the plum tree; feathers from the
tail of an owl and from the wings and tail of an eagle; two entire wings
of an eagle; the heads of two woodpeckers; the head, neck, and breast
of two dueks; a wildeat skin; a shell; two wooden bowls; a braid of
buffalo hair; a braid of sweet grass; blue, green, and red clay; fat
from a deer or buffalo, the animal having been consecrated; the
nest of an oriole.

The clays, the fat, and the oriole’s nest were furnished by the
Ku’rahus. The nest was kept in secret and not allowed to be seen.
All the articles except those furnished by the Ku’rahus were provided
by the Father. Besides these he had to secure robes, ornamented
garments, and regalia for the ceremonial clothing of the Son, his mes-
senger, and his little child; also gifts to be bestowed on the entire party
of the Children. He was assisted by contributions from the relatives
and friends who had agreed to share with him the responsibilities and
the rewards attending this ceremony. Food for the entertainment of
the Children as well as for the maintenance of the Fathers during
their absence from home had also to be provided.

It was the duty of the Son, the leader of the group called the Chil-
dren, to provide a spacious lodge wherein the ceremony could take
place, and also a proper camping site for all who accompanied the
Fathers. He had also to secure the requisite return gifts to be made
to the Fathers.

Each of the articles used in the ceremony had a general symbolism
well known to the people, but their special significance was peculiar
to these rites.

The feathered stem Raha katittu (plate LXX XVI, page 38) was painted
blue to symbolize the sky, the abode of Tira’wahut, the circle of the
lesser powers. <A long straight groove running its length was painted
red, the symbol of life. The red groove was the path along which
the spirits of the various birds traveled on their way to bring help.

Three split feathers from an eagle’s wing were fastened to the stem
as to an arrow, to give sure flight to the symbol-freighted stem. On
it was tied the fan-shaped pendant of ten feathers from the mature
brown or golden eagle. This eagle was called Kawas in the Hako
ceremony. It represented the mother and led in certain of the rites.
It is this feathered stem that was carried by the Ku'rahus. This eagle

FLETCHER] THE FEATHERED STEMS 21

is consecrated to the powers; it soars near their abode and is a medium
of communication between them and man.

The woodpecker’s head was fastened near the mouthpiece end of the
feathered stem, the upper mandible turned back over the red crest
and painted blue. Thistreatment of the upper mandible had a double
significance. The red crest, which rises when the bird is angry, was
here held down; it must not rise. The blue paint represented the
clear, cloudless sky. The woodpecker has the favor of the storm gods
and can avert from man the disaster of tempest and of lightning.
The owl feathers were tied near the middle of the feathered stem.
This bird has power to help and protect during the night. Soft blue
feathers were fastened around the mouthpiece end. These blue
feathers symbolized the clear sky, and it is this end which was always
upward toward the abode of the powers.

The other end of the stem was thrust through the breast, neck, and
mandibles of the duck. It was by this end that the feathered stem
was held. The duck is familiar with the pathless air and water and
is also at home on the land, knowing its streams and springs. It is
the unerring guide.

The red and white streamers represented the sun and the moon,
day and night. These were made of red cloth and dyed horsehair and
white cotton cord, but it is said that formerly soft deerskin strips
' painted red and twisted hair from the white rabbit were used.

The other feathered stem, Rahak’takaru (plate LXXXVII, page 40),
differed from the first feathered stem already described in two par-
ticulars, namely, it was painted green, to symbolize the earth, and
the fan-shaped pendant was made of seven tail feathers from the
white eagle (the young brown or golden eagle; see page 288). This
eagle was not consecrated. It represented the male, the father, the
warrior, and the defender. This feathered stem was carried by the
Ku'rahus’s assistant, and it was never allowed to be next to the Chil-
dren; its place was always on the outside. There, it was explained,
it could do no harm, could rouse no contention, but would serve to
protect and defend.

I have many times remarked the reverence felt toward the feathered
stems. Their sacred character seemed always to be remembered and
they were never handled carelessly. During the entire time that I
was engaged with Tahirtssawichi on this ceremony he never allowed
the feathered stems to be placed on the floor or laid on a chair; they
were always carefully deposited on the wildeat skin with a decorum
that was not once abated. I have seen manifested among the tribes
not only reverence toward these sacred symbols, but an affeetion that
was not displayed toward any other objects. Few persons ever spoke
to me of them without a brightening of the eyes. ‘‘They make us
happy,” Was a common saying.

They were preserved intact and passed from tribe to tribe as long
as they held together, and they were sometimes freshened and

22 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

repaired. This transfer of the feathered stems from tribe to tribe
tended to preserve the model unchanged. Sometimes the Son did not
care to part with the feathered stems left with him, so when he inaug-
urated a party and was to be the Father he had a new set made. It
was a matter of pride with some not to use again feathered stems
that had once seen service.

The ear of white corn (piate LXXXvUI, page 44), called Atira,
Mother,” represented the fruitfulness of the earth. The tip end was
painted blue to represent the dome of the sky, the dwelling place of the
powers, and four blue equidistant lines, running halfway down the
ear, were the four paths along which the powers descended to minister
to man.

The two straight sticks cut from the plum tree were bound to the
ear of corn by a braid of buffalo hair. One stick projected above the
tip of the ear about a hand’s breadth, and the other extended about
the same length below the butt; the lower end of this stick was pointed
so that it could be thrust into the ground to hold the ear of corn in
an upright position. To the other stick was tied a white, downy eagle
feather. This feather had a double significance: It represented the
high, white clouds that float near the dome of the sky where the powers
dwell, thus indicating their presence with the corn. It also stood for
the tassel of the cornstalk. The feather here refers to the male prin-
ciple, the corn to the female. The plum-tree wood was chosen for the
sticks because the tree is prolific of fruit. It symbolized a prayer for
abundance.

The braid of buffalo hair represented the animal which supplied
food and clothing for the people.

The two gourd rattles (plate LXXXIX, page 46) represented the gift
of the squash to man and the breast of the mother. Around the mid-
dle of each a blue circle was painted from which depended four equi-
distant lines of the same color. The circle represented the base of
the dome of the sky, and the four lines the four paths descending
therefrom to earth.

The crotched stick (plate XC, page 45) used to support one end of
the feathered stems when they were laid at ceremonial rest was sig-
nificant of the fork in the tree where the eagle builds its nest. The
use of the plum tree for this crotehed stick expressed the desire for
many young in the nest.

The sacred ointment with which the plum-tree sticks were anointed
was made from the fat of the deer or buffalo mixed with red clay.
The fat was taken from an animal that had been conseerated through
certain prescribed rites which recognized man’s dependence upon the
powers for the gift of food. Fat symbolized plenty. Ritual songs
speak of paths dropping fatness, referring to the trails made by those
who earried the dressed meat from the hunting fields to the camp; such

aThe common term for corn, naksu, was not used in the ceremony.

FLETCHER | SIGNIFICANCE OF THE WILDCAT SKIN 23

a path would be strewn with drops of fat. Red is the color typical of
life. The ointment signified a prayer for abundance and life.

The wildcat skin (plate xc, page 48) served as a covering for these
objects when they were to be wrapped up and it was always spread
on the ground for them to rest on.

The significance of the wildcat in this ceremony is of peculiar inter-
est. This animal, we are told, never misses his prey, never fails to
attain the object of his pursuit, and accomplishes this end quietly,
tactfully, without arousing antagonism. From conversations with the
Ku'rahus it beeame clear that it was these qualities and not the
savageness and stealthly cruelty of the animal that were to be kept
in mind. Tobe able to accomplish a purpose without offending, with-
out raising opposition, seems to haye been regarded as the special
attribute vouchsafed by Tira’wa to the wildeat. It is because of this
attribute that it was chosen to be always with the sacred objects during
thisceremony. Thesacred objects symbolized not only an appeal from
man to certain powers, but the presence of the powers themselves, while -
the nature of the appeal, a desire for children, long life, and plenty, was
such that the enjoyment of the benefits craved must depend largely
on the successful exercise by man of those qualities which were
regarded as characteristic of the wildcat. So the skin of the wildcat
was the cover of the sacred objects when they were wrapped up; it
was spread on the ground as their guard and support when they were
laid at ceremonial rest, and when they were carried about the lodge
during the ceremony it was borne by the chief, who walked between
the Kurahus and his assistant, each of whom held a feathered stem.

Only a chief could carry the wildcat skin and the ear of corn. There-
fore, if the Father was not himself a chief he had to secure the service
of one in order that the wildeat could be borne by a man possessing
the authority of a ruler in the tribe. As the wildeat stood for the
ability to accomplish a purpose with tact and without exciting opposi-
tion, qualities essential to the successful ruler, it would seem that the
imperative association of the wildcat with a chief was intended to con-
vey the idea that only under the administration of such a man could
the tribe have internal peace and enjoy the abundance and prosperity
represented by Mother Corn.

As every article belonging to the ceremony and the position and
movements of those who conducted the rites had a special signifi-
cance, the position given to the wildeat, as explained by the Kurahus,
reveals the mind of the native in regard to this animal, which figures
conspicuously in other rites and ceremonies, and which controls one
of the sacred shrines of the Chaui band of the Pawnee tribe.

TIME OF THE CEREMONY

There was no stated time for the performance of the Hako ceremony.
It was not connected with planting or harvesting, hunting, or war, or
any tribal festival. The Ku’rahus said, ‘‘ We take up the Hako in

24 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

the spring when the birds are mating, or in the summer when the
birds are nesting and caring for their young, or in the fall when the
birds are flocking, but not in the winter when all things are asleep.
With the Hako we are praying for the gift of life, of strength, of
plenty, and of peace, so we must pray when life is stirring everywhere.”

SCHEME OF THE CEREMONY

According to the Ku’'rahus, no change in the order of rites or songs
was permitted. The reason for this requirement becomes clear when
we study the ceremony itself. Its fundamental ideas and teachings,
which are among the most important for the welfare of the people, are
steadily unfolded from the initial rite to the final act through a long
series of observances which are replete with detail and accompanied
by nearly one hundred songs, yet all these different parts are so closely
articulated that any variation of relationship or any omission would
be disastrous to the structure.

The Hako consists of the Preparation and the Ceremony.

The Preparation
First division. Initial rites.
First ritual. Making the Hako:
Part I. Invoking the powers.
Part Il. Preparing the feathered stems.
Part III. Painting the ear of corn and preparing the other sacred objects.
Part IV. Offering of smoke.
Second ritual. Prefiguring the journey to the Son.
Third ritual. Sending the messengers.
Fourth ritual:
Part I. Vivifying the sacred objects.
Part Il. Mother Corn assumes leadership.
Part III. The Hako party presented to the Powers.
Second division. The journey.
Fifth ritual:
Part I. Mother Corn asserts authority.
Part II. Songs and ceremonies of the way.
Part III. Mother Corn reasszrts leade rship.
Third division. Entering the village of the Son and consecrating his lodge.
Sixth ritual:
Part I. The Son’s messenger received.
Part II. The Hako party enter the village.
Seventh ritual:
Part I. Touching and crossing the threshold.
Part II. Consccrating the lodge.
Part III. Clothing the Son and offering smoke.

The Ceremony

First division. The public ceremony.
BHighth ritual (first day). The Fathers feed the Children.
Ninth ritual (first night). Invoking the visions.
Tenth ritual. The Dawn:
Part I. The birth of Dawn.
Part Il. The Morning Star and the new-born Dawn.

FLETCHER] SCHEME OF THE CEREMONY 25

First division—continued.
Tenth ritual. The Dawn— continued.
Part III. Daylight.
Part IV. The Children behold the day.
Eleventh ritual (second day). The male element invoked:
Part I. Chant to the Sun.
Part II. Day songs.
Twelfth ritual (second night). The rites came by a vision.
(Tenth ritual. The Dawn. Repeated.)
Thirteenth ritual (third day). The female element invoked:
Part I. The sacred feast of Corn.
Part II. Song to the Earth.
Part III. Offering of smoke.
Part IV. Songs of the birds.
Fourteenth ritual (third night). Invoking the visions of the ancients.
Second division. The secret ceremonies.
Fifteenth ritual (fourth night):
Part I. The flocking of the birds.
Part Il. The sixteen circuits of the lodge.
Sixteenth ritual (fifth day, dawn):
Part I. Seeking the child.
Part II. Symbolic inception.
Part III. Action symbolizing life.
Seventeenth ritual:
Part I. Touching the child.
Part Il. Anointing the child.
Part Ill. Painting the child.
Part IV. Putting on the symbols.
Eighteenth ritual. Fulfilment prefigured.
Part I. Making the nest.
Part II. Symbolic fulfilment.
Part Ill. Thank offering.
Third division. The dance of thanks.
Nineteenth ritual:
Part I. The call to the Children.
Part Il. The dance and reception of gifts.
Fourth division. The presentation of the Hako.
Twentieth ritual:
Part I. Blessing the child.
Part II. Presenting the Hako to the Son and thanks to the Children.

There are four rituals which can be interpolated during the prog-
ress of the public ceremony, namely:

Incidental Rituals

Comforting the child.

Prayer to avert storms.

Prayer ior the gift of children.

Changing a man’s name.

In the following pages the rituals and the explanations are presented
as they were given by Tahirtssawichi. His descriptions are full of
detail, with frequent repetitions, but as every article is symbolic and
every movement has a meaning, this repetition is essential to an
understanding of the ceremony as it appeals to the Pawnee, and it has
been deemed best not to change his method or introduce comments.

THE HAKO
THE PREPARATION
Explanation by the Kwrahus

The ceremony of the Hako is a prayer for children, in order that
the tribe may increase and be strong; and also that the people may
have long life, enjoy plenty, and be happy and at peace.

The articles that are used in the ceremony can be prepared only
under the direction and supervision of a man who has been taught
the sacred songs in their sequence and instructed as to their meaning.
Such a man is called Ku'rahus, which means a man of years. vene-
rated for his knowledge and experience.

When a man intends to inaugurate a party for the performance of
this ceremony, he selects a Ku’rahus to have complete charge of it,
and fixes a day when the preliminary rites are to be performed. On
that day the Ku’rahus goes into the sweat lodge and there purifies
himself. When he has come out of the sweat bath and has cooled off
a little, he places sweet grass on a small pile of coals. Then he sits
down (on his heels) and draws a robe about himself and the coals, so
that the smoke of the sweet grass may reach every part of his body.
He then takes a bit of fat which has been preserved from a deer or
buffalo consecrated to Tira’wa, and mixes it with red paint and anoints
himself. Then he puts on his leggings and moceasins, and a buffalo
robe, with the hair outside, tying if about the waist with a rope made
of buffalo hair. He fastens a white, downy eagle feather in his scalp
lock and goes to the lodge of the man who has inaugurated the party.
Ile takes with him a man as assistant; he is also accompanied by
another man, who is learning the songs and the details of the cere-
mony, preparatory to becoming himself able to conduct this rite, but
whose present duty is to minister to the wants of the Ku’rahus.

At the lodge the chiefs and leading men of the village have been
assembled, with those who have agreed to be of the party and have
contributed the requisite gifts. This lodge has been swept clean and
put in order for the occasion. The Ku'rahus takes his seat at the
west end of the lodge, facing the east, and before him, spread out on
a mat, are the materials for the preparation of the ceremonial articles.

After the Kurahus has begun to sing the songs belongin to the act
of preparing these articles there must be no coming in or going out
of the lodge, and no one can move from his place until this (the first
ritual) has been completed An exception is made in the case of two
men who are sent out by the Ku'rahus to cut and bring in two sticks
of ash. They go out during the singing of a certain stanza of the first
song and must return while another particular stanza of the same
song is being sung.

WUREAU OF AMERICAN ETHNOLOGY

AMERIC

BUREAU

“I

FLETCHER] FIRST RITUAL, PART I Z

First Diviston. INITIAL RITES

FIRST RITUAL. MAKING THE HAKO

Part I. INVOKING THE POWERS

Explanation by the Ku'rahus

At the creation of the world it was arranged that there should be
lesser powers. Tira’wa atius, the mighty power, could not come near
to man, could not be seen or felt by him, therefore lesser powers were
permitted. They were to mediate between man and The
first song mentions some of these lesser powers in the order in which
they come near to man, in the order of their creation.

Tira'wa.

SONG

Words and Musie
M. M. N=126.

> = 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)

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

(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. <As we are asking for the gift of children to bind the people
together as one family, so we sing about the fireplace, that fire may
come as we prepare the sacred articles.

FLETCHER | FIRST RITUAL, PART I 5

When we sing this stanza, the two men who were sent out to cut
the sticks of ash must return. After they enter they are told to sit
on the east side of the fireplace. There they must sit, each man
holding his stick.

Translation of Eleventh Stanza

51, 52, 53 See lines 1, 2, 3.
54 Heru! Kekaru. He!
heru! an exelamation of reverence. See line 4.
Kekaru, glowing coals; that is, the glow of the igniting wood
before it bursts into flames.
he! part of hare! give heed! See line 4.
55 See lines 2 and 20. ‘‘ We reflect on Keharu! ”

Explanation by the Kw'rahus

As we sing this stanza we rub the sticks to make the sacred fire
come, and we think of. the lesser power that is making itself seen in
the glowing wood.

Translation of Twelfth Stanza

56, 57, 58 See lines 1, 2, 3.

59 Heru! Koritu. He!
heru! an exclamation of reverence. See line 4.
Koritu, flames.
he! part of i/hare! give heed! See line 4.

60 See lines 2 and 20. ‘‘ We reflect on Koritu!”

Explanation by the Ku'rahus

When the flame leaps from the glowing wood it is the word of the
fire. The power has come near.

As we sing we think upon Koritu, the word of the fire, and we ask
it to enter into and remain with the sacred articles we are about to
prepare, for they are to speak.

While we are singing the two men with the two ash sticks hold
them over the fire, to warm and straighten them. Then they cut
them to the required length, four spans from the thumb to the third
finger. Next they peel and scrape the sticks, and remove the pith by
boring them through from end to end, so that the breath can pass unob-
structed (the boring used to be done with a reed, but now the pith is
burned out with a wire). The men next cut a straight groove the
entire length of each stick. When all this has been done, the scrap-
ings and every particle of the ash wood are carefully placed on the fire,
and as the flames arise the two sticks are passed through the. blaze,
that the word of the fire may enter and be with them.

The two men, each with a stick, pass from the east, where they
have been standing, and take their places one on the north and the

THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

other on the south of the Ku'rahus, where he sits in the west, and
there these stems are decorated in the manner taught by our fathers
(figure 171).

1, the entrance to the lodge
4, the holy place; 5, the Ku

EAST

Fig. 171. Diagram of the Father’s lodge during the decoration of the feathered stems.

the fireplace; 3, inner posts supporting the dome-shaped roof;
thus; 6, his assistant; 7, the man with the blue feathered stem;

8, the man with the green feathered stem; 9, the server; 10, members of the Hako party.

Translation of Thirteenth Stanza

61, 62, 63 See lines 1, 2, 3.

64.

Heru! Hiwaturu. He!

heru! an exclamation of reverence. See line 4.

Hiwaturu, the entranceway to the lodge. Hiwaturu is com-
posed of a part of the words hutturaru, a road, and hiwa, a
hollow or depression. The word hiwaturu implies a sunken
pathway.

he! part of Uhare! give heed! See line 4.

See lines 2 and 20. ‘‘ We refleet on Hiwaturu.”

FLETCHER] FIRST RITUAL, PART II 3

Explanation by the Kwrahus

We sing of the entranceway of the lodge because it is through this
way that man goes to and fro. It is the place made for all to enter
into the lodge; through it come those powers which are represented
on the sacred articles about to be prepared for the ceremony of the
Hako. Through it come the promises of the Hako, and through it
the visions come.

The long passageway represents the days of man’s life.

Part IJ. PREPARING THE FEATHERED STEMS

Explanation by the Ku'rahus

Before the next song is sung the Ku’rahus prepares the blue paint
which is to be put on one of the sticks of ash. The water with which
the blue clay is mixed must be taken from a running stream. Water
from a spring or well can not be used. Running water represents
the continuity of life from one generation to another.

The paint is mixed ina white shell. The shell must be white; it
is used because it was once a living thing. It lived in the water; if
had no disease or sickness. As we use the shell we ask that disease
and sickness may be kept from us and that our life may be long.

Before the people knew anything about vessels they used shells as
spoons and to put their food in. Tira’wa gave us the shells and gave
them long life and the power to keep away disease and sickness.

When the Ku’rahus has mixed the blue paint in the shell, he hands
it to the man at his left, who is sitting toward the north. This man
applies the mixture with his finger to the stick of ash, spreading the
paint over its entire length, but being very particular not to let any
of it get into the straight groove that runs from one end of the stick
to the other, while the following song is sung.

FIRST SONG

Words and Music
M. M. N=126.

+= Pulsation of the voice. Transcribed by Edwin S. Tracy.
5 — ] == oo
== = —t—
a
Ho-o-0-o! Ha -re -ri, h’a-re-ri. Hel! H’a-re- ri, h’a-re-ri, _h’a-re-
zest (2p (ip lg ge ea ai
A === =_—_
——— ee =
~ ot = *
ri, ’re- ri, h’a-re-ri. Hel H’a-re-ri, h’a-re-ri. He!...... ’Re-ri,
o 6 @ be ener ns es ewe. 0 - 2 é c
=,
$—- a a ete =p ee
== —a ——— = 2
re-ri, h’a-re - ri,’re-ri, h’a-re-ri. He!
ee crept eo bap Pr ap bas

38 THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22

66 Ho-o-0-o!

H’areri, h’areri. He!

68 Hareri, h’areri, h’areri, ‘reri, h’areri. He!
69 Hvareri, h’areri. He!

70 °Reri, h’areri, h’areri, *reri, h’areri. He!
71 H’areri, h’areri. He!

Translation

66 Ho-o-0-o! An introductory exclamation.
67 Tareri, h’areri. He!
h’, an aspiration, symbolie of a breathing forth, as the giving
of breath so that a thing may live.
areri, a part of the word irarihi, a particular place. The
change of the h in the final syllable of the word to r when
the abbreviation areri is sung is for ease of utterance and
euphony.
Wareri. Translated above.
he! a part of the exclamation ijhare! meaning I think upon, I
give heed to the significance of the act which accompanies
this song. The change of the initial rin the last syllable
of the word to an h, making it he, is for euphony.
68 IVareri, h’areri, h’areri, reri, Wareri. He!
HVareri, Wareri, Wareri. See line 67.
*reri, a part of the abbreviation areri, translated above.
lvareri. He! See line 67.
69 See line 67.
70 °?Reri, Wareri, h’areri, ’reri, h’areri. He! See lines 67 and 68.
71 See line 67.

Explanation by the Ku'rahus

Blue is the color of the sky, the dwelling place of Tira’wahut, that
great circle of the powers which watch over man. As the man paints
the stick blue we sing. “We ask as we sing that life be given to this
symbol of the dwelling place of Tira’wa.

When the man has completed the painting of the stick he hands it
to the Kurahus, who has already mixed red clay with water from a
running stream in a shell, and he paints the straight groove red.
This groove is the path along which the spirits of all the things that
are to be put upon this stick of ash may travel as they go forth to
give their help during this ceremony. ‘‘ TPareri” is a prayer that the
symbol may have life.

We paint the groove red because the passageway is red through
which man’s breath comes and goes to give him life. Thesun, too, is
red, and the groove represents the straight path whereon the sun
shines, the path which man must travel if he would live in peace and
prosper. The teachings of this ceremony make a straight path along
which if a man walks he will receive help from the powers.

ADOIONHLA NVOINAWNY 40 NVIdNe

XXX1 Vd LYOddd IWNNNYVY GNOOSZS-ALNAML

FLETCHER] FIRST RITUAL, PART II 39

When the Ku’rahus has finished painting the groove, he hands the
blue stem back to the man on his left, toward the north, who holds it.

Before singing the second song the Ku’rahus prepares the green
paint to be used on the other stick of ash by the man on his right,
toward the south. The clay is mixed in a shell with water taken from
a running stream. When it is ready for use the Ku'rahus hands it to
the man on his right, who, with his finger, rubs the paint over the
ash stick, being very careful not to get any of the green color into
the groove that runs the length of the stiek.

When the man begins to paint the stick green this song is sung.

SECOND SONG

Words and Music
M..M. }=126.

+= Pulsation of the voice. Transcribed by Edwin S. Tracy.

ee =e ee
fl = == =e E a=
a = = SSS =——
e —— =
H’a-xye-ri, h’a-re - mi; HW’a -re-ri, *>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 —

ad
hra_ ri

° °

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.

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

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

Serene wbadabbebtt
SE ict DEBE Piao

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

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.

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

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! <An introductory exclamation.
165 Kasha whako-o: Ha-a! H’ars wita-a!
kasha, a form of command, referring to an act to be performed
at a future time.
whako-o; whako, tell or say; 0, vowel prolongation.
ha-a! ha! behold! a, vowel prolongation.
h’, a contraction of ha, your.
ars, a contraction of atius, father.
Wita-a! wita, he coming; a, vowel prolongation.
166,167 See line 165.

Explanation by the Ku'rahus

This stanza is a command to the messengers to say, when they hand
the tobacco to the Son, ‘‘ Behold! Your father is coming!” (‘‘ Ha!
Wars wita!’’)

The stanza is sung four times. At the fourth time the Ku’rahus
puts the tobacco into the hand of the leader of the four messengers,
who at once leave the lodge and start upon their journey.

Translation of Second Stanza

168 See line 164.
169 Kusha whako-o: Ha-a! IVars wita-a.

kusha, they will; that is, those that have been commanded

will do as they have been directed.

whako-o; whako, tell, say; 0, vowel prolongation.

ha-a! ha! behold! a, vowel prolongation.

h’, a contraction of ha, your.

ars, a contraction of atius, father.

Wita-a, wita, he coming; a, vowel prolongation.
170, 171 See line 169.

Explanation by the Ku'rahus

When the messengers are out of sight of the village the Ku'rahus
sings the second stanza. It is addressed to the members of the
Father’s party, who are still sitting in his lodge. It isan authoritative
assurance that the messengers will (kusha) fulfil their mission and
deliver to the Son the message, ‘‘ Behold! Your father is coming!”

After the Ku’rahus has sung this second stanza four times, the
people disperse to await the return of the messengers, while he and
his assistant, or two persons designated by him, must sit with the
sacred objects until the four men come back from the Son.

As the Son hears the words of the messengers he will be reminded
of his dream, in which Mother Corn touched him. And as he looks
at the men he will recognize the tribe from which they have come and
will know who has chosen him to be the Son. Then he will eall
tegether his relatives and they will talk over the matter. If it is
decided to accept the ceremony they will keep the little bundle of

58 THE HAKO, A PAWNEE CEREMONY {ETH. ANN. 22

tobacco and the messengers will be told to return and say to the
Father, ‘‘I am ready!”

The messengers start back immediately, and when they are in sight
of their village the news of their arrival is proclaimed. Then all the
men of the Father’s party hasten to his lodge. The Ku'rahus, his
assistant, and the Father put on their buffalo robes in the ceremonial
manner, with the hair outside, and take their places back of the Hako.
The other members of the party range themselves against the wall of
the lodge, on either side, and all await the coming of the messengers.

As the four men enter the lodge the people ery, ‘‘ Nawairi!”
(TPhanks!”) while the Ku'rahus lifts his hands, palms upward, and
then brings them down slowly. This movement means thanks, and
the calling down of help from above.

The leader of the messengers, addressing the Ku'rahus, delivers the
words sent by the Son, “‘Iam ready!” This closes the ceremony.

FOURTH RITUAL
Part I. VIVIFYING THE SACRED OBJECTS
Explanation by the Ku'rahus

When the messengers return from the Son with the words, ‘‘I am
ready,” there is rejoicing in the lodge.

The young men of the Father’s party rise and dance. From these
dancers two are selected, by the Ku’rahus and the chief, to perform
the final dance, which takes place on the morning of the fifth day of
the ceremony. The choice of these two dancers is signified by tying
on their hair a downy white eagle’s feather (see plate XLI). Mean-
while the other members of the party are busy with their final prepa-
rations. They tie in packs, ready for transportation, the gifts they
are to carry to the Children. The singers make ready the drum, while
outside the women are engaged preparing food and other necessaries
for the long journey.

The Ku'rahus orders a straight tent pole to be selected and brought
to the lodge of the Father.

On the morning of the day the journey is to begin the Ku’rahus
rises from his place in the lodge behind the Hako and goes outside.
There he ties the sacred objects on the selected tent pole. He puts
the two feathered stems near the top-_the brown eagle toward the
north and the white eagle toward the south—and he spreads out their
feather pendants. Below these he fastens the ear of corn, and under-
neath it the two rattles and, lastly, the wildcat skin. These objects
must face the east when the pole is raised. Behind them, so as to
face the west, the right and left wing of an eagle are fastened and
spread out.

The rope of buffalo hair is used to tie these sacred objects to the
pole, which is then set up at the entrance of the lodge. Here it
stands where the wind of the dawn may breathe upon the Hako and
the first rays of the sun strike the sacred objects and give them life.

“ETHNOLOGY TWENTY-SECOND ANNUAL REPORT PL. KCl

THE FEATHER SYMBOL OF TIRAWA

(TO ILLUSTRATE “HAKO,A PAWNEE CEREMONY,” BY A.C.FLETCHER )

FLETCHER] FOURTH RITUAL 59

We do this that Tira’wa and all the lesser powers—the Winds, the
Sun, the Earth, and the four at the west which control the storm—
may see that all is complete and ready for the ceremony.

It is all done in silence before the day dawns. No song is sung
when we put the objects on the pole and raise if nor when we
take it down and remove them. We must let them stay up there for
some time in order that all the powers may surely see that everything
is correct, so the sun is well up when the Ku'rahus goes out to the
pole, lowers it, and removes the sacred objects and carries them into
the lodge and puts them on the holy place.

Part Il. MorHrr Corn AsSSuMES LEADERSHIP

Euplanation by the Ku'rahus

As I told you before, the Ku’rahus at the beginning of the ceremony
anointed himself with the sacred ointment and fastened upon his head

EAST
1

Fic. 173. Diagram of the Father's lodge during the singing of the first stanza of the song of the
fourth ritual, part 11.

1, the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the dome-shaped roof:
4, the holy place; 5, the Ku’rahus; 6, his assistant: 7,the bearers of the eagle wings; 8, the Father
(a chief); 9, the second chief; 10, members of the Hako party.

60 THE HAKO, A PAWNEE CEREMONY [ETH ANN, 22

the downy eagle feather (see plate xc1). Now he takes the rope of
buffalo hair with which the sacred objects have been bound to the
pole, and with it ties his buffalo robe around his waist. He is now
fully dressed for the ceremony, and he stands at the west, back of the
holy place.

He anoints with the sacred ointment the face, arms, and body of
his assistant, ties a downy eagle feather on his scalp lock, puts a
buffalo robe on him in the ceremonial manner and hands him the
feathered stem with the white-eagle pendant; then the assistant
takes his position behind the holy place, toward the south.

The Ku'rahus next annoints the face of the chief and fastens on
his head a small tuft of down taken from under the wing of an eagle.
The chief wears his buffalo robe in the ceremonial manner. The Ku’-
rahus hands the wildeat skin to the chief, who folds its head about
the crotched stick and the butt of the ear of corn, so that the tip to
which the downy eagle feather is fastened is well in sight above the
head of the cat. The skin hangs down in front of the chief as he
holds it with both hands by the neck. He takes his place back of the
Ku rahus.

The second chief, who is to assist the first, is now given the sacred
pipe and tobacco bag of the Rain shrine and told to stand behind the
Ku rahus’s assistant.

The Ku'rahus hands the eagle wings to the doctors; the one with
the left wing stands to the north of the Ku’rahus, and the one with
the right wing takes his place to the south of the assistant. Lastly
the Ku'rahus takes up for himself the feathered stem with the brown-
eagle pendant and then, with the six men all in position (see figure
173), they sing the first stanza of the following song.

SONG

Words and Music

Slow. Transcribed by Edwin S. Tracy.
-! ————— ——— —
= “2 Sa = = ==
Eas eee eee ees Perce ae eee
e
H’A-ti- ra hu WE tai ws.sace a - ri - so! H’A -ti-ra hu
= — ———= =E=S SSS SSE
z. = es === =. = = = ao i
SS
Welautalescocsce a- ri - sol EVAS- ti = ra thu We) = itave.ce. <0
ie as S| == =
ail = -, 2 see; = = =e “ [ss J
fs SS SS SS
a-ri-so! H’A-ti-ra hu Sra Dene pecs H’ A-ti-ra hu
a seed ese a
C= I —— tf os == = 2= oe
ger SS = am
uy 5 :
we - ta...... a-ri-so! H’A-ti-ra hu WE = tasers a - ri- so]

FLETCHER] FOURTH RITUAL, PART II 61
I II
72 H’Atira hu weta ariso! 178 H’Atira hu weti arisut!
173 H’Atira hu weta ariso! 179 H’Atira hu weti arisut!
174 H’Atira hu weta ariso! 180 H’Atira hu weti arisut!
175 H’Atira hu weta ariso! 181 H’Atira hu weti arisut!
176 H’Atira hu weta ariso! 182 H’Atira hu weti arisut!
77 H’Atira hu weta ariso! 183 H’Atira hu weti arisut!

Translation of First Stanza

172 WAtira hu weta ariso!
h’, the sign of an aspiration; a breath; the symbol of giving
life.
atira, mother. The term is here applied to the ear of corn, the
representative of Mother Earth.
hu, the same as ha, yonder. The vowel is changed from a to
u to give greater euphony in singing by avoiding the repe-
tition of the sound a.
weta, Coming toward one, so as to overtake one.
ariso, a living thing that has come from a great distance in
time or space.
173-177 See line 172.

Hxplanation by the Ku'rahus

This stanza is sung four times. As we sing it the first time the
principal chief takes a step with his right foot, which brings him on a
line with the Ku’rahus and his assistant. When we sing it a second
time he takes a step with his left foot, which leaves him in advance
of the line of the Ku’rahus and his assistant. As we sing it a third
time he takes a step with his right foot and turns toward the north.
When we sing it the fourth time he advances a step with his left foot.
He has now passed in front of the Ku'rahus as leader, and faces the
north.

As we sing this song we remember that Mother Earth is very old.
She is everywhere, she knows all men, she gave (supported) life to our
fathers, she gives (supports) life to us, and she will give life to our
children.

The ear of corn represents venerable Mother Earth, and also the
authority given by the powers above; so, as the chief, holding the ear
of corn, takes the four steps that bring him in advance of the Ku'ra-
hus, we sing that Mother breathing forth life and bearing the sign of
the powers above is now coming from the far distant past to go
before us.

At the close of the fourth repeat the Ku'rahus tells the assistant
chief to pass in front and stand at the right hand of the principal

62 THE HAKO, A PAWNEE CEREMONY (BIH. ANN. 22

chief. When this is done, the Ku’rahus and his assistant and the two
doctors form a line behind the two chiefs; then we sing the following
stanza (see figure 174).

EAST
1

Fic. 174. Diagram of the Father’s lodge during the singing of the second stanza of the song of
the fourth ritual, part 11.

1, the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the dome-shaped roof;
4, the holy place; 5, the Ku’rahus; 6, his assistant; 7, the bearers of the eagle wings; 8, the Father
(a chief); 9, the second chief; 10, members of the Hako party.

Translation of Second Stanza

178 HW Atira hu weti arisut!
h’, the sign of breath, of giving forth life.
atira, mother; the term applied to the ear of corn.
hu; ha, yonder; the vowel is changed for euphony.
weti, starting forward. The object which was coming toward
one has overtaken the speaker and has started onward
before him.
arisut, a living thing that is starting or has started to go a long
distance, as into future time or on a long journey.
179-183 See line 178.

FLETCHER] FOURTH RITUAL 63

Explanation by the Kw rahus

We sing this stanza four times, taking a step at each repeat, the two
chiefs leading with Mother Corn and the sacred pipe.

As we sing we think that Mother breathing forth life, who has come
out of the past, has now started to lead us on the journey we are to
take and to the fulfilment of our desire that children may be given
us, that generations may not fail in the future, and that the tie may
be made strong between the Father and the Son.

After this song the six men walk slowly toward the entrance to the
lodge, going by the north, and all the others follow.

Part Ill. Tar Haxko Party PRESENTED TO THE POWERS
Explanation by the Ku'rahus

When the Hako party are all outside of the door of the lodge, the six
men stand abreast, the doctor with the left wing of the eagle to
the north, on his right the Ku’rahus, then the principal chief, then
the second chief, then the Ku’rahus’s assistant, and the doetor with the
right wing of the eagle at the end of the line toward the south.

At the word of the Ku’rahus the six men bearing the sacred objects
advance abreast toward the east. The men of the Hako party fall in
behind and are followed by the women. When all have walked for-
ward a little way, the six men halt and sing the following sone.

As the party sings the Ku'rahus lifts and points his feathered stem
toward the east; the assistant does the same with his feathered stem;
the chief makes the same movement with the wildeat skin, from the
head of which protrudes the ear of corn; the second chief offers the
stem of the pipe, and the two doctors hold up their eagle wings.

FIRST SONG

Words and Music

+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
ee ss
SS SS SS = Se = —— == a =

Hi-ru ra hi-ri ra wa, hi-ru ra wa- hi-ri; Hi-ru ra hi-ri ra wa

PRGLtLCSN (ak tree eee orem ee ere eee EP tpt ea Sty

= = IJ-

hi-ru rawa, hi-ri ra wa, hi-ri ra wa. Hie! Hi-ru ra hi ra wa

hi - ri ra wa, hi- ru ra wa. He!

OR f 4 2 2

64 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

184 Hiru ra hiri ra wa, hiru ra wa hiri;

185 Hiru ra hiri ra wa, hiru ra wa, hiri ra wa. hirira wa. He!
186 Hiru ra hi ra wa hiri;

187 Hiru ra hiri ra wa, hirura wa. He!

Translation

184 Hiru ra hiri ra wa, hiru ra wa hiri.
hiru; iru, they yonder; the h is prefixed for euphony and to
give ease in singing.
ra, coming.
hiri; iri, they who are far away; the h is prefixed for euphony.
ra, moving, moving this way.
wa, part of the word teware, passing through the air.
hiru, they yonder; the h is for euphony.
‘a, coming.
wa, from teware, darting through the air.
hiri, they who are far away; the h is used for euphony.
Hiru ra hiri ra wa, hiru ra wa, hiri ra wa, hirira wa. He!
hiru va hiri ra wa, hiru ra wa, hiri ra wa. See line 154.
he! a part of the exclamation i/hare! meaning I think upon
and consider the significance of (the act which accompanies
the song); the change of the r to h is for euphony.
186 Hiru ra hi ra wa hiri.
hiru ra. See line 184.
hi, part of the word hiri, translated above.
ra wa hiri. See line 184.
187 Hiru ra hiri ra wa, hirura wa. He! All the words are trans-
lated above. See lines 184 and 185.

="
WD
Or

Explanation by the Ku'rahus

This song is addressed to Tira’wa atius. He is the father of all and
all things come from him. We pray in our hearts as we sing. We
ask Tira’wa to watch over the Ku’rahus, to guide his acts and to guard
his words so that he may make no mistake and the ceremony may be
complete. From the east the flashes of the eyes of Tira’wa come dart-
ing through the air upon us and upon the sacred objects.

We sing this song four times and then take sixteen steps to the
east; there we turn and face the west, the people all behind us.

As we stand and look toward the west we remember that it is there
that the four lesser powers dwell who were permitted by Tira’wa atius
to bring life to man. These powers also control the thunder, the
lightning, the storm, and death.

We sing the first stanza of the following song to them eight times.

FLETCHER | FOURTH RITUAL, PART III 65

SECOND SONG

Words and Music
M. M. }=42.

+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
SSS
— eo
PAN EUS oni rayon @e— shu! Al
TRTBRESE Uaecmcnc ccna OEE ESCO IEE (fl UR eee
SS SS SS = SS
Se eee ee tee |

Hi-ri,ra ri - hi-u! A! Hi-ri, ra ri - hi-u! A! Hi-ri,ra ri - hi-u! A!
: a

; 2)
Re SS eB el CM ieee Oe tre So

at SS == fl
eta, — E
Hi-ri, ra ri- hi-u! A! Hi-ri,ra ri- hi-u! A! Hi-ri, ra ri - hi-u!

A A A A
eee | Um eens (tee) ey |

I
188 A! Hiri, rarihiu! A! Hiri, ra rihiu!
189 A! Hiri, rarihiu! A! Hiri, ra rihiu!
190 <A! Hiri, ra rihiu!
19f CA’ Eiri, ra rihiu!
192 A! Hiri, ra rihiu!
193 <A! Hiri, ra rihiu!

II
194 H’Uraruha! Hirire! H’Uraru ha! Hiri re!
195 H’Uraru ha! Hirire! H’Uraruha! Hiri re!
196 H’Uraru ha! Hiri re!
197 H’Uraruha! Hiri re!
198 H’Uraru ha! Hiri re!
199 H’Uraru ha! Hiri re!

II
200 H’Uraru riri wari! H’Uraru riri wari!
201 H’Urarnu riri wari! H’Uraru riri wari!
202 H’Uraru riri wari!
203 H’Uraru riri wari!
204 H’Uraru riri wari!
205 H’Uraru riri wari!

Translation of First Stanza
188 A! Hiri, rarihiu! A! Hiri, ra rihiu!

a! apart of ha! behold! The exclamation nas here a double
meaning; the people are to look toward the powers and the
powers are called upon to behold the people.

hin, they far away; an address to the powers. The h is pre-
fixed for euphony.

ra, come.

rihiu; rihi, is the place; u, a vocable to fill out the measure.

189-193. See line 188.
22 pra—pr 2—04——5

66 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

Eaplanation by the Ku'rahus
i Y

When we have finished singing the six men take sixteen steps back
to the place where the first song was sung as we faced the east. Then
they take eight steps toward the south, where they stand facing the
south and sing the following stanza, the people being all behind them.

Translation of Second Stanza

194 WUraru ha! Hirire! HWUraru ha! Hiri re!
WUraru, the earth.
ha! behold!
hiri, they far away; an address to the powers of the south.
re, are, in the sense of being, living.
195-199 See line 194.

—

Explanation by the Kiwrahus

When we sing this stanza we are standing and looking toward the
south. That is the place where the sun travels, where the light
comes, and the brightness of day.

As we look we ask the powers of the south to give life and increase
to us, as well as to the seeds within Mother Earth.

After we have sung this stanza eight times to the powers of the
south, we turn and take eight steps toward the entrance of the lodge,
to a place just back of where we sang the first song to the east; then
eight steps toward the north, all the people following. Here, facing
the north, we sing the next stanza.

Translation of Third: Stanza

200 H’Uraru riri wari! H?Uraru riri wari!
I?Uraru, the earth.
riri, on.
warl, walking.

201-205 See line 200.

Eeplanation by the Ku'rahus

The people are now looking toward the north, the moon, the night,
the mother of the day.

We ask the powers of the north, they who can see the path of life,
to lead us and make us able to walk, us and our children.

We sing this song eight times to the powers of the north.

Then the six men turn south and take eight steps toward the entrance
of the lodge, to a point before the place where we sang the first song
to the east; there they turm and face east and walk to the place where
they sang to the powers of the west, and there they halt.

To all the powers of the east, west, south, and north we have sung
and have presented ourselves.~ As we walked, we have traced upon

FLETCHER] FOURTH RITUAL, PART III 67

WEST
1
Ee ae pics
a ~
2 pets is Se
a pe ~ ~
ced _ Stes EAN
al a xn ~
yet < — Wa
= Lay pa — Pe)
D4 uc Sa 53
g*% 274

<-¢- fc fe f+ fe Ge fe eS ]! eS ee eS eS Cp
Rood SP oak Sanaeeny Sag gop 8 Ata Sn oe eee ate

Sle lie eed lee i ee ee es

4
we
>
-
-
te
o

a
Re
es

Ang
J

EAST
Fic. 175. Diagram showing the movements of the principal members of the Father's party
during the presentation to the powers.

1, entrance to the lodge; 2, place where the first song is sung: 3, place where the first stanza
of the second song is sung; 4, place where the second stanza of the second song is sung; 5, place
where the third stanza of the second song is sung; 6, place where the halt is made after the last
sixteen steps: 7, the four steps taken in the presence of the powers.

The dots represent the following persons, beginning at the left: the doctor with the left wing
of the eagle, the Ku’rahus, the principal chief (the Father, if he is a chief), the second chief, the
Ku’rahus’s assistant, and the doctor with the right wing of aneagle. The arrows attached to
the dots show the direction in which the persons are facing. (By an error, but five dots were
drawn, instead of six.) Each of the other arrows revresents a step taken by the group, and
points in the direction in which it is taken.

68 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

the earth the figure of a man. This image that we have traced is
from Tira’wa. It has gone around with us, and its feet are where we
now stand; its feet are with our feet and will move with them as we now
take four steps, bearing the sacred objects, in the presence of all the
powers and begin our journey to the land of the Son (see figure 175).

SECOND DIVISION. THE JOURNEY

FIFTH RITUAL
Part I. Mornrer Corn Asserts AUTHORITY
Explanation by the Ku'rahus

After we have taken the four steps in the presence of all the powers
we are ready to begin our journey, but before we start, and while we
stand facing the east, we sing the following song:

FIRST SONG

Words and Music

M. M. }=56.

+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.

= ss: = a = SSE eS: ——— =

— == === Se

Ho-o-o-0-o! H’A-ti-ra_shi-ra ti - wa-ye! H’A-ti-ra_ shi-ra ti-
A = 112. 2.0 tr 2 e e e ° e ° ° e e e e
UBocot ease (UR recreate eee
A
SSS Ap = =| =S5
SSS = tif
a ge ae EL Le
= wa-re! H’A-ti-ra shi-ra ti - wa- re! Whe-e ra-ti- wa!
atom , fe epee ee piste moteeest
— (ahah fall Cae a Coomnel Vacs = io
I II
206 Ho-0-0-0-o! 211 Ho-0-0-0-o!
207 H’Atira shira tiware! 212 H’Atira shira tiwara!
208 H’Atira shira tiware! 213 H’Atira shira tiwara!
209 H’Atira shira tiware! 214 H’Atira shira tiwara!
210 Whe-e ratiwa! 215 Weru tihiwa!

Translation of First Stanza

206 Ho-o0-0-0-0! An introductory exclamation.
207 IWAtira shira tiware!
l’, an aspiration, symbolic of a breathing forth, as the giving
of breath so that a thing may live.
atira, mother. The term is here applied to the ear of corn.
shira, it and me; it reters to the ear of corn, Mother Corn; me
refers to the Father’s partv spoken of. or speaking in the
singular, as one person.
tiware, walking in a devious or a winding course.
208-209 See line 207.

FLETCHER]

: FIFTH RITUAL, PART I 69

210 Whe-e ratiwa!
whe, now, at this time.
e, prolongation of the final e in whe.
ratiwa, walking, plural form; that is, Mother Corn and the
Father’s party are walking as two persons. See the trans-
lation of shira (line 207).

Explanation by the Ku'rahus

Mother Corn, who led our spirits over the path we are now to travel,
leads us again as we walk, in our bodies, over the land.

When we were selecting the Son (second ritual) we had to fix our
minds on Mother Corn and make our spirits as one spirit with her.
We must do so now, as we are about to start on this journey; we must
be as one mind, one person, with Mother Corn (h’Atira shira); we,
as one person, must walk with her over the devious, winding path
(tiware) which leads to the land of the Son.

We speak of this path as devious, not merely because we must go
over hills and through valleys and wind around gulches to reach the
land of the Son, but because we are thinking of the way by which,
through the Hako, we can make a man who is not of our blood a Son;
a way which has come down to us from our far-away ancestors like a
winding path.

Translation of Second Stanza
211 Ho-o-0-0-0! <An introductory exclamation.
212 H’Atira shira tiwara.
h’, symbolie of breathing forth.
atira, mother; the term refers fo the corn.
shira, it and me; the ear of corn and the party of the Father.
tiwara, walking in a definite path, a straight path.
213,214 See line 212.
215 Weru tihiwa.
weru, by or according to, indicating order or arrangement.
tihiwa, equal stages; divided into equal lengths, as when mark-
ing a line of travel by a number of camps.

Explanation by the Kw'rahus

This stanza means that Mother Corn will lead us in the path she
opened and made safe for us when she went in search of the Son.
The path is definite to her, like a straight path, in which we are to
journey by equal stages (weru tihiwa). First we are to travel, then
we are to camp, then travel, and again camp. This is the way our
fathers did, and the knowledge has come down to us from father to
son, from father to son, by generations, in equal stages all the way.

After singing the stanza the six men with the Hako move forward
and all follow; Mother Corn is leading and breathing forth life.

After we haye moved on a little distance, and have left the village

70 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22

behind us so that we can no longer see our homes, we halt and sing
the first stanza of the following song.
SECOND SONG
Words and Music
M. M. S=112.
¢ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
lee

Io-0-0-0!

Rattles. #0 9e sie X 6 eo 48)” Bho es do Jel bie ae
—_— oo o—_— =—_—_ —s —— ==> —

IG? = = wt
oe se @ s ee ee ee

ha-ttu-ru-e? Ka-ra ha-tu - ru ta? H’A-ti- ra ku-hra ha-tu- ru e?

Se ay ee ee eee pa

216 Ho-o-0-o!

217 Kara haturu ta? Kara haturu ta?

218 H’Atira kuhra haturu e?

219 Kara haturu tea? H’Atira kuhra haturu e?

220 Ho-o-0-o!

221 Wiri haturu ta, wiri haturn ta:

222 H’Atira kuhra haturu e;

223 Wiri haturu ta, h’Atira kuhra haturn e.
Translation of First Stanza

216 Ilo-o-0-0! An introductory exclamation.
217 Kara haturu ta? Kara haturu ta?
kara, is there? An inquiry.
haturu, path, road, way.
ta, a part of the word ruta, a long stretch, as a long stretch
of road or of country. In order to make the words con-
form to the rhythm of the musie the final syllable of
haturu is made to serve as the first syllable of the next
word (ruta), so only the last syllable, ta, is given.
218 HW Atira kuhra haturu e?
h’, symbolie of the breath; a breathing forth.
atira, mother. The term apples to Mother Corn.
kuhra, hers; the owner of.
haturu, path, road, way.
e, the equivalent of ta, a part of ruta. The change from ta to
e is for euphony.
219 Kara haturu ta? H’Atira kuhra haturu e? All the words are
translated above. See lines 217 and 218.

Explanation by the Ku'rahus

Before us lies a wide pathless stretch of country. We are standing
alone and unarmed, facing a land of strangers, and we call upon

FLETCHER] FIFTH RITUAL, PART I 71

Mother Corn and we ask her: ‘‘Is there a path through this long
stretch of country before us where we can see nothing? Does your
path, the one which you opened for us, wherein is safety, lie here?”

Translation of Second Stanza

220 To-0-0-0! An introductory exclamation.
221 Wiri haturu ta, wiri haturu ta.
wiri; here, at this place; right before one.
haturu, path, road, way.
ta, part of the word ruta, a long stretch.
222 See line 218.
223) Wiri haturu ta, h’Atira kuhra haturu e. <All the words are
translated above. See lines 221 and 218.

Explanation by the Ku'rahus

As we stand and sing the second stanza, Mother Corn speaks to us
and we are assured in our spirits. She answers our appeal; she says
that here, right before us, stretches out the path she has made
straight. Then our eyes are opened and we see the way we are to go.

But although we se* our way we are not to take the path by our-
selves; we must follow Mother Corn; she must lead us, must direct
and guide our steps. The next song is to enforce obedience to
Mother Corn.

THIRD SONG

Words and Music

M. M. N=112.
+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.

Ho = 0-0-0!
Rattles.? # @

ha-wa ra-ti- ra e; Ha-wa-a rari-hi u ha-wara-ti-ra e; Ra rihi u
e e e es e e e e ry eo é eo e e e o e e e eo e e
| f i |
3 ——— ——
fl = TS , = 5 -=-ff]
al Jae SN fap a o az
_s
ha - wa ra-ti ri-hi u ha - wara-ti- ra e.
ig . ° o * » , 4 cg a
—< == — —_
1 II
224 Ho-o-0-o! 230 Ho-o-0-o!
225 Ra rihi u hawa ratira e; 231 Ti rihi u hawa ratira e;
226 Ra rihi u hawa ratira e; 232 Tirihi u hawa ratira e;
227 Hawa-a ra rihi u hawa ratira e; 233 Hawa-a ti rihi u hawa ratira e:
228 Ra rihiu hawa ratira e; 234 Tirihiu hawa ratira e;

>
a
229 Ra rihi u hawa ratira e. 235 Tirihi u hawa ratira e.

-I
bo

THE HAKO, A” PAWNEE CEREMONY (ETH. ANN. 22

Translation of First Stanza

224 Jo-0-0-0! An introductory exclamation.
225 Ra rihi u hawa ratira e.

ra, at a distance; yonder.

rihi, a place; a locality.

u, a particular place.

hawa, whence; from where.

ratira, I came.

e, vowel prolongation to meet the rhymth of the music.
226 See line 225.
227 Hawa-a ra rihi u hawa ratira e.

hawa, whence; from where.

a, vowel prolongation.

ra rihi u hawa ratirae. See line 225.
228, 229 See line 225.

Explanation by the Kw'rahus

When this song is to be sung, the Ku'rahus bids all the people go in
front of him, then he and they all turn and face the west, and look
toward the lodge of the Father within which the preliminary ceremonies
have been performed, and before the entrance of which the powers
have looked on the elevated sacred objects and upon all the people.

In this song Mother Corn is speaking of the place whence she came
when she was consecrated according to the rites given to our fathers.
She led our fathers and she leads us now, because she was born of
Mother Earth and knows all places and all people, and because she
has on her the sign (the blue-paint symbol) of having been up to
Tira’wahut, where power was given her over all creatures. She also
is speaking of the path over which her spirit led our spirits when we
were traveling in search of the Son.¢

Translation of Second Stanza

30 Ilo-0-0-0! An introductory exclamation.
331 Ti rihi u hawa ratira e;
ti, this.
rihi u hawa ratirae. See line 225.
332 See line 331].
333 Hawa-a ti rihi u hawa ratirae. See lines 225, 227, and 331.
334, 335 See line 331.

Explanation by the Ku'rahus

As we sing the second stanza, the Ku’rahus points along the path
we have already traveled under the leadership of Mother Corn.
This act and the song are to impress upon the people that they

a See first ritual, second ritual, and fourth ritual.

FLETCHER] FIFTH RITUAL. eo

are not moving at random, but in a prescribed manner, which the
Ku'rahus has been taught and directed to follow; that they are led
by Mother Corn authorized by the powers, and to her they must give
unquestioning obedience throughout the ceremony.

After this song the Ku’rahus and the other bearers of the sacred
objects turn, and facing the east, pass on in front of the people, who
also turn and follow as they go forth on the journey.

The three songs we have just sung are in sequence. Their order
can not be changed; they belong to the beginning of the journey, and
teach us to obey Mother Corn.

Part II, SONGS AND CEREMONIES OF THE WAY

Huplanation by the Ku'rahus

The journey we are taking is for a sacred purpose, and as we are led
by the supernatural power in Mother Corn we must address with song
every object we meet, because Tira’wa is in all things. Everything
we come to as we travel can give us help, and send help by us to the
Children.

Trees are among the lesser powers, and they are represented on the
Hako which we carry, so when we see trees we must sing to them.

Trees grow along the banks of the streams; we can see them ata
distance, like a long line, and we can see the river glistening in the
sunlight in its length. We sing to the river, and when we come nearer
and see the water and hear it rippling, then we sing to the water, the
water that ripples as if runs.

SONG TO THE TREES AND STREAMS

Words and Music
M. M.S ails

+ = Pulsation of the voice. Transcribed by Edwin 8. Tracy.
Wo drum.

Wi-ra_ u-ha- ki,
Rattles. # i) ® 2 e

— ==

u - ha - ki; Ka -tu - ha - ru u-ha - ki.
A va A A A A
p oe é oe c e ia e ia e e + i
I IL
236 Wira uhaki, wira uhaki; 239 Wira uhaki, wira uhaki;
237 Katuharu uhaki, wira uhaki; 240 Kichaharu uhaki, wira uhaki;
238 Katuharu uhaki. 241 Kichaharu uhaki.
III

242 Wira wihaku, wira wihaku;
243 Kichaharu wihaku, wira wihaku;
244 Kichaharu wihaku.

74 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

Translation

I
236 Wira uhaki, wira uhaki.
wira; wi, a qualifying word meaning that an object is long or
stretched out; ra, at a distance, yonder.
uhaki, something that is in a line, a stretch.
237) Katuharu uhaki, wira uhaki.
katuharu, trees, timber, woods.
uhaki, a long line, a streteh. :
wira uhak!. See line 236,
238 Watuharu uhaki. See line 257.

239 See line 236.

240 Kicehaharu uhaki, wira uhaki.
kichaharu, a stream, a river.
uhaki, a long stretch.
wira uhaki. See line 256.

241 Kichaharu uhaki. See line 240.

242) Wira wihaku, wira wihaku.
wira, something that is long seen at a distance.
wihaku, rippling.
242 Wiehaharu wihaku; wira wiharu.
kichaharu, a stream, a river.
wihaku, rippling.
wira wihaku. See line 242.
244 Kichaharu wihaku. See line 245.

Explanation by the Kwrahus

In this ceremony water is not used except for sacred purposes. We
mix the paint that we use upon the sacred objects with running water.
When on our journey we come to a stream of running water we
can not step into it to cross it without asking permission of Kawas.
Kawas is the mother; she represents the night and the moon, and she
can permit us to enter and wade through the stream. So, whenever
we come to a river we eall upon Kawas to protect us, that our act
of passing through the water may not bring punishment, and may not
cause the clouds to come between us and the blue dome, the dwelling
place of Tira’wa, or break the continuity of life from one generation
to another.

The following song is our appeal to Kawas. When we sing the
first stanza we enter the stream, the water touches our feet.

®LETCHER] FIFTH RITUAL, PART II

-T
ou

SONG WHEN CROSSING THE STREAMS

Words and Music
M.M. N= 116.
+= Pulsation of the voice. Transcribed by Edwin S. Tracy.
Vo drum.

Ho-o-o ! He! Ka-wassi-re te - wi hu-ku-ka, Te-wihu-ku-ka. He! Ka-wassi-re a he!

ia sls Se ones es

245
246

247

NV
Ka-wassi-re te- ait hu- oe Ee He! Ka-wassi-re te-wi hu-ku-ka.
T
245 Ho-o-o!
246 He! Kawas sire tewi hukuka,
247 Tewi hukuka.
248 He! Kawassirea he! Kawas sire tewi hukuka.
249 He! Kawas sire tewi hukuka.

II
Ho-o-o!
He! Kawas sire tewi hariki,
Tewi hariki.
He! Kawas sire a he! Kawas sire tewi hariki.
254 He! Kawas sire tewi hariki.

Ill
55 Ho-o-o!
256 He! Kawas sire tewi haiwa,
257 Tewi haiwa.
258 He! Kawas sire a he! Kawas sire tewi haiwa.
259 He! Kawas sire tewi haiwa.

IV
260 Ho-o-c!
261 He! Kawas sire tewi hawitshpa,
262 Tewi hawitshpa.
He! Kawas sire a he! Kawas seri tewi hawitshpa.
264 He! Kawas sire tewi hawitshpa.

Translation
I

Ifo-0-0! An introductory exclamation.
He! Kawas sire tewi hukuka.
he! a part of the exclamation hiri! give heed! harken!
Kawas; the brown eagle, which in this ceremony represents
the feminine principle, the night, the moon.
sire, its; a possessive pronoun referring to Kawas
tewi, it has; refers to the water.
hukuka, a composite word; hu, from chaharu, water; kuka,
to step into, as to put one’s feet in the water, to wade.
Tewi hukuka.
tewi, it has; the water has touched the feet.
hukuka, step into the water. The feet have stepped into the
water.

248

259

260

261

THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22

He! Kawas sire a he! Kawas sire tewi hukuka.
he! give heed! harken!
Kawas, the mother, the brown eagle.
sire, its; refers to the control of the water by Kawas.
a, a vocable used to fill out the measure of the music.
he! Kawas sire tewi hukuka. See line 246,
See line 246.
II

Ho-o-o! An introductory exclamation.
He! Kawas sire tewi hariki.
he! part of the exclamation hiri! harken! give heed!
Kawas, the brown eagle, representing the female principle.
sire, its.
tewi, it has.
hariki, a composite word; ha, a part of chaharu, water; riki,
standing.
Tewi hariki.
tewi, it has.
hariki, water standing. Our feet are standing in the water.
He! Kawas sire a he! MKawas sire tewi hariki. See lines 248
and 251.
See line 251.
Il

Tlo-0-0! An introductory exclamation.
He! Kawas sire tewi haiwa.
he! part of the word hiri! harken! give heed!
Kawas, the brown eagle; the mother, the female principle.
sire, its; refers to Kawas.
tewi, it has.
haiwa, a composite word; ha, part of chaharn, water; iwa,
moving in: haiwa, moving in the water.
Tewi haiwa. See line 256.
He! Kawas sire ahe! Kawas sire tewi haiwa. See lines 248
and 256.
See line 256,
IV.
Ho-o-0! An introductory exclamation.
He! Kawas sire tewi hawitshpa.
he! harken! give heed!
Kawas, the brown eagle; the mother, the female principle.
sire, its; refers to Kawas.
tewi, it has; refers to the water.
hawitshpa, a composite word; ha, part of chaharu, water;
witshpa, completed, accomplished a purpose, reached an
end. The meaning of the word is that the water has cov-
ered the feet.

-I

FLETCHER] FIFTH RITUAL, PART I1

262 Tewi hawitshpa. See line 261.

263 He! Kawas sire a he! Kawas sire tewi hawitshpa. See lines
248 and 261.

264 See line 261.

Explanation by the Ku'rahus

When we sing the second stanza, our feet are standing in the water.
When the third stanza is sung, our feet are moving in the water. At
the fourth stanza the water covers our feet. So as we sing this song we
enter the stream and, under the protection of Kawas, we pass through
to the other side.

Every time we come to a stream across which our path lies we must
sing this song.

After we have forded the stream we pause at the bank. We are
wet with water through which we have just passed, but we must not
touch our bodies where we are wet to dry ourselves, for the running
water is sacred.

So, we sing the first stanza ot the following song and eall on the
Wind, Hotoru, to come and touch us that we may become dry.

SONG TO THE WIND

Words and Music
M. M. d — 132.

+ — Pulsation of the voice. Transcribed by Edwin 8S. Tracy.
No drum.
-5 = —— == SS =e — =
a = = Se a ——s -}— a ==
= | = os ss
e eee Cu —
Ho-o0-0-o! Tu - ku - ka, tu - ku- ka ha Ho - to - ru,
F A DACA A h A A
P ° e e e s e
Ratties. ? f f f P BRcoscos ee eng ee ae h— e (e|

CE 7 EES ait ees ee te a
i Hii
265 Ho-o-0-0! 2738 Ho-o-0-0!
266 Tukuka,. tukuka ha Hotoru, 274 Tawawe, tawawe he Hotoru,
267 Tukuka ha Hotornu, 275 Tawawe he Hotoru,
268 Tukuka ha! 276 Tawawe he!
IL IV
269 Ho-o-0-0! 277 Ho-o-0-o0!
270 Taiwa, taiwa ha Hotorn, 278 Tawitshpa, tawitshpa ha Hotoru,
271 Taiwa ha Hotoru, 279 Tawitshpa ha Hotoru,

272 Taiwa ha! 280 Tawitshpa ha!

-I
(ore)

THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

Translation

265 Ho-o-o-0! An introductory exclamation.

266 Tukuka, tukuka ha Ilotoru.
tukuka, touch or touched.
ha, a syllable added to meet the rhythm of the musie.
Hotoru, the Wind, the supernatural power.

Tukuka ha Hotoru. See line 266.

268 Tukuka ha! See line 266.

267

Ti
269 Tfo-o-o-o! An introductory exclamation.
270 Taiwa, taiwa ha Iotoru. :

taiwa, to touch lightly or brush on the sides of anything.
ha, a syllable added for the sake of rhythm.
Hotoru, the Wind, one of the lesser power .
271 Taiwa ha Hotoru. See line 270.
272 Taiwa ha! See line 270.
il
273 Ho-o-0-o! An introductory exclamation,
274 Tawawe, tawawe he Iotoru.
tawawe, a creeping touch, felt now here and now there.
he, a syllable added to keep the rhythm of the music.
Hotoru, the Wind, one of the lesser powers.
275. Tawawe he Hotoru. See line 274.
276 Tawawe he! See line 274.
IV
See line 265.
Tawitshpa, tawitshpa ha Hotoru.
tawitshpa, the completion of an act, the accomplishment of
a purpose. Hotoru has completely touched all parts of
the body.
ha, a syllable added to fill out the rhythm of the music.
Hoturu, the Wind; one of the lesser powers.
279 Tawitshpa ha Hotoru. See line 278.
280 'Tawitshpa ha! See line 278.

bo bo
a4
oO ~~)

Haplanation by the Ku'rahus

As we sing the second stanza the Wind brushes lightly the sides of
our bodies and our wet legs and feet. With the third stanza the Wind
circles about, touching us here and there. When we sing the fourth
stanza the Wind completely envelops us, touching all parts of our
bodies. Now, we are ready to move forward in safety. No harm
will follow our passage of the river and we can pursue our journey.

Whenever, as we travel, we have to cross a river we must sing this
song to the Wind to come and dry our bodies before we can continue
our journey.

FLETCHER] FIFTH RITUAL, PART II 79

When the spirit of Mother Corn was traveling in search of the Son
(second ritual) she saw buffalo; the first stanza of the following song
refers to that time (ira saka riki, an indefinite time in the past). So,
when on our journey we come to buffalo trails, or see the herds at a
distance, we know that they have been seen before, at this place, by
the spirit of Mother Corn, and we sing this song.

SONG TO THE BUFFALO

Words and Music
M. M. j=120.
+ — Pulsation of the voice. Transcribed by Edwin 8. Tracy.

ee F ——
le 5 "2 2 {2 Pd = ==
MS = @ . .
Haa-aa! Ha! J-ra sa-ka ri-ki; Ha! I-ra_ ri-ki; Ha! J-ra sa-ka ri- ki;
Drum.6@ 0 6 e oe e ° gitar Fale! ie “ete. \p:.3p bie 20
Rattles. \aeet et = — ey eS oe cot = a

em rete Bae pet) ety hs ha

281 Ha-a-a-a!

282 Ha! JIrasaka riki; Ha! Iva riki;
283 Ha! Irasakariki; Ha! Ira riki;
284 Ha! Irasaka riki; Ha! Ira riki.

285 Ha-a-a-a!

286 Ha! Tira sakariki; Ha! Ire wawa:;:
287 Ha! Tira saka riki; Ha! Ire wawa;
288 Ha! Tira sakariki; Ha! Ire wawa.

Translation

281 Ha-a-a-a! An introductory exclamation.
282 Ha! Jrasakariki; Ha! Ira riki.
ha! behold!
ira, a Single object in the distance; ra, distant, also means in
the past, distant as to time.
saka, part of the word tarasaka, sun.
riki, standing. Saka riki means present time; but, as the
words follow ira, the phrase ira saka riki means an indefi-
nite time in the past. -
ha! behold! see!
ira, the object seen at an indefinite time in the past.
riki, standing; referring to the object that was seen. Al-
though the object seen is not mentioned by name, it was
known to be buffalo.
283, 254 See line 282.

80 THE HAKO, A PAWNEE CEREMONY [BTH. ANN, 22

285 Ha-a-a-a! An introductory exclamation.
286 Ha! Tirasakariki; Ha! Ire wawa.
ha! behold!
tira, this.
saka, part of the word tarasaka, sun.
riki, standing. Saka riki means present time. The phrase
tira saka riki means a definite time, at this time or
moment.
ha! behold! see! look!
ive, many objects at a distance, as many trails with buffalo.
Wawa, many walking. The phrase ‘‘Ha! Ire wawa” means
“Look, where many buffalo walk in many different
trails!” This refers to different herds seen at a distance.
287, 288 See line 286.

Explanation by the Kw'rahus

The second stanza refers to our seeing with our own eyes the buffalo
herds walking in many different trails. We sing of this sight and we
carry its promise of plenty to the Children.

These stanzas are not now sung upon the journey with the Hako,
because the buffalo herds are all gone; but we sing them in the lodge
of the Son, in remembrance of the buffalo, the animal Tira’wa gave us
for food.

SONG OF THE PROMISE OF THF BUFFALO

Words and Music
M.M. | =120.

+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
A
i S| eA —-fa me z — 4
== == SS SS SSS : sd
2 ee ee eS ae es olieee
He-e-e-e! We-re ru-wa-wa, we-re Si - ra_ rit-ka
Drum. 4 , p 6 P ‘ afore e pe
Rattles. Gar ety (ome gan ele (eae i | tea) pr

= -
ru-wa- wa, We-re ru- wa-wa, Si - ra rit-ka ru-wa-wa-a ra.
5 “ ‘ , i
e e e e e e » e e °
elec ea ae ll ee cet aoe tied C2)
I II
289 He-e-e-e! 294 He-e-e-e!
290 Were ruwawa, were ruwawa, 295 Wera hara-a, wera hara-a,
291 Sira ritka rnwawa, 296 Taraha-a rahara,
292 Were ruwawa, 297 Wera hara-a,

293 Sira ritka ruwawa-a ra. 298 Taraha-a rahara-a ra.

ie)

FLETCHER] FIFTH RITUAL, PART Ii

Translation
I

289 He-e-e-e! An introductory exclamation.
290 Were ruwawa, Were ruwawa.
were, they; a number of persons or animals.
ruwawa, running from, as from the place where one is stand-
ing or where one is walking.
291 Sira ritka ruwawa.
sira, their.
ritka, dust; the soil raised by the feet in running.
ruwawa, running away from.
292 Were ruwawa. See line 290,
293 Sira ritka ruwawa-a ra.
sira ritka ruwawa. See lines 290, 291.
ara, vocables used to fill out the rhythm of the music.

294 Tle-e-e-e! An introductory exclamation.
295 Wera hara-a, wera hara-a.
wera, one coming; we, one, it, Singular number; ra, coming.
hara-a, a composite word made up of the syllable ha, from the
word iha're, the young of animals (the word is also used
for offspring, children) and ra, coming. The final ais a
vowel prolongation to fill the rhythm of the musie.
296 Taraha-a rahara.
taraha, the female buffalo.
a, vowel prolongation because of the rhythm of the music.
rahara, a composite word; ra, from wera, one coming; ha, from
iha’re, young; ra, coming. The line ‘‘Taraha-a rahara”
means that the female buffalo and her calf are coming.
297 Werahara-a. See line 295.
298 Taraha-a rahara-a ra. See lines 293, 296.

Hxplanation by the Kw rahus

While we were traveling we sometimes saw a great cloud of dust
rising in the distance. When we saw this cloud rolling up from the
earth we knew it was caused by a herd of buffalo running away from
us toward the land of the Children.

Sometimes a cow and her calf would separate from the herd and
come nearer us. We were taught to be mindful of all that we saw
upon the journey, for these sights meant the promise of plenty of food
for the Children.

We do not sing this song any more as we travel, for now there are
no buffalo herds to be seen sending the dust up to the sky as they
run. We sing the song in the lodge of the Son, that we may remem-
ber the buffalo, and that our children may hear of them.

22 era—pr 2—04——6

82 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22

When as we travel we come to mountains or hills we sing the fol-
lowing song.

Hills were made by Tira’wa. Weascend hills when we go away alone
to pray. From the top of a hill we can look over the country to see if
there are enemies in sight or if any danger is near us; we can see if
we are to meet friends. The hills help man, so we sing to them.

SONG TO THE MOUNTAINS
Words and Music

M. Mo \— 168.

+ — Pulsation of the voice. Transcribed by Edwin 8. Tracy.
Vo drum.

(ce ee eee ee

Ha-a-a-a-a! I - ra wha - ku we - re - chih wha - ra; I - ra

re - chih_ wha - ra. Ha! Wha - ku we - re - chih wha - ra.

T Ill
299 Ha-a-a-a-a! 309 Ha-a-a-a-a!
300) Ira whaku werechih whara; 310 Ira whaku werechih kitta hra;
501 Ira whaku werechih whara. 311 Ira whaku werechih kitta hra.
302 Ha! Chih whaku werechih whara. 312 Ha! Chih e werechih kitta hra.
303 Ha! Whaku werechih whara. 318 Ha! Whaku werechih kitta hra.

Il TV
304 Ha-a-a-a-a! 314 Ha-a-a-a-a!
305 Ira whaku werechih katawara; 315 Ira whaku werechih kitta witit;
306 Ira whaku werechih katawara. 316 Iva whaku werechih kitta witit.
307 Ha! Chih katawara chih wara. 317 Ha! Chih werechih kitta witit.
308 Ha! Whaku werechih katawara. 318 Ha! Whaku werechih kitta witit.

Translation
I

299 Tla-a-a-a-a! An introductory exclamation.
300 Ira whaku werechih whara.
ira, yonder particular and single object.
whaku, an elevation, a mountain, a hill.
werechih, a party, a number of persons.
whara, walking, traveling on foot.
301 See line 300.
302 Ha! Chih whaku wereehih whara.
ha! behold!
chih, the last syllable of the word werechih, a party.
whaku werechih whara. See line 300.
303) Ha! Whaku werechih whara. See lines 300, 302.

FLETCHER | FIFTH RITUAL, PART II

BOF
305

306

307

308

309
310

311

312

316

Ha-a-a-a-a! An introductory exclamation.

Ira whaku werechih katawara.
ira, a particular and a single object at a distance.
whaku, a mountain, a hill.
werechih, a group of persons making an organized party.
katawara, climbing as they walk.

See line 305.

Ha! Chih katawara chih wara.
ha! behold!

chih, the last syllable of the word werechih, a company

persons, a party having a common purpose.
katawara, climbing, ascending a mountain or a hill.
ehih, part of the word werechih, party.
wara, a part of the word katawara, ascending, climbing.
Ha! Whaku werechih katawara. See lines 305, 307.

Ha-a-a-a-a! An introductory exclamation.
Ira whaku werechih kitta hra.
ira, a particular and single object at a distance.
whaku, a mountain or a hill.
werechih, a party.
kitta, top, as the top of a mountain or hill.
hra, from whara, walking.
See line 310.
Ha! Chih e werechih kitta hra.
ha! behold!
chih, the last syllable of werechih, party.
e, a vocable used to fill out the measure of the music.
werechih, a party, a company of peuple.
kitta, top; the summit of a mountain or a hill.
hra, from whara, traveling on foot.
Ha! Whaku werechih kitta hra. See lines 310, 512.

Ha-a-a-a-a! An introductory exclamation.
Ira whaku werechih kitta witit.
ira, yonder particular object.
whaku, mountain or hill.
werechih, an organized group of persons, a party.
kitta, summit, top.
witit, sitting down.
See line 515.

84 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

317 Ha! Chih werechih kitta witit.
ha! behold!
chih, the last syllable of werechih, a party.
verechih, an organized group of persons, a party.
kitta, sammit of a mountain or hill.
witit, to sit down, to rest.

318 Ha! Whaku werechih kitta witit. See lines 315, 317.

Explanation by the Ku'rahus

The first stanza is sung when we who are traveling see in the dis-
tance the top of a mountain or hill rising above the horizon. ‘The
Ku'rahus calls the attention of the people and bids them look at the
mountain that lies in the path before them. We sing the next stanza
as we are about to climb the mountain. The third stanza is sung
when the party reaches the top of the mountain. While the people
are sitting down to rest on the summit we sing the fourth stanza.

Asa Hako party does not now go in a direction where there are moun-
tains and hills, they do not sing these songs on the journey. ‘They
are generally sung in the lodge of the Son.

SONG TO THE MESAS
Words and Music
M. M. Melody. j= 58.

M. M. Drum. d= 116.
+= Pulsation of the voice. Transcribed by Edwin S. Tracy.

——— 34

: : tte e Ee 8

Ho- 0-0-0-o! Ha-re_ wi- tu; ha-re wi - tu; ha-re wi - tu; ha-
DiUmMiAue 96, tel 6 8 ol pe p yer) up) JentiL ve
Ratiles.8 oa ico) a — —_ Gone ees

‘te-e-l eo te oe
re wi - tu; Ha-re wi- tu; ha- re wi - tu; ha-re wi -~ tu.
iN , A ‘ A IN A
o #60860 ° e ° of é
(es CCC eee ee oer fan cael asd uth
l
319 Ho-o0-0-0-0!
320 Hare witu: hare witu; hare witu; hare witu;

1 Hare witu; hare witnu; hare witu.

II
322 Ho-o-0-0-0!
323 Harha witu; ha rha witu; ha rha witu; ha rha witu;
824 Ha rha witu; ha rha witu; ha rha witu.

III
Ho-0-0-0-o!
Hare wawe; hare wawe; hare wawe; hare wawe;
Hare wawe; hare wawe; hare wawe.

328 Ho-o-0-0-o!
829 Ha rha wawe; ha rha wawe; ha rha wawe; ha rha wawe;
330 Ha rha wawe; ha rha wawe; ha rha wawe.

FLETCHER] FIFTH RITUAL 85

Translation

319 Ho-o-0-0-0! An introductory exclamation.
320 Hare witu; hare witu; hare witu; hare witu.
hare, yonder, at a short distance.
witu, a mesa, an elevation or hill with a flat top.
321 See line 320.
Il
322 Ho-o-o-0-0! An introductory exclamation.
323. Ha rha witu; ha rha witu; ha rha witu; ha rha witu.
ha, yonder.
rha, beyond this one; meaning that another mesa is seen
beyond the one in the foreground.
witu, a mesa.
324 See line 323.
Ill
325 Ho-o0-0-0-0! An introductory exclamation.
326 Hare wawe; hare wawe; hare wawe.
hare, yonder, at a short distance.
wawe, the ridge or rim of the mesa.
327 See line 326.
IV
328 Ho-o-o0-0-0! An introductory exclamation.
329 Ha rha wawe; ha rha wawe; ha rha wawe; ha rha wawe.
ha, yonder.
rha, beyond this one; that is, the one in the foreground just
spoken of.
wawe, the rim or sharp ridge of the mesa.
330 See line 329.

Explanation by the Ku'rahus

We are told that long ago our fathers used to see the mesas; that
on their journeys with the Hako they passed by or over these flat-
topped mountains. This song has come down to us from that time.
As we have never seen mesas, we do not sing the song on the journey;
we sing if in the lodge of the Son, that we may not forget what our
fathers saw when they traveled far from where we now dwell.

Part UI. MotrHer Corn REASSERTS LEADERSHIP

Explanation by the Ku'rahus

The next two songs are in sequence.

When we have reached the borders of the country where the Chil-
dren dwell we sing the first song. We give an exclamation of thank-
fulness (Iri!) that we behold the land where they dwell. Mother Corn
had passed here when she was seeking the Son (second ritual), and
now she has led us to this place.

86 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
FIRST SONG

Words and Music

M. M. != 60.
+= Pulsation of the voice. Transcribed by Edwin 8. Tracy.

-o-

E I - ri! Ho-ra - ro. e pi-ra-
DiuMm.po se @0« 3 © ©2086 © @ © #2 eo 0 6086 © @ @
Rattles.) ee ee a

ee
oo. ~o.
ku-re ho-ra - ri! Ho - ra ro; ho - ra- ro e.
A A A A An A
e e e e eo e e e
eee aioe alee eae cle ele)
I I
331 Ha-a-a-a! 339 Ha-a-a-a!
332 Ivri! Horaro. Iri! Horaro. 336 Weri shu riwa, weri shu riwa wi;
333 Horaro e pirao kure horaro. 337 Shu riwa wi pirao, shu riwa wi;
334 Iri! Horaro; horaro e. 338 Weri shu riwa, shu weri wi.

Ill
339 Ha-a-a-a!
340 Weri huriwa, weri huriwa wi;
341 Huriwa wi pirao, huriwa wi:
342 Weri huriwa, huriwa wi.

Translation

51 Ha-a-a-a! An introductory exclamation.
332 Tri! Horaro. Iri! Horaro.
iri! a part of nawairi! an exclamation of thankfulness.
horaro, land, country.
333 Toraro e pirao kure horaro.
horaro, land, country.
e, a voeable used to fill out the measure
pirao, children; a general term.
kure, their.
horaro, country.
334 Tri! ‘Horaro; horaro e. See lines 332, 333.

335 Ha-a-a-a! An introductory exclamation.
336 Weri shu riwa, weri shu riwa wi.
werl, here, at this place.
shu, a part of the word ashuro, moccasin.
riwa, an impress, as an imprint made by moceasins on the soft
ground,
wi, many.

FLETCHER] FIFTH RITUAL, PART III 87

337 Shu riwa wi pirao, shu riwa wi.
shu riwa wi. See line 336.
pire 0, children; not necessarily one’s offspring.
shu riwa wi. See line 336.

338 Weri shu riwa, shu weri wi. See line 336.

Til

339 WHa-a-a-a! An introductory exclamation.
340 Weri huriwa, weri huriwa wi.
weri, here. ;
huriwa, walking.
wi, many.
341 Huriwa wi pirao, huriwa wi. See lines 357, 340.
342 Weri huriwa, huriwa wi. See line 340.

Explanation by the Ku'rahus

As we move on and enter the land of the Children we sing, in the
second stanza, about their footprints, the marks of their moccasins
where they have walked to and fro on the ground.

We may not actually see these marks, but the song represents us
as seeing them; Mother Corn has seen them, and she is leading us.

Farther on we sing in the third stanza that we see the Children
themselves walking over their land. Mother Corn can see them if we
do not; she has been here before; she knows all the people and can
reach them all, so she leads us where we can see them walking.

This song represents the Fathers coming to the country where the
Son lives. They first see his footprints; then they see him and his
kindred, the Children, walking about where they live. Sothe way is
made plain for us and we go forward.

When the village of the Children is in sight the following song is
sung. Mother Corn speaks in the first stanza and tells us she has
come again to this place. Her spirit had been here before when she
came seeking the Son. To-day we have arrived with her at this her
destination, and we give thanks to Mother Corn.

88 THE HAKO, A PAWNEE CEREMONY [ETH, ANN. 22

SECOND SONG

Words and Music
M. M. § —112.

— Pulsation of the voice. Transcribed by Edwin S. Tracy.
[a= =a z:
. To A Stays
A ti-ra sa-ka ri- ki a- wara-ti whi-cha: A ti-ra sa - kari- ki
Drum.% ps Py P e oe e )
praitemage peeps “Clips pia ip: APSE paths Caaeh sc eee

ie vee id sss hes So “==

=a Be vuewvee

a- wa ra-ti whi- ster I - ri! Ha-wa ra-ti whi-cha; A ti-ra_ sa- ka ri-ki
a2 6 ar ene eo 0¢ 6 @ ae ae oe
cae et ea el eh lea reece feat fuel wee ey je

a -wara-ti whi-cha; A ti-ra sa - ka ri- ki a - wara-ti whi-cha.
A A A A A h

‘ e eo e @ ° e ° ° 2

— — — ema Cs ca peer v ~ i

343 A tira saka riki awa rati whicha;
344 A tira saka riki awa rati whicha.
345 Tri! Hawa rati whicha;
346 <A tira saka riki awa rati whicha;
347 A tira saka riki awa rati whicha.
II
348 A tira saka riki awa rashihri whicha:
349 A tira saka riki awa rashihri whicha.
350 Iri! Hawa rashihri whicha:
351 <A tira saka riki awa rashihri whicha;
352 <A tira saka riki awa rashihri whicha.
Translation

I
345 A tira saka riki awa rati whicha.
a, a vowel sound introduced for euphony
tira, this.
saka, part of the word tarasaka, sun.
riki, standing; tira saka riki means this present time, to-day.
awa, again.
rati, a modification of the word itira, I coming.
whicha, arrived.
344 See line 343.
345 Tri! Hawa rati whicha.
iri! thanks! a part of the word na’wairi, thanks, thankful.
hawa, again.
rati, I coming; refers to Mother Corn.
whicha, arrived, reached the point of destination.
346, 347 See line 345.

FLETCEER] FIFTH RITUAL, PART IIL 89

348 A tira saka riki awa rashihri whicha.
a, a vowel sound used for euphony.
tira, this.
saka, sun; part of the word tara saka, sun.
riki, standing. tira saka riki, to-day, this present time.
awa, again.
rashihri, you have brought.
whicha, arrived, come.
349 See line 348.
300 Tri! Hawa rashihri whicha.
iri! an exclamation of thanks or thankfulness. <A part of
the word na’wairi, thanks, it is good.
hawa, again.
rashihri, you have brought.
whicha, arrived.
351, 352 See line 348.

Explanation by the Kwu'rahus

The second stanza says that Mother Corn has arrived, bringing
gifts for the Children. These gifts are not only the things in our
packs; but they are the promise of long life, of children, of plenty,
and of peace. It is for these that the Children will give thanks, and
we sing their thanks in this sone.

THIRD DIVISION. ENTERING THE VILLAGE OF THE SOY AND CONSE-
CRATING IIs LODGE

SIXTH RITUAL
Part I. THE Son’s MESSENGERS RECEIVED
Explanation by the Kw'rahus

When the messengers sent by the Fathers (third ritual) turned
homeward the Son began his preparations to receive the Ilako party.
Each of his relatives selected from among his ponies those which he
desired to present to the Fathers. The Son chose a messenger as his
representative to go out and receive the IHako party when it should
arrive within sight of the village. He also selected the little child
necessary to the performance of certain rites belonging to the fifth
morning of the ceremony. It could be one of his own children or the
child of a near relative. Finally, an earth lodge of suitable size was
secured, the occupants with all their belongings moving out for the
occasion.

In this vacated lodge the ceremony was to be performed and the
Fathers were to live day and night, for no member of the Hako party
ever separated himself from the sacred objects from the time of start-
ing on the journey until the close of the entire ceremony.

90 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

Every Pawnee village keeps certain men on the lookout to give
notice of the approach of strangers. As soon as the Hako party was
recognized one of these men ran with the news to the village. The
Son at once dispatched his messenger, bidding him go to the Fathers
and say, ‘‘I am ready.”

As soon as the Fathers discerned the messenger hastening toward
them, the Ku’rahus sent two men to meet him and conduet him to the
Ilako party.

A eushion was placed for bim to sit upon and a bowl of buffalo meat
was given him. While he ate, the Ku’rahus, his assistant, and the
chief, holding the sacred objects, sang the first stanza of this song.

SONG

Words and Music
M. M. \=116.
+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
Wo drum.

e
— :
Ho-o-0-0! = Ti-we ra-ku-she ti ha-o; Ti-we ra-ku-she ti ha-o;
aos >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 <a ——S — —=—
2 a re | rae es el =
“4 —- | eo SS —y-- = -—]— — —
5 SSS a SSS
His: at Ki-ru ra-ka eg Ki-ru ra-ka_ wi, ti ha-o?
Drum. 8 » § @ e ° a0 8 ererh Pern 3 °
Rattles. 0° ES me Ge Cele El oe ae
= A —— — — — ——_—_
=
—2—a= a

ti ha-o? Ki-ru ihe ki-ru- ra- ka wi?

202 @e 6 ee P)
Rea Neate Co ey eae Lol
I II
365 Ho-o-0-o! 370 Ho-o-o-o!
366 Kiru raka wi? 371 Tiwi reka wi!
367 Kairu raka wi, ti hao? 372 Tiwi reka wi, ti hao!
368 Kiru raka wi, ti hao? 373 Tiwi reka wi, ti hao!
369 Kiru raka, kiru raka wi? 374 Tiwi reka, tiwi reka wi!

Translation
I

365 Tlo-o-0o-o! An introductory exclamation.
366 Kiru raka wi?
kiru? where?
raka, a composite word; ra, where; ka, part of akaro, a lodge.
wi, is.
367 Kiru raka wi, ti hao?
kiru raka wi? See line 366.
ti, my.
hao, my own child, my offspring.
368 See line 567.
369 Kiruraka, kiru raka wi? See line 366,

0 HHo-o-0-0! An introductory exclamation.
1 Tiwi reka wi!
tiwi, here.
reka, a composite word; re, here; ka, part of akaro, lodge.

372 $Tiwi reka wi, ti hao!

tiwi reka wi. See line 371.

ti, my.

hao, my own child, my offspring.
373 See line 372
374 Tiwi reka, tiwi reka wi! See line 371.

FLETCHER} SIXTH RITUAL, PART II

Explanation by the Ku'rahus

When Mother Corn went in search of the Son (second ritual) sne
halted at the edge of the village where he lived. As we follow in the
path that she opened for us, we must do as she did. So, when we are
just outside the village, we halt and sing the first stanza. The words
mean, ‘‘ Where is the lodge of my Son wherein he sits waiting
for me?”

By the time we have finished singing, the messenger, who has
walked on in advance, has reached and entered the lodge set apart
for the ceremony.

When Mother Corn had decided which was the lodge of the Son
she made ready to enter the village and go to that lodge (second
ritual). Now, we follow her again and sing, as we walk, the second
stanza: ‘‘Here is the lodge of my Son wherein he sits waiting for me.”

When we arrive at the lodge we halt, for we must enter cere-
monially.

SEVENTH RITUAL

Part [. ToucHiInG AND CROSSING THE THRESHOLD
Explanation by the Ku'rahus

When the Son has dispatched his messenger to the Hako party, he,
with a few of his near relatives, enters the lodge set apart for the
ceremony, there to await the return of his messenger and the coming
of the Fathers.

He seats himself at the south side of the lodge near the door. This
is the humblest place, and he takes if to show that he is not seeking
his own honor. By the choice of him as the Son a very high honor has
been bestowed upon him, and his appreciation of this is shown by his
taking the seat of the lowliest and not assuming prominence before
the people.

When the Hake party arrive at the door of the lodge they halt and
await the ceremony of touching and crossing the threshold, for no one
can pass into the lodge until this has been performed.

At the doorway the three men stand abreast—the chief with the ear
of corn and the wildcat skin between the Ku’rahus and his assistant,
each bearing a feathered stem—and behind these stand the two doctors,
each with his eagle wing.

The Ku'rahus directs the chief to advance one step and to stand
upon the threshold while the first stanza of the next song is sung.

94 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
SONG

Words and Music
M. M. j= 08.
+ = Pulsation of the voice. Transcribed by Edwin 8. Tracy.

asso
Cae Scar
Ho-o-o! H’ A - ti-ra ra ko-ka, ri! H’A - ti-ra ra Tea zlka,

Drum @ 4,

Fa a

Ia BS ESS
ti-ra rako eae ril Wi ra a ae ri! H’A - ti-ra ra ko
FS EE tr. He tyne ee
1 Ill
375 Ho-o-o! 387 Ho-o-o!
376 H’Atira ra koka, ri! 888 Kawas i ra koka, ri!
377 H’ Atira ra koka, ri! 389 Kawas ira koka, ri!
378 H’Atira ra koka, ri! : 390 Kawas ira koka, ri!
379 Wira koka, ri! 391 Wi-ra koka, ri!
380 H’Atira ra koka, ri! 392 Kawas i ra koka, ri!
II IV
381 Ho-o-o! 393 Ho-o-o!
382 H’Atira ra koka, ri! 394. Kawas i ra koka, ri!
388 H’Atira ra koka, ri! 395 Kawas ira koka, ri!
384 H’Atira ra koka, ri! 396 Kawas i ra koka, ri!
385 We ra koka, ri! 397 Wera koka, ri
386 HH Atira ra koka, ri! 398 Kawasi ra koka, ri!

Translation of First Stanza

375 Tlo-o-o0! An introductory exclamation.
376 H’Atira ra koka, ri!
h’, asymbol of breath; ‘‘ breathing forth life.”
atira, mother. The term is applied to the ear of corn.
ra, moving, walking.
koka, enter.
ri, part of the word nawairi, an expression of thankfulness, of
confidence that all is well,
377, 378 See line 376.
379 + Wira koka, ri!
wi, now.
ra koka, ri. See line 376.
380 See line 376.

Explanation by the Ku'rahus

The words of this stanza mean that Mother Corn, breathing life,
has come to the entrance. She is now moving there, bringing the
promise of life, a promise that makes the heart of man glad, so we
give the cry of thankfulness as we sing: ‘‘ Nawairi!”

FLETCHER] SEVENTH RITUAL, PART I 95

This stanza is sung four times, for we are thinking that this prom-
ise of life given by Mother Corn is known to the powers of the four
directions. These powers give strength and make the promise sure.

When we have finished singing, the Ku’rahus tells the chief to take
four steps beyond the threshold within the entrance way. These
four steps are in recognition of the same powers.

While the chief stands there we sing the second stanza.

Translation of Second Stanza

381 To-o-o! An introductory exclamation.
382 WAtira ra koka, ri!
W’, asymbol of breath; ‘‘ breathing forth life.”
atira, mother; the term is applied to the ear of corn.
ra, moving, walking.
koka, entered.
ri, part of nawairi, an expression of thankfulness.
383, 384. See line 382.
385 We ra koka, ri!
we, it has.
ra koka, ri. See line 382.
386 See line 382.

Explanation by the Ku'rahus
1 Y
‘

The words of this stanza mean that Mother Corn has entered the
doorway of the lodge, she has walked within the entranceway with
her promise of life which makes the heart of man thankful.

Mother Corn has now opened the door of the lodge for-the entrance
of life, so we give the cry of thankfulness, ‘‘ Nawairi!”

This stanza is sung four times, and then the Ku’rahus tells the
chief to step backward out of the entrance way and to stand two
steps behind the Kuwrahus and his assistant, who now advance and
stand upon the threshold while the third stanza is sung.

Translation of Third Stanza

387 Ho-o-0! An introductory exclamation.
388 Kawas i ra koka, ri!
Kawas, the name used in this ceremony to designate the brown
eagle.
elites
ra, moving.
koka, enter.
ri, part of nawairi, an exclamation of thankfulness.
389, 390 See line 388.
391 Wivra koka, ri!
wi, now.
ra koka, ri. See line 388.

392 See line 385.

ile)
o>

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

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. <As we stand
facing the east the white-eagle feathered stem, on the right, toward the
south, represents brightness, the light, the day, the sun, and it is the
male. It is for defense and is carried on the side farthest from the
people. The brown-eagle feathered stem, Kawas, is to the left, toward
the north; it represents darkness, the night, the moon, and is the
female. awas is carried nearest the people. Kawas has the right
to make the nest and to seek help from Tira’wa for the Children.

Kawas leads in this ceremony, which is to ask for the gift of chil-
dren, not only that children may be born to us, but that the tie of
parent and child may be established between us and those to whom
we are bringing these sacred objects, that peace may be between the
tribes, and plenty and long life and prosperity. So we sing that
Kawas is hovering in the lodge, as an eagle hovers over her nest.

This stanza is sung slowly, for the eagle as it hovers is slow in its
movements.

Translation of Second Stanza

413 Tlo-o-o! An introductory exclamation.
414 Kawas tewi kire hera ti rao.
Kawas, the brown eagle, representing the beneficent. powers.
tewi, hovering, moving with a slow, circling movement.
kire, starting to fly.
hera, my.
ti, possessive pronoun.
rao, part of the word pirao, child.
415,416 See line 414.

Explanation by the Kw rahus

We sing the second stanza faster, for now Kawas has stretched her
mighty wings and is flying within the lodge, driving away all harm-
ful influences and making the place ready for all the good that is
promised to us through this ceremony.

When, on the fourth circuit, the west is reached, we pause and face
the east, but we continue to sing until we have repeated this second
stanza four times.

As soon as we have reached the west the two doctors with the eagle
wings move away, the one with the left wing going by the north and
the one with the right wing going toward the south. They raise and
lower the wings to simulate the eagle cleaning its nest, flapping and
blowing out all impurities. When the doctors meet at the east they

100 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

face the open entrance way and flirt the wings toward the opening, as
though brushing out something from the lodge. These motions mean
that Kawas has now cleared the lodge of all that is bad, of all disease
and trouble, and made the place ready for the coming ceremony.

Then the doctors join the Ku'rahus, his assistant, and the chief.

At the west, back of the fire, a space is now set apart and made
sacred. Ilere the wildcat skin is spread and at its head the crotched
stick is thrust into the ground; one end of the feathered stems is laid
against the crotch, the other upon the skin, and the rattles are placed
under the eagle pendants. The wings are laid on the edge of the
skin. In front of the wildeat the ear of corn is held in an upright
position by one of the sticks to which it is tied being thrust into the
ground. The sacred objects are always laid at rest in this position,
and are never left alone or unguarded.

The members of the Hako party now enter and place the packs
containing the ceremonial gifts at the north side of the lodge. Mean-
while the women of the party are busy pitching tents, for, as only ¢
few of the Hako party remain and live within the lodge, all the other
men must camp with their families in a place set apart for them.

The Ku rahus at this time appoints certain men to attend to special
duties.

Some are to bring wood and water and attend to the cooking.
They divide themselves into different groups, one for each day of
the ceremony, so that the work will be evenly distributed and there
will be no confusion or delays.

Others are appointed to fill the pipes for the Children to smoke.
To attend to this duty they are required to be always present in the
lodge.

Some eight or ten men are chosen to be in readiness to do any
work that may be demanded of them. For instance, if the crops of
the Children are being planted or gathered, these men are to attend
to this work, so that the Children can at all times be present at the
ceremony and suffer no loss.

A man is selected to notch a stick as a record of the number of
ponies presented to the Fathers and to whom each pony is given.

In this way the labor attendant upon the long ceremony is planned
and divided so that nothing will be neglected and there will be no
dispute or confusion.

While these appointments are being made the Son dispatches
runners to notify the people that the Hako party has arrived and to
bid his relatives come to the lodge.

FLETCHER] SEVENTH RITUAL 101

Part III. CLorHinG THE SON AND OFFERING SMOKE

Explanation by the Ku'rahus

The Ku'rahus orders that the pack containing the new garments
brought for the Son be opened, and he directs the chief to clothe the
Son. The embroidered shirt, leggings, and moccasins are then put
upon him and he is wrapped in a fine robe.

The Kw'rahus asks the priest of the shrine which controls the rain
to take its sacred pipe and direct the Son how to offer tobacco and
smoke to Tira’wa.

The priest fills the sacred pipe and carries it toward the south,
where he sits down beside the Son and instructs him what to do.

The Ku'rahus, his assistant, and the chief, bearing the sacred
objects, follow the priest and halt before the Son.

The priest puts the sacred pipe in the hand of the Son, and the
first stanza of the following song is sung. ;

FIRST SONG
Words and Music
M. M. }=52.

+= Pulsation of the voice. Transcribed by Edwin S. Tracy.
Slow. 5

= —— >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

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

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!

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 <r es Sf (ast re

EVe-e-e-c lV beings laa a auwhe ra —-hal asl whe rue =) as Hit-sri!
Dr NP P pp ane

BaRee (PUR ie tte ee tir: Soe

ce A = 5 3 ~~ 3 Z
Hi - ri! Wheri - a - a; wheri- a - a; wheri - a. Hi- ril
)

Plena: [Pf Oeacoee [Pie OR

112 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

456 He-e-e-e!

457 Wheria-a; whe ria-a; whe ria. Hiri!

458 Wheria. Hiri!

459 Wheria. Hiri!

460 Wheria. Hiri!

461 Wheria-a; wheria-a:; whe ria. Hiri!
II

462 He-e-e-e!

463 Whe ria-a; whe ria-a; whe ria. Hiri!

464 Wheria. Hiri!

465 Wheria. Hiri!

466 Wheria. Hiri!

467 Whe ria-a; whe ria-a; whe ria. Shpetit!

Translation

456 He-e-e-e! An introductory exclamation.
457 Whe ria-a; whe ria-a; whe ria-a. Hiri!
whe, now.
ria, flying and circling over something, as a nest.
a, vowel prolongation.
hiri! part of nawairi! thanks! The initial h is added for
euphony.
458, 459,460 Wheria. Hiri! See line 457.
461 See line 457.
II

462 He-e-e-e! An introductory exclamation.
463 See line 457.
464, 465, 466 See line 458.
467 Whe ria-a, whe ria-a, whe ria. Shpetit!
whe ria-a, whe ria-a, whe ria. See line 457.
shpetit, to light upon, as on a nest, and sit down upon it.

FLETCHER] EIGHTH RITUAL 1S

SONG

Words and Music
M. M. }=108.

+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
A A A
2 = = = SS Se SS Se ————
= = SS
le 4 oS Se = oe ery ===:

A < . ° 4 4 OY . : Sera

Hi - ri! Hawa ra-ti - ra. Hi - ri! Hawara-ti - ra! Hi tu-ka i ra-ra- spi!

A A ps

Drum. ? tr
Rattles

FA re De

ter rrr re rr nee

A Aes
f = SoS ES
—-—— = SS a
6 oC = ose S ~ ves es ws.
Hi - ri! Hawara-ti - ra. Hi- ri! Hawara-ti- ra! Hi tu-ka i ra-ra - spi.
A A

A
tf tr. P tr.

fgitrenees

I
468 Hiri! Hawaratira. Hiri! Hawa ratira!
469 Hi tuka i raraspi!
470 Hiri! Hawaratira. Hiri! Hawa ratira!
471 Hi tuka i raraspi!

II
472 Hiri! Hawa rassira. Hiri! Hawa rassira!
473 Hi tukai rarispi!
474 Hiri! Hawarassira. Hiri! Hawa rassira!

75 Hi tuka i rarispi!

Translation
I

468 Hiri! Hawa ratira. Hiri! Hawa ratira.
hiri! part of nawairi! an exclamation of thanks, gratitude, of
confidence that all is well. The initial h is added to iri
for euphony and ease in singing.
hawa, again.
ratira, coming.
469 Hi tuka i raraspi.
hi, it; refers to the eagle.
tuka, slantwise.
i, vocable to fill out the measure.
raraspi, very near to alighting, referring to the movements of
the eagle, which makes feints of descending upon her nest
and then rises again.
470 See line 468.
471 See line 469.
22 ETH—pPT 2—04——8

114 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
Il

472 Hiri! Hawarassira. Hiri! Hawa rassira!
hiri! an exclamation of thankfulness. See explanation in
line 468.
hawa, again.
rassira, you coming, or returning. Refers to the movements
of the eagle. After the feint of alighting she rises and
then she returns again preparatory to settling on her nest.
475 Hi tuka i rarispi.
hi, it; refers to the eagle.
tuka, slantwise.
i, vocable used to fill out the measure of the music.
rarispi, has alighted.
474 See line 472
475 See line 473.
SONG
Words and Music
M. M. )= 56.

- = Pulsation of the voice. Transcribed by Edwin S. Tracy.
A
== >=_=" =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

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.

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

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.

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.

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 = = —

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.

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

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.

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

——_

-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

660 Tio-o-0-o! An introductory exclamation.

661 I<i rura hi?

ki? where? & question.

rura, moving, traveling.

hi, a part of the word arushahi, arushaha, horse.
662 Ki rura-a, ki rura-a, ki rura-a hi?

kirura. See line 661.

a, vowel prolongation.

ki rura-a, ki rura-a hi. See lines 661, 662.
663 See line 661.
664 Ji rura-a, ki rura-a hi? See line 661.
665 Arushaha? Horse.

Translation of Second Stanza
II

666 Tlo-o-0-0! An introductory exclamation.
667 Iru ra-a.

iru, yonder moving.

ra, coming this way.

a, vowel prolongation.
668 Tru ra-a, iru ra-a, iru ra-a hi.

Tru ra-a, iru ra-a, iru ra-a. See line 667.

hi, a part of the word arushahi, arushaha, horse.
669 See line 667.
670 Tru ra-a, iru ra-a hi. See lines 667, 668.
671 Arushaha. Horse.

PLETCHER ] ELEVENTH AND TWELFTH RITUALS 147

Explanation by the Ku rahus

It may happen during the ceremony that a young man of the vil-
lage who is not a relative of the Son may desire to lay up for himself
an honor which will help him to advance his social position in the
tribe. He mounts a horse, rides to the lodge, and there makes a gift
of the animal to the Fathers. On such an oceasion this song is sung.

The words are few, but the meaning of the song has been handed
down to the Kurahus. It is not intended that everyone should know
all that these songs imply.

The first stanza means: Whence has he come? Where does he go,
he who rides his horse so fast? Who is the man?

The second stanza means: He is coming this way on his horse. Ie
is bringing it to the Fathers; he is in earnest to make them a gift.

TWELFTH RITUAL (SECOND NIGHT). THE RITES CAME BY A VISION
FIRST SONG

Words and Music
M. M. A=126.

+= Pulsation of the voice. Transcribed by Edwin S. Tracy.
a a ae
— << = i a es Si

< ; «

Ho-o0-0-0! Whi-tit ka- sha - ru, e-hra_ wi;

maemo ieee «ai pueee came cy
=. =

rae oe SSS = a

Whi-tit ka-sha - ru, ha! ki-ra re-hra wi;

= = =
pt o—es—|s-
Hi- ri! Ha-
I Ae ie cage TP A ca el ga a

igs f= ee el

SSS -_t@e_ ee a — as eo S =e —
ko - o! Whi-tit ka-sha -ru, ha! ki-ra re-hra wi; Ta ha-ol
Bereta ee fers = 88 ch ee Bin” pe euil

672 Ho-o-o-o!
673 Whitit kasharu, ha! kira rehra wi;
674 Whitit kasharu, ha! kira rehra wi:
675 Ta hao!
676 Hiri! Hako-o!
677 Whitit kasharn, ha! kira rehia wi:
678 Ta hao!

II
679 Ho-o-o-o!
680 Kutit kasharu, ha! kira rehra wi:
681 Kutit kasharu, ha! kira rehra wi;
682 Ta hao!
683 Hiri! Hako-o!
684 Kutit kasharu, ha! kira rehra wi:
685 Ta hao!

148 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22

Translation of First Stanza

672 Ho-o-o-o! An introductory exclamation.
673 Whitit kasharu, ha! kira rehra wi.
whitit, it is believed, it is supposed. The word implies a ques-
tion with the desire to know the truth of the belief.
kasharu, a composite word; ka, from rotkaharu, night; sharu,
dreams, visions.
ha! behold!
kira, accomplished or brought to pass.
rehra, I hold standing; present tense.
wi, from wirit, an article swinging. The word tells that the
artiele which the person stands holding is swinging in his
hand; this refers to the rhythmic swaying of the feathered
stems during the singing of the songs of the ceremony.
4 See line 675.
5 Ta hao!
ta, a part of kutati, my.
hao, offspring; my own child. The term refers to the Son.
676 iri! Hako-o!
hiri! give heed; harken.
Hako-o; Hako, the sacred articles of the ceremony; 0, vowel
prolongation.
677 See line 673.
678 See line 675.

Explanation by the Ku'rahus

This stanza asks about the origin of the Hako, about the account
which has come down to us that the Hako and its ceremonies were
sent by the powers above to our fathers through a vision.

We have been taught that in a vision our fathers were told how to
make the feathered stems, how to use them, how to sway them to the
songs, so that they should move like the wings of a bird in its flight.
It was ina vision that our fathers were told how they could cause a
man who was not their bodily offspring to become a Son, to be bound
to them by a tie as strong as the natural tie between father and son.

For this knowledge our fathers gave thanks and we give thanks,
for by this ceremony peace and plenty, strength, and all good things
come to the people.

Translation of Second Stanza

679 Ho-o-o-0! An introductory exclamation.
680 Kutit kasharu, ha! kira rehra wi.
kutit, itis; an assertion. The word gives a definite answer to
the implied question in the first word of the first stanza,
whitit. The belief, the supposition, is declared to be the
truth.
kasharu, ha! kira rehra wi. See line 673.

FLETCHER] TWELFTH RITUAL 149

681 See line 680.
682 See line 675.
683 Hiri! Hako-o! See line 676.
684 See line 680.
685 See line 675.
Explanation by the Ku'rahus

This stanza tells the Children that it is true that the knowledge of
this ceremony was given to our fathers by the powers above through
a vision. We speak of the vision as kasharu, because visions are apt
to come in the night when all is still; they then descend, pass over
the earth, and come to man.

This stanza also tells that the man to whom we have brought the
Hako is to be made a Son in the way our fathers were directed in the
vision.

None of the songs of this ceremony can be changed; they must be
sung accurately, just as they have been handed down to us, for the
words speak of the powers above and their gifts to us, and we must be
careful of such words.

SECOND SONG

Words and Music
M. M. N=116.

+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.

; | : ae SEATS,
= =—_-= —= —
ae —— 2S SE == — ==]
cove = =

= =
Ho-o-0-0! He! Hit-ka - sha-ru; He! Hit-ka = ru; Ta ki-ra ru te-

Batues. CEP AS oe aa eg (eel aie ig eile

ru he; Hel Hit-ka-sha-ru; He! Hit-ka-sha-ru: Ta ki-ra ru te - ru he;

aig (eiete ee id fa ae (em hr? ree ale (ely

He! Hit-ka-sha-ru; He! Hit-ka-sha-ru; Ta kira ru te-ru_ he.
A A A A A
ale f Pte f ie (Pte (? 6 a zy

686 Ho-o-o0-o!

687 He! Hitkasharu: He! Hitkasharu;
688 Ta kira ru teru he:

689 He! Hitkasharu; He! Hitkasharu;
690 Ta kira ru teru he;

691 He! Hitkasharn; He! Hitkasharu;
692 Ta kira ru teru he.

150

686
6OS7

685

6389
690
691

692

696
697
698
699

THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

693 Ho-o-o-o!

694 He! Hitkasharn; He! Hitkasharu:
695 Ta kira te ra-a he;

696 He! Hitkasharu; He! Hitkasharnu;
697 Ta kira te ra-a he;

698 He! Hitkasharu; He! Hitkasharu;
699 Ta kira te ra-a he.

Translation

Hlo-0-0-0! An introductory exclamation.
He! Hitkasharu; He! Hitkasharu.
he, an exclamation calling attention to a subject or a teaching.
hitkasharu; hit, from hittu, feather, referring to the birds that
attend the Hako; ha, part of rotkaharu, night; sharu,
dreams, visions. This composite word refers to the visions
or dreams brought by the birds that are associated with
the Hako.
Ta kira ru teru he.
ta, verily.
kira, brought to pass.
ru, it, the rite, or ceremony.
teru, is; the entire ceremony with its promises
he, voeable.
See line 687.
See line 688.
See line 687.
See line 688.
II
Tlo-0-0-o! An introductory exclamation.
See the first stanza, line 657.
Ta kira te ra-a he.
ta, verily.
kira, brought to pass.
te, it; the good promised through the ceremony.
ra-a, is coming.
he, voeable.
See line 687.
See line 695.
See line 687.
See line 695.
Explanation by the Ku'rahus

In this song we are told that verily it is a truth that everything per-
taining to this ceremony came through a vision. All the good, all the
happiness that comes to those who take part in these rites have been
promised in a dream, and the dreams which brought this ceremony
and its promises came from the east; they always descend from above
by that path.

FLETCHER] TWELFTH RITUAL ill

Were it not true that these dreams come to us and bring us all the
good things promised our fathers, we should long ago have abandoned
the Hako and its ceremony.

This song says to the Children: ‘‘As you listen you will have dreams
brought you by the birds represented with the Hako. The visions
will bring you help; they will bring you happiness. They are coming
to you from the east.”

SONG TO THE PLEIADES

Words and Music
M. M. uN = 116.
= Pulsation of the voice. Transcribed by Edwin S. Tracy.

f a ee 6

Ho-o0-0-o! We - ta ra-cha; ha!

Drum.ipese Oty
Rattles. WJ |

We -ta ra-cha; We-ta ra-cha,

: e ° e eo @ e ese
a | f f i f
. —< =< —— —

t —-

Fg as 5 = :
alate re cen ky os 3
Ru - to chi-ra - o! Ha! Wi-ra; ha! Ha! We-ra; ha!

A ,
e e e e

A A A q A |
‘ ene ° e e ° e e CaP elie if é 2 2
700 Weta racha; ha!
701 Weta racha; weta racha;
702 Chaka-a!
703 Ruto chirao! Ha! Wira: ha!
704 Weta racha; weta racha;
705 Chaka-a!
706 Ruto chirao! Ha! Wera; ha!
Translation

700 Weta racha, ha!
weta, coming, advancing.
racha, rising, moving upward.
ha! look! behold!
7Ol Weta racha; weta racha;
weta racha. See line 700.
702. Chaka-a! The name of the Pleiades.
703 Ruto chirao! Ha! Wira, ha!
ruto, itis. ‘‘It” refers to the coming of the constellation.
chirao, good, well.
ha! behold!
wira, wera, them coming.
ha! behold!
704 Weta racha; weta racha; See line 700.
705 Chaka-a! See line 702.
706 la! Wera; ha! See line 703.

152 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

Explanation by the Kwrahus

When, during the ceremony of the Hako, the Pleiades appear above
the horizon, this song must be sung. If, when the coming of these
stars is reported, we should be singing, we must break off at the third
stanza and sing this song for the fourth circuit of the lodge.

This song to the Pleiades is to remind the people that Tira’wa has
appointed the stars to guide their steps. It is very old and belongs
to the time when this ceremony was being made. This is the story to
explain its meaning which has been handed down from our fathers:

A man set out upon a journey; he traveled far; then he thought
he would return to his own country, so he turned about. He traveled
long, yet at night he was always in the same place. He lay down
and slept and a vision came. A man spoke to him; he was the leader
of the seven stars. He said: ‘‘Tira’wa made these seven stars to
remain together, and he fixed a path from east to west for them to
travel over. He named the seven stars Chaka. If the people will
look at these stars they will be guided aright.”

When the man awoke he saw the Pleiades rising; he was glad, and
he watched the stars travel. Then he turned to the north and reached
his own country.

The stars have many things to teach us, and the Pleiades can guide
us and teach us how to keep together.

We sing this song four times as we make the circuit of the lodge;
then we lay the Hako down to rest upon the holy place and sing the
songs which belong to that action.

The following songs can be sung at night after the regular song has
been completed, if the Children should eall for them:

EXTRA NIGHT SONG

Words and Music

M. M. N=132.
= = Pulsation of the voice. Transcribed by Edwin S. Tracy.
jie =
as SES oo 1
e
Ho-o-o! Hi-ri! Ka-sha-ru ka-ta-sha-a; ha! Hi-ri! Ka-sha-ra ka-ta-sha-a -
Drum. A , A A -
Biaste te tee Bie cin) tie, | Panes ee eereso eee
—y§-—— —— a— —p- = = ___—__ -4 ——
a —s — ———_ = ——=—— >=
= 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!

~ 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!

~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

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,
>
)

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 <Atira! Atira hira-a.
Atira! Atira hira. See line 738.
a, vowel prolongation.

742 Wa-a-a-a-a-a! An introductory exclamation.
743 Hitkasharu, Hitkasharu, iri!
hitkasharu, a composite word; hit, from hittu, feather; ka,
from rotkaharu, night; sharu, dream. The word refers
to dreams brought by the birds that attend the Hako. As
the song refers to war, the word refers to the white eagle
stem, the male, the warrior, the dream that attends that
eagle.
iri! a part of the exclamation nawairi! expressing thankful-
ness that all is well.
744 Hiri! Hiri! Ri raii;
hiri! harken! give heed!
ri, has.
rai, coming; in the future.
i, it.
745 Sawi rare ka wara, sawi rare ka wara. See first stanza, line 740.
746 See line 743.

Explanation by the Ku'rahus

There are not many words to this song, but the meaning and the
story have been handed down from our fathers.

The first stanza tells of a war party which started out carrying
Mother Corn. <As the warriors left the village the old men wished
them good luck, and said: ‘‘ Mother Corn will be like a snare to
entangle the enemy, so that they will fall easily. Mother Corn will
be like a trap into which the enemy will fall and out of which there
will be no escape.”

The young men started and took a straight course for the enemy’s
country; they knew the land and they went directly there, but they
found nothing. They went to the east, there was nothing. They
turned to the west, there was nothing. They traveled to the north,
there was nothing. They went to the south, there was nothing. Then
they made their way back to the point from which they had started
on the border of the enemy’s land.

The leader said: ‘‘I am worn out, our moceasins are in holes, we
are without food, we must turn back. We will return to our home
tomorrow.”

That night they lay down and slept. The leader placed the pack
with the ear of corn under his head, and with a heavy heart he fell
asleep.

The second stanza tells that in the night the ear of corn spoke to
the leader in a dream and said: ‘‘Tira’wa bade me test you, and I

FLETCHER] TWELFTH RITUAL 159

have been putting you on trial. I am able to bring strength to the
people, the gift of life, and good fortune and success in war. I caused
all your misadventures that I might try your courage. Now, you
shall not go home on the morrow. If you should, the people would
say, ‘Mother Corn is powerless.’ In the morning you must do as I tell
you. You must go toward the southeast; there you will come upon a
village where the people have many ponies; these you shall capture
and return safely and in triumph, and learn that I have power to lead
to success.”

The leader did as Mother Corn had directed, and everything came
to pass as she had said.

This song has no fixed place in the ceremony but it must be sung
at night, because the dream came at that time to the warrior.

The next song is about aman to whom Mother Corn came ina dream;
it happened very long ago. The song and the story are very old and
have come down to us from our fathers, who knew this ceremony.

Mother Corn spoke to this man in his dream. Weare not told what
she said to him, but when he awoke he started out to find the man in
whose keeping was a shrine containing the ear of corn. As he walked
he met a man and asked him, ‘‘Is it far to the lodge where the corn
is?” The man pointed to a lodge some distance off and said, ‘It is
within.” Then the man who had had the dream walked toward the
place. Ashe entered the lodge he saw a shrine hanging on one of the
poles and he asked the keeper if it contained the sacred ear of corn,
and he was told that it did. Then he took his pipe and offered smoke
and prayer in the presence of the corn; because Mother Corn had
appeared to him ina dream and had spoken to him he came to offer
her reverence.

EXTRA NIGHT SONG
Words and Music
M. M. N=196.

+= Pulsation of the voice. Transcribed by Edwin S. Tracy.
i
———————————— |
a i
E- ru! Ra hi ra Nis erUemn rabees: e; E = ru! Ra hi ra
Drum. & 3 a 6) Of Uw) op ° eo «6 > 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.

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.

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

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

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!

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! <An introduetory exclamation.
782 Ka-a kaharu ko ti sha-a; ha!
ka, part of akaro, the stretch of land between ‘the horizons.
a, vowel prolongation.
kaharu, cultivated patches, where the corn is planted.
ko, I am reminded to think of.
ti, here.
sha, part of rasha, lies, lying.
a, vowel prolongation.
ha! behold!
83 See line 782.
784. Awa! Ko ti sha-a; ha!
awa, true, verily.
ko ti sha-a; ha! See line 782.
785 See line 782.

166 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

Explanation by the Kw'rahus

In the fourth stanza the Children answer that the fruitful fields are
brought to mind, and now they are taught about the gifts of the corn
from the powers above and Mother Earth.

Translation of Fifth Stanza

786 Ho-o-o! An introductory exclamation.
787 «Tri! Toharu ti rasha-a; ha!
iri, from nawairi, thankfulness.
toharu, trees, forests.
ti, this here.
rasha, lying.
a, vowel prolongation.
ha! behold!
788 See line 787.
789 Awa! Tirasha-a; ha!
awa, true, verily.
ti rasha-a; ha! See line 787.
790 See line 787.
Explanation by the Ku'rahus

In the fifth stanza the Fathers give thanks for the trees and forests
which lie on Mother Earth, which Tira’wa caused her to bring forth,
and tell the Children that truly it is so, and that we give thanks
because it is so. From the trees we gain shelter and fire and many
other good things.

Translation of Sixth Stanza

791 Ho-o-o! An introductory exclamation.
792 Iri! Toharu ko ti sha-a; ha!
iri, from nawairi, thankfulness.
toharu, trees, forests.
ko, [am reminded to think of.
ti, here.
sha, from rasha, lying.
a, vowel prolongation.
ha! behold!
793 See line 792.
794 Awa! Koti sha-a; ha!
awa, true, verily.
ko ti sha-a; ha! See line 792.
795 See line 792.
Explanation by the Ku'rahus

The Children respond in the sixth stanza, and give thanks for the
forests that lie on Mother Earth. They remember that Tira’wa atius
caused Mother Earth to bring them forth, and they give thanks that
it is so.

FLETCHER] THIRTEENTH RITUAL, PART II 167

Translation of Seventh Stanza

796 Ho-o-o! An introductory exclamation.
797 «Tri! Chaharu ti rasha-a; ha!
iri, from nawairi, thankfulness.
chaharu, rivers, streams, water.
ti, here.
rasha, lying.
a, vowel prolongation.
ha! behold!
98 See line 797.
99 Awa! Ti rasha-a; ha!
awa, true, verily.
ti rasha-a; ha! See line 797.
800 See line 797.

Kaplanation by the Ku'rahus

In the seventh stanza the Fathers give thanks for the water, the
springs, streams, and rivers which flow over Mother Earth. Of a
truth she brings them forth by the power of Tira’wa atius. I have
told you of the meaning of running water. We give thanks for it
and all it promises to us.

Translation of Highth Stanza

801 Ho-o-o! An introductory exclamation.
802 Iri! Chaharu ko ti sha-a; ha!
iri, from nawairi, thankfulness.
chaharu, rivers, streams, springs, water.
ko, I am reminded to think of.
ti, here.
sha, from rasha, lying.
a, vowel prolongation.
ha! behold!
803 See line 802.
804 Awa! Ko ti sha-a; ha!
awa, true, verily.
ko ti sha-a; ha! See line 802.
805 See line 802.

Hxplanation by the Ku'rahus

In the eighth stanza the Children answer, giving thanks for the
water, the springs, the streams, and the rivers that flow over Mother
Earth. Of a truth the Children now know that Mother Earth brings
them forth by the power of Tira’wa atius. (I did not sing these last
two stanzas loud, for if I had done so they would have brought rain.
As it is I think it will rain soon.)

168 THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22

Part III. OFFERING OF SMOKE

At the close of the song to Mother Earth the chief spreads the wild-
eat skin on the holy place and the assistant lays upon it the white
feathered stem, resting one end on the crotched stick.

Then the Ku’rahus says: ‘‘ My Children, your fathers are listening
to what I have tosay. Yesterday we remembered our father the Sun,
today we remember our mother the Earth, and today Tira’wa has
appointed that we should learn of those things which have been
handed down to us. Tira’wa is now to smoke from the brown-eagle
stem, Kawas, the mother, and you are to smoke from if also.”

The bowl from the pipe belonging to the Rain shrine is put on
the brown-eagle stem and the priest of the shrine fills it and calls
on some one to light it. He also directs in what order the smoke
shall be offered. I ean not remember the order—if I said anything
about it I might tell it wrong, for it is not my business to remember it,
the priest alone knows it.

After the offering of smoke as directed by the priest, the feathered
stem is taken to the Son, who sits near the door, and after he has
smoked the pipe is offered to everyone; all the men, women, and
children of the Son’s party smoke. This is a holy act and gives long
life to the people.

When the west is reached, the feathered stem is lifted four times
and the ashes are emptied on the edge of the fireplace. The Ku'ra-
hus then hands the feathered stem to his assistant and returns to his
seat, where he takes the feathered stem from his assistant, removes
the bowl and replaces if upon its own stem. Then he puts the
feathered stem beside its mate on the wildcat skin, resting it against
the crotched stick.

Part 1V. Sonas oF THE BIRDS
Explanation by the Ku'rahus

The songs about the birds begin with the egg, so the song of the
bird’s nest where the eggs are lying is the first to be sung. Then
comes the song about the wren, the smallest of birds. After that we
sing about the birds that are with the Hako, from the smallest to the
largest.

These songs are to teach the people to care for their children, even
before they are born. They also teach the people to be happy and
thankful. They also explain how the birds came to be upon the
feathered stems and why they are able to help the people.

There is no fixed time for these songs to be sung, but they belong
to the third day of the ceremony—the day when we sing the song to
Mother Earth. Sometimes the songs of the nest and the wren are
sung early in the day, as these songs were made in the morning.
The song of the owl must be sung toward night.

FLETCHER] THIRTEENTH RITUAL, PART IV 169
The words of these songs are few, but the story of each has come
down to us, so that we know what they mean.
THE SONG OF THE BIRD'S NEST

Words and Music
M. M. N= 160.
Graphophone sound one fourth lower in pitch.

+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
No drum.
—— == ae ——— —
leek SF = : == =S=e 2 See =
a CLT
Ho-0o-0 - o-o! ’Ha-re, ’ha - re, i - ha- re! "Ha - re, "ha - re,

i wha-ka, ’ha-re, re *ha - re, Wha-ka
fl SS SSS = == ==e =
— = Se or ln
*ha - re, re ‘ha - re, Re wha-ka ’ha-re, re *ha - re.
1 li
806 Ho-0-0-0-o! 812 Ho-0-0-0-0!
807 °Hare, ‘hare, iha’re! 813 ‘Hare. ‘hare, iha’re!
808 ~*Hare, ‘hare, iha're! 814 “Hare, *hare, ira’re!
809 Re whaka ‘hare, re ‘hare, 815 Re whari ‘hare, re “hare,
810 Whaka ’hare, re ‘hare, 816 Whari ‘hare, re ‘hare,
811 Re whaka ‘hare, re ‘hare. 817 Re whari “hare, re “hare.

Translation
I

806 Ho-0-0-0-0! An introductory exclamation.
807 ~Hare, “hare, iha’re!
‘hare, a part of the word iha’re, young, as the young of ani-
mals. The term is also applied to children.
iha‘re, young. The word in the song refers to the young
birds as yet unhatched, still in the egg.
808 See line 807. :
809 Re whaka hare, re hare!
re, they.
whaka, wha, part of whako, noise; ka, part of akaro, inclo-
sure, dwelling place; ka refers to the shell of the egg and
to the nest in which the eggs lay.
*hare, young.
re’hare. Translated above.
810 Whaka hare, re hare. See line 809.
811 See line 809.

170 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22

812 Ho-o-0-0 0! An introductory exclamation.
813 ’Hare, *hare, iha’re! See line 807.
814 See line 813.
815 Re whari ’hare, re *hare.
re, they.
whari, moving, walking.
*hare, part of iha’re, young.
re hare. Translated above.
816 Whari’hare, re’hare. See line 815.
817 See line 815. :

Explanation by the Kw'rahus

One day a man whose mind was open to the teaching of the powers
wandered on the prairie. As he walked, his eyes upon the ground,
he spied a bird’s nest hidden in the grass, and arrested his feet just
in time to prevent stepping on it. He paused to look at the little
nest tucked away so snug and warm, and noted that it held six eggs
and that a peeping sound came from some of them. While he
watched, one moved and soon a tiny bill pushed through the shell,
uttering ashrillery. Atoncethe parent birds answered and he looked
up to see where they were. They were not far off; they were flying
about in search of food, chirping the while to each other and now and
then calling to the little one in the nest.

The homely scene stirred the heart and the thoughts of the man as
he stood there under the clear sky, glancing upward toward the old
birds and then down to the helpless young in the nest at his feet. As
he looked he thought of his people, who were so often careless and
thoughtless of their children’s needs, and his mind brooded over
the matter. After many days he desired to see the nest again. So
he went to the place where he had found it, and there it was as safe
as when he left it. Buta change had taken place. It was now full
to overflowing with little birds, who were stretching their wings, bal-
ancing on their little legs and making ready to fly, while the parents
with encouraging calls were coaxing the fledglings to venture forth.

“Ah!” said the man, ‘‘if my people would only learn of the birds,
and, like them, care for their young and provide for their future,
homes would be full and happy, and our tribe be strong and_pros-
perous.”

When this man became a priest, he told the story of the bird’s nest
and sang its song; and soit has come down to us from the days of our
fathers.

-I
e

FLETCHER] THIRTEENTH RITUAL, PART IV 1

THE SONG OF THE WREN

Words and Music
M. M. Melody. j= 54.

M. M. Drum. N= 108. Transcribed by Edwin S. Tyacy.
A h
fl ae = = Sep SN =J SSS ===
aa ia = —- we @# (Ce Oa es 28 -e. ee ee Oa
Pad . ~
Ki-chi ru-kuwa-ku,Wheke re re we chi; Ki-chi ru-ku wa-ku,
Peers 26 ° e ° e o e ° 0 8 ¢ °
atiles. Bo ne eR lpg ele pe SE eg
— = = SS SSS SS SSS
lé =e o o 2 ES = : = a = =
=: Se ee, eh ee S
: en As
Whe ke re re we chi; Ki-chi ru-ku wa-ku,Wheke re re we chi;
‘ ° é ° ° ° e@ e
= == == === = ==
a ee Oe:
ke re re we chi; Ki-chi ru-ku wa-ku,
A A

a e— 2 2— 2 — a — = =
r ie f . atl . = — rs
Whe ke re re we chi; Ki-chi ru-ku wa-ku,Wheke re re we chi.
A A A A A A
e a s e ea @ eo ae eo
RIP eT sf ati 2 ee a a

818 Kichi ruku waku, Whe ke re re we chi:

819 Kichi ruku waku, Whe Ee re re we chi;

820 Kichi ruku waku, Whe ke re re we chi;

821 Kichi ruku waku, Whe ke re re we chi:

822 Kichi ruku waku, Whe ke re re we chi;

823 Kichi ruku waku, Whe ke re re we chi.
Translation

818 Kichi ruku waku, Whe ke re re we chi.
kichi, so it; but this one.
ruku, sang.
waku, sound from the mouth, speech.
whe ke re re we chi, syllables imitative of the sound of the
bird.
819-823 See line 818.

Explanation by the Ku'rahus

The wren is always spoken of as the laughing bird. It is a very
happy little bird, and we have stories about it. Every one likes to
hear the wren sing. This song is very old; I do not know how old,
how many generations old. There are very few words in the song,
but there is a story which has come down with it and which tells its
meaning.

A priest went forth in the early dawn. The sky was clear. The
grass and wild flowers waved in the breeze that rose as the sun threw

We THE HAKO, A PAWNEE CEREMONY ETM. ANN. 22

its first beams over the earth. Birds of all kinds vied with one
another as they sang their joy on that beautiful morning. The priest
stood listening. Suddenly, off at one side, he heard a trill that rose
higher and clearer than all the rest. He moved toward the place
whence the song came that he might see what manner of bird it was
that could send farther than all the others its happy, laughing notes.
As he came near he beheld a tiny brown bird with open bill, the
feathers on its throat rippling with the fervor of its song. It was the
wren, the smallest, the least powerful of birds, that seemed to be
most glad and to pour out in ringing melody to the rising sun its
delight in life.

As the priest looked he thought: ‘‘ Here is a teaching for my people.
Everyone can be happy; even the most insignificant can have his
song of thanks.”

So he made the story of the wren and sang it; and it has been handed
down from that day, a day so long ago that no man can remember the
time.

THE SONG OF THE WOODPECKER AND THE TURKEY

Words and Music
M. M. P=108,

+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
4
Sips
a
~—=
Ho-o-o! T-ra-ri ha-o ra; i-ra-riha-o ra;
Drum. 0 @ ° earn vere oF) ° pee
reastlent eal elite eee SESE SCS ee een

e
es — eee

824 Ho-o-o!

825 TIrari hao ra; irari hao ra; irari hao ra;
826 Ka korashe hao? Re kutati hao;

827 Irari hao ra: irari hao i.

Translation

824 Tlo-o-o! An introductory exclamation.
825 Irari hao ra; irari hao ra; irari hao ra.
irari, brother.
hao, offspring, child.
ra, coming.
826 Ka korashe hao? Re kutati hao.
ka? is? a question.
korashe, your.
hao, offspring. Is it or are they your offspring?
re, they.
kutati, my or mine.
hao, offspring. They are my offspring.

“I
isu)

FLETCHER] THIRTEENTH RITUAL, PART IV 1

827 Irari hao ra; irari hao i.
Irari hao ra; irari hao. See line 825.

——

Explanation by the Ku'rahus

We are told that in old times, long, long ago, the feathers of the
turkey were used where now the feathers of the brown eagle are
placed on the blue feathered stem. In those days the turkey, not the
brown eagle, was leader, but, through the mysterious power of the
woodpecker, the turkey lost its position. This song refers to the dis-
pute between the woodpecker and the turkey, which resulted in the
supplanting of the turkey by the brown eagle.

The words of the song are few, but the story of their meaning has
come down to us from the fathers.

Both the turkey and the woodpecker desired to be the protector of
the children of the human race, and there was trouble between them
on that account. One day the woodpecker was flying about looking
for its nest when the turkey chanced that way and the woodpecker
ealled out: ‘‘ Brother, where are my eggs?”

The woodpecker talked of his eggs, but he meant the children of
the people on the earth and the turkey knew that was what he was
talking about.

“They are not your eggs (offspring); they are mine,” said the wood-
pecker.

“They are mine to take care of,” answered the turkey; ‘‘for in my
division of life there is great power of productiveness. I have more
tail feathers than any other bird and I have more eggs. Wherever I
go my young cover the ground.”

“True,” replied the woodpecker, ‘‘ but you build your nest on the
ground, so that your eggs are in constant danger of being devoured
by serpents, and when the eggs hatch the young become a prey to the
wolves, the foxes, the weasels; therefore, your number is continually
being reduced. Security is the only thing that can insure the con-
tinuation of life. I can, therefore, claim with good reason the right
to care for the human race. I build my nesf in the heart of the tall
oak, where my eggs and my young are safe from the creatures that
prey upon birds. While I have fewer eggs they hatch in security and
the birds live until they die of old age. It is my place to be a pro-
tector of the life of men.”

The woodpecker prevailed, and the turkey was deposed; for,
although the turkey had more children, they did not live; they were
killed.

Then the brown eagle was put in the turkey’s place, because it was
not quarrelsome, but gentle, and cared for its young, and was strong
to protect them from harm.

The woodpecker was given an important place on the stem, where
it presides over the path along which the help that comes from the

174 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

Hako travels—the red path. The woodpecker is wise and careful,
and, that it may not get angry and be warlike on the Hako, its upper
mandible is turned back over its red crest.

The Hako ceremony was given in a vision, and all these things,
such as the dispute between the turkey and the woodpecker, were
made known to our fathers in a vision.

THE SONG OF THE DUCK
Words and Music
M. M. 2 104.
+ = Pulsation of the voice. Transcribed by Edwin 8. pe

oe TA vs es

ae 0-0-0! Huka wa-re, hu-ka ware ho - ra; Ha! Wi - ri hu-ka-ha -

Dr A A
Pema ies (ai aie (2h Ma Lie ap Ie

ru we; Ha - o e! Hu-ka wa-re, hu-ka wa-re_ ho - ra;

Op iaiy eae i le ee os

=
Ha! Wi - ri a= ha ha ra-we we; aa eG e!
? e e e o ° 3 ia o o » Qe

828 H-o-o-o!

829 Huka ware, huka ware hora;
830 Ha! Wiri hukaharu we:

831 Hao e!

882 Huka ware, huka ware hora;
833 Ha! Wiri aha ha rawe we:
834 Hao e!

Translation

828 Ho-o0-0-o! An introductory exclamation.
829 Huka ware, huka ware hora
huka, a part of the word hukaharu, valley, a valley through
which a stream is flowing.
ware, a part of teware, flying.
hora, a part of the word horaro, the earth, the land
830 Ha! Wiri hukaharu we.
ha! behold!
wiri, it is.
hukaharu, a valley through which a stream flows.
we, they; refers to the young of the duck.
831 Hao e!
hao, offspring.
e, voeable.
832 See line 829.

FLETCHER } THIRTEENTH RITUAL, PART IV 1

833 Ha! Wiri aha ha rawe we.
ha! wiri; behold! it is.
aha, a part of kiwaharu, a pond, a small body of water.
ha, a part of iha’re, young; refers to the young of the duek.
rawe, living in.
we, they.
834 See line 831.
Explanation by the Ku'rahus

The words of this song about the duck are few, and if the story had
not come down to us from the fathers, we should not know all that
the song means.

The duck has great power. The story tells us about this power.

Long ago when the feathered stems were being made, the holy man
who was preparing these sacred objects had a dream. In his vision
the duck with the green neck appeared and said to him:

‘“*T desire to have a place upon the feathered stem, for I have power
to help the Children. This is my power: I lay my eggs near the water
and, when the young are hatched, straightway they can swim; the
water can not kill them. When they are grown they can go, flying
through the air, from one part of the earth to the other. No place is
strange to them; they never lose their way; they can travel over the
water without harm and reach safely their destination. They can
walk upon the land and find the springs and streams. J am an uner-
ring guide. I know all paths below on the earth, and on the water and
above in the air. Put me on the feathered stem where it is grasped by
the hand, that the Children may take hold of me and not go astray.”

When the holy man awoke, he did as the duck had told him, and
so to this day we put the duck with the green neck on the feathered
stem where it is held by the hand.

This is the meaning of the song.

THE SONG OF THE OWL

Words and Music

M. M. N= 168.
+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
= ——————— SSS SS = SS SSS
i A — == fe 2 — —— =E
Se Sz = = ==
e —F = oe. = oe
He! Hi - ri wa -ho - ru! Jebh Jit o sa wa-ho - ru!

pune bop hep typ bop bp he be
es == Se

CSS SS 3S70
— me =i

He! Hi-ri wa-ho-ru! Hi, hi- ri wa-ho- ru! Hel! Wa-ho-ru.

ee eee Pk

—
—
=
q
=

HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

835 He! Hiri wahoru! Hi, hiri wahoru!
836 He! Hiri wahoru! Hi, hiri wahoru!
837 He! Wahorn.

Translation

835 He! Hiri wahoru! Hi, hiri wahoru!
he! anexclamation signifying that something has been brought
to one’s mind that should be reflected on.
hiri; iri, a part of nawairi, an expression of thankfulness, of
appreciation of good promised, or of some benefit to be
derived; the initial letter h is added for euphony and ease
in singing.
wahoru, owl.
hi, the same as hiri, translated above.
856 See line 835.
837 He! Wahoru! See line 8:

Explanation by the Ku'rahus

In this song we give thanks to the owl, for it gives us help in the
night. We sing it twice; the first time it is sung very slowly; the
second time it is sung very fast, as we sing a dance song.

The meaning of the song has come down to us from the fathers;
the words tell very little about the song.

To the same holy man to whom the duck came in a vision, the owl
spoke in a dream and said:

‘“Put me upon the feathered stem, for I have power to help the
Children. The night season is mine. I wake when others sleep. I
can see in the darkness and discern coming danger. The human race
must be able to care for its young during the night. The warrior
must be alert and ready to protect his home against prowlers in the
dark. I have the power to help the people so that they may not
forget their young in sleep. I have power to help the people to be
watchful against enemies while darkness is on the earth. Ihave power
to help the people to keep awake and perform these ceremonies in the
night as well as in the day.”

When the holy man awoke, he remembered all that the owl had said
to him, and he put the owl’s feathers upon the stem, next to the duck.
So the people are guided by the duck and kept awake by the owl.

FLETCHER] THIRTEENTH RITUAL, PART IV 17

SONG OF THANKFULNESS

Words and Music
M. M. N=132.

+ = Pulsation of the voice. Transcribed by Edwin S. eee:
———e
iors SS Sees Oe ee en
= =a 2
Ho-o-0-0! J-ri! Ha-ko ti re-hra_ re-ki; I-ri! Ha-ko ti re-hra_ re-ki;
Drun.pebe8 0@ @ @ ao 0 £6 oe oe 6¢e oe # 66 we
Rattles.) oj hee = — i — — =
+h
———— == =
e=Ss3 = : == ==> ==—=
I - ri! Ha-ko tire-hra re-ki; J - ri! Ha-ko tire-hra re-ki.
eo 2° 26 @ exe ‘ ° , e eke a eo fap oe i 12
I II
838 Ho-o-o-o! 8483 Ho-o-o-o!
839 Iri! Hako ti rehra reki; 844 Iri! Hako ti resstah riki;
840 Tri! Hako ti rehra reki; 845 Tri! Hako ti resstah riki;
841 Iri! Hako ti rehra reki; 846 Tri! Hako ti resstah riki;
842 Iri! Hako ti rehra reki. 847 Iri! Hako ti resstah riki.

Translation of First Stanza
838 Ho-o-0-0! An introductory exclamation.
839 Iri! Hako ti rehra reki.
iri! a part of the word nawairi, an expression of thankful-
ness; ‘‘It is well!”
Hako, all the symbolic objects peculiar to this ceremony.
ti, me (present time).
rehra, a part of rehrara, I have.
reki; re, pertaining or belonging to me; ki, a part of riki,
standing.
840-5842 See line 839.

Explanation by the Ku'rahus
This stanza means that it is well, a cause of thankfulness, that all
the birds and all the symbols are here with the Hako and able to
bring good. The Fathers now stand with the complete Hako extend-
ing to the Children the promised blessings. So we sing: ‘I stand
here before you with the Hako!”

Translation of Second Stanza
845 Ho-o-0-0! An introductory exclamation.
S44 IJri! Hako ti resstah riki.
iri! it is well! An exclamation of thankfulness.
Hako, all the symbolic articles belong to this ceremony.
ti, me (present time).
resstah, you hold.
riki, standing.
845-347 See line 844.

22 erH—pr 2—04 12 .

4
-~I
OO

THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22

Explanation by the Kwrahus

In this stanza the Children reply: ‘‘It is well for us that you are
here with the complete Hako!”
The Fathers sing these words, but they are really from the Children.

FOURTEENTH RITUAL (THIRD NIGHT). INVOKING THE VISIONS OF THE
ANCIENTS

Explanation by the Ku'rahus

This ceremony was given to our fathers in a vision, and to our
fathers the promise was made that dreams bringing happiness would
be brought to the Children by the birds that are with the Hako.
This promise given to our fathers is always fulfilled; happiness always
comes with the Hako, and the Children have visions.

When the ceremony is near the end (the third night) we sing this
song, for we remember the visions of our fathers, the holy men to
whom was taught this ceremony. We ask that the visions which
came to them may come again to us.

SONG

Words and Music
M. M. N=126.

+ = Pulsation of the voice. Transcribed by Edwin 8. Tracy.
= a ey : = = : 4
se = =——e= 5a o_o oa I| Ka= E
== a * ts 5 es =
Ha-a-al Ra - ra wha-ri; Hit-ka - sha-ru, ra - ra wha-ri;Hit-ka - sha-
Drum. p ° ar) 3 so: be e a0 @ se
FA cal idle ete (ep et ice a a ee
Ko = SS BE — =
= ERS eo {E ir ff
owe ane
ru! Hi-ri! H’A-ti-a si...... ha-wa ra - ra wha-ri, Hit-ka - sha-ru
- ; , R
Cees Ee a ar, RAP eC cai ieee aoe eam
I iil
848 Ha-a-a! 860 Ha-a-a!
849 Rara whari; 861 Rara whicha;
850 Hitkasharu, rara whari; 862 Hitkasharu, rara whicha:
851 Hitkasharu! 863 Hitkasharu!
852 Hiri! H’Atiasi hawa rara whari, 864 Hiri! H’Atia si hawa rara whicha,
853 Hitkasharu. 865 Hitkasharu.
I IV
854 Ha-a-a! 866 Ha-a-a!
855 Rara wha-a: 867 Rara ruka;
856 Hitkasharu, rara wha-a; 868 Hitkasharu, rara ruka:
857 Hitkasharu! 869 Hitkasharu!
858 Hiri! H’Atia si hawa rara wha-a, 870 Hiri! H’Atia si hawa rara ruka,
859 Hitkasharu. 871 Hitkasharu.

FLETCHER | FOURTEENTH RITUAL 179
V VIL

872 Ha-a-a! 884 Ha-a-a!

873 Werih kawa; 885 Rarah whara;

874 Hitkasharu, werih kawa: 886 Hitkasharu, rarah whara;

875 Hitkasharu! 887 Hitkasharu!

876 Hiri! H’Atiasihawa werihkawa, 888 Hiri! H’Atiasi hawararah whara,

877 Hitkasharu. 889 Hitkasharu.
VI VIII

878 Ha-a-a! 890 Ha-a-a!

879 Werih teri; 891 Rarah whishpa;

880 Hitkasharu, werih teri; 892. Hitkasharu. rarah whishpa:

881 Hitkasharu! 893 Hitkasharu:

882 Hiri! H'Atia si hawa werih teri, 894 Hiri! H’Atia si hawa rarah whi-

883 Hitkasharu. shpa,

895 Hitkasharu.
Translation of First Stanza

848 Ha-a-a! An introductory exclamation.
849 Rara whari.
rara, coming this way, approaching.
whari, walking.
850 Hitkasharu, rara whari.
hitkasharu, a composite word; hit, from hittu, feather; ka,
from rotkaharu, night; sharu, dream, vision. The word
feather refers to the birds that are with the Hako.
rara whari. See line 849.
1 Hitkasharu. See line 850.
852 Hiri! H’Atia si hawa rara whari.
hiri! an exclamation telling one to give heed, to harken, and
also to be thankful.
l’, the sign of breath, breathing, giving life.
atia, a modification of atius, father.
si, part of sidhihi, you are the one.
hawa, again.
rara, coming this way, approaching.
whari, walking.
853 Hitkasharu. See line 850.

Kaplanation by the Ku'rahus

As we sing this stanza we think of the visions which attend the
Hako and we are thankful that these visions, which gave life, success,
and plenty to our fathers, are again coming this way to us.

After we have sung this stanza four times and have passed around
the lodge and reached the west we pause.

180 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22

Translation of Second Stanza

854 Ta-a-a! An introductory exclamation.
855 =Rara wha-a.
rara, coming this way, approaching.
wha-a, coming nearer.
856 Hitkasharu, rara wha-a.
hitkasharu. See the first stanza, line 850.
‘ara Wha-a. See line 855.
857 Hitkasharu. See line 850.
858 Hiri! H’Atia si hawa rara wha-a. See lines 852 and 855,
859 Hitkasharu. See line 850.

Explanation by the Kwrahus

On the second circuit of the lodge, as we wave the feathered stems,
we sing that the visions granted to our fathers are coming nearer and
nearer to us and to the Children. We are thankful as we sing.

Four times we repeat this stanza and when we reach the west we
pause.

Translation of Third Stanza

860 Ha-a-a! An introductory exclamation.
861 Rara whicha.
rara, coming this way, approaching.
whicha, arrived, reached the destination.
862 Hitkasharu, rara whicha. See lines 850 and 861,
863 Hitkasharu. See line 850.
864 Hiri! WAtia si hawa rara whicha. See lines 852 and 861.
865 Hitkasharu. See line 850.

Explanation by the Ku'rahus

The third time we go around the lodge we sing the third stanza four
times. It tells that the visionsof our fathers have arrived at the lodge
door. At the west we pause.

Translation of Fourth Stanza

866 Ha-a-a! An introductory exclamation.
867 Rara ruka.
rara, coming this way.
ruka, entered the lodge.
868 Hitkasharu, rara ruka. See lines 850 and 867.
869 Hitkasharu. See line 850.
870 Hiri! IW Atia si hawa rara ruka. See lines 852 and line 867,
871 Hitkasharu. See line 850.

FLETCHER] FOURTEENTH RITUAL 181

Explanation by the Ku'rahus

The visions of our fathers have entered the lodge as we sing the
fourth stanza, and our hearts are thankful that they have come.

At the west we pause and lay the Tako down with ceremonial songs
and movements. Then we rest a while and are quiet in the presence
of the visions.

Translation of Fifth Stanza

872 Ha-a-a! An introductory exclamation.

873 Werih kawa.

werih, the owner of the lodge. The Son is regarded as the
owner of the lodge in which the ceremony takes place and
the word refers to him.

kawa, the open space within the lodge between the fireplace
and the couches around the wall. In this space the cere-
mony takes place.

874 Hitkasharu werih kawa. See lines 850 and 873.

875 Hitkasharu. See line 850.

876 Hiri! HWAtia si hawa werih kawa. See lines 852 and 873.
877 Hitkasharu. See line 850.

Explanation by the Ku'rahus

After a time we take up the feathered stems and move around the
lodge, singing the fifth stanza.

The Son, into whose lodge the visions of our fathers have now
entered, gives thanks in his heart, for he knows that they have come
in fulfilment of the promise given generations ago, and that he is rec-
ognized by them as a Son.

When we reach the west we pause.

Translation of Sixth Stanza

878 Ha-a-a! An introductory exclamation.
879 Werih teri.
werih, the owner of the lodge, the Son.
teri, hovering over.
880 Hitkasharu, werih teri. See lines 850 and 879.
881 Hitkasharu. See line 850.
882 Hiri! HAtia si hawa werih teri. See lines 852 and 879.
883 Hitkasharu. See line 850.

Explanation by the Kw rahus

Again we go around the lodge and sing the sixth stanza. The
visions of our fathers, received from the birds of the Hako, are now
hovering over the Children in the lodge of the Son. Everyone is
thankful as we sing. At the west we pause.

182 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

Translation of Seventh Stanza

884 Ha-a-a! An introductory exclamation.
885 Karah whara.
rarah, walking from one.
whara, going away, going from a person or place.
886 Hitkasharu rarah whara. See lines 850 and 885.
887 Hitkasharu. See line 8d0.
888 Hiri! H’Atia si hawa rarah whara. See lines 852 and 885.
889 Hitkasharu. See line 850.

Explanation by the Kw'rahus

The visions are walking away from us as we sing the seventh stanza.
We are thanking them in our hearts as we sing, and while they are
leaving the lodge. At the west we pause.

Translation of Eighth Stanza

890 Ha-a-a! An introductory exclamation.
891 Rarah whishpa.
rarah, walking from one.
whishpa, arrived at the place from which one started.
892 Hitkasharu rarah whishpa. See lines 850 and 891.
893 Hitkasharu. See line 850.
894 Hiri! H’Atia si hawa rarah whishpa. See lines 852 and 891.
895 Hitkasharu. See line 850.

Explanation by the Kwrahus

In a little while we start and go again around the lodge and sing
the eighth stanza. The visions of our fathers have left the lodge;
they are walking away from us, passing over the sleeping earth, and
at last they reach their dwelling place, the place from which they |
descended when they started to come to us. As we think of them we
again thank them for coming to us.

At the west we lay the Hako down to rest with the songs and move-
ments belonging to that action.”

After singing this song the Children usually rise and go to their
homes and the Fathers take a rest during the remainder of the night.

There are no ceremonies at the dawn of the fourth day. During
the forenoon the Fathers are busy unpacking the various articles they
have brought for their final gifts to the Children. They place in a
pile the robes, embroidered shirts, leggings, and ornaments.

About noon the food is cooked for the last meal to be given by the
Fathers to the Children. After the Fathers have served the food,
they put the cooking utensils beside the pile of gifts and then present
the heap to the Children and walk out of the lodge, leaving the Chil-
dren to distribute the gifts among themselves.

aSee pages 111-116.

FLETCHER] FOURTEENTH AND FIFTEENTH RITUALS 183

There is a very general scattering of the gifts, and songs of thanks
are sung by those who receive them. When this ceremony of distri-
bution and acknowledgment is over, the Children return to their
several lodges. By this time the afternoon is well advanced.

The Fathers now enter the empty lodge and begin preparations for
the last night of the ceremony and for the following morning. At
this time they partake of their last meal before the close of the cere-
mony at about noon the next day.

The best dancers in the party are chosen to perform the final dance,
which occurs on the morning of the fifth day. The songs which
accompany this dance are rehearsed and everything necessary for
the closing acts of the ceremony is put in readiness.

If a tent has been used for the ceremony, the Fathers on this after-
noon must build around the tent ata little distance from if a wall
of saplings and brush, to keep off outsiders and prevent anyone from
looking in. If the ceremony takes place in an earth lodge, then both
the outer and inner doors are closed, for on this last night no one is
allowed to be present but the Fathers, the Son, and his near relatives.

On this night a sixth man is added to the five who carry the sacred
objects—the two feathered stems, the ear of Corn wrapped in the wild
cat skin, and the two eagle wings. The sixth man has a whistle,
made from the wing bone of the eagle, which he blows in rhythm of
the songs. The whistle imitates the scream of the eagle over its
young.

SECOND Division. THE SECRET CEREMONIES
FIFTEENTH RITUAL (FOURTH NIGHT)
Part I. THE FLOCKING OF THE BIRDS
Explanation by the Ku'rahus

At sunset the Fathers call the Children to the lodge. When all
have been seated, the Children on the south side, the Fathers on the
north, the Ku’rahus, who sits at the west, back of the holy place
where the Hako are at rest, addresses the Children in the name of
the Fathers. He explains the meaning of the ceremony about to take
place, for on this last night and the following morning everything
that is done refers to the nest and to the direct promise of Children
to the Son, who is also to be bound by a symbolic tie to the Father.

184 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

When the talk.is over the feathered stems are taken up and we
sing the following song, which prefigures the joy that is coming to
the people.

SONG

Words and Music
M. M. P= 108.

+= Pulsation of the voice. Transcribed by Edwin S. Tracy.
No drum.
oat
SSS |S Fe
163 ee
Ho-o-0-0! We-re ko-sha ho-sha
Whistle.
SS FE SS SS SS
Ié eee Sse = °
EG nienh SS eh sae) here
Ko -sha ho-sha wi-ki ri - ra; We-re ko-sha ho-sha wi-ki ri-ra.
I IV
896 Ho-0-0-0! 911 Ho-o-o0-o!
897 Were kosha hosha wiki rira; 912 Wetu kishpa hoshta wiki rira:
898 Were kosha hosha wiki rira; 913 Wetu kishpa hoshta wiki rira;
899 Kosha hosha wiki rira: 914 Kishpa hoshta wiki rira:
900 Were kosha hosha wiki rira. 915 Wetu kishpa hoshta wiki rira.
10f V
901 Ho-o-0-o! 916 Ho-0-0-o!

902. Wera kosha hoshta wiki rira; 917 Were kaksha hosha wiki rira;
903 Wera kosha hoshta wiki rira; 918 Were kaksha hosha wiki rira;
904 Kosha hoshta wiki rira; 919 Kaksha hosha wiki rira;

905 Wera kosha hoshta wikirira. 920 Were kaksha hosha wiki rira.

Ill VI

906 Ho-0-0-o! 921 Ho-o-0-o!

907 Wera kishpa hosha wikirira; 922 Wetu kaksha hosha wiki rira;
908 Wera kishpa hosha wiki rira; 923 Wetu kaksha hosha wiki rira;
909 Kishpa hosha wiki rira: 924 Kaksha hosha wiki rira:

910 Wera kishpa hosha wiki rira. 925 Wetu kaksha hosha wiki rira.

Translation of First Stanza

896 Ho-o-0-0! An introductory exclamation
897 Were kosha hosha wiki rira.
were, they.
kosha, a flock of birds.
hosha, a composite word; ho, coming; sha, part of kosha,
flock.
wiki, a descriptive term indicating the manner of flight; the
birds do not move in a straight line or course; they waver
from one side to the other, now higher, now lower.
rira, coming.
898 See line 897.
899 Kosha hosha wiki rira. See line 897. :
900 See line 897.

FLETCHER] FIFTEENTH RITUAL, PART I 185

Explanation by the Ku'rahus

In the early spring the birds lay their eggs in their nests, in the
summer they rear their young, in the fail all the young ones are grown,
the nests are deserted and the birds fly in flocks over the country.
One can hear the fluttering of a startled flock, the birds suddenly rise
and their wings make a noise like distant thunder. Everywhere the
flocks are flying. In the fall it seems as though new life were put into
the people as well as into the birds; there is much activity in coming
and going.

This song tells of the flocking of birds. We do not use the drum as
we sing it, but we blow the whistle. The whistle is made from the
wing bone of an eagle. In this song we are singing of the eagle and
the other birds, so we use the whistle.

When the eggs are hatched and the young are grown, the birds flock;
the promise of young has been fulfilled. In this song, which we sing
toward the close of the ceremony, we are thinking of the fulfilling of
the promise given by the Hako, that children will be granted to the
people, so that they may be many and strong, and we sing that the
great flocks are coming.

Translation of Second Stanza

901 Ho-o-0-0! An introductory exclamation.
902. Wera kosha hoshta wiki rira.
wera, they yonder; ra gives the idea that the flock is at a
distance.
kosha, flock.
hoshta, the noise made by the birds in flying and in alighting;
hosh, the noise; ta, to alight.
wiki, descriptive of the manner of flight. See translation of
the word in the first stanza, line 897.
rira, coming.
903 See line 902.
904 Kosha hoshta wiki rira. See line 902.
905 See line 902.
Explanation by the Ku'rahus

As we sing the second stanza we are thinking of the great flocks
of birds. The noise of their wings is a mighty noise. As they fly
from one tree to another they shake the branches as they alight, and
the tree quivers as they rise. The flocks are many and powerful; so,
through the promises of the Hako, the people will become many and
powerful.

186 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22

Translation of Third Stanza

906 Ifo-o-0-0! An introductory exclamation.
907 Wera kishpa hosha wiki rira.
wera, they yonder.
kishpa, scream (singular number).
hosha; on account of the singular number of the verb kishpa,
the word as here used indicates that a bird out of the
flock is flying toward the people.
wiki, descriptive of the manner of flight. See line 897.
rira, coming.
908 See line 907.
909 Kishpa hosha wiki rira. See line 907.
910 See line 907.
Explanation by the Ku'rahus
In this stanza we sing that a single bird, an eagle, comes out of the
flock and flies toward the people. It is Kawas that comes flying
toward us, the messenger of the powers, the bringer of the promises
of the Hako. Kawas comes to us as the eagle leaving the flock goes
to her young.
Translation of Fourth Stanza
911 Ho-o-0-0! An introductory exclamation.
912 Wetu kishpa hoshta wiki rira.
wetu, it has.
kishpa, screaming noise made by the eagle. As the eagle has
come near its ery is likened to a scream.
hoshta, a composite word; hosh, the sound made by the wings
of a bird when flying; ta, to alight.
wiki, a word descriptive of the manner of flight. See line 897.
rira, coming.
913 See line 912.
914 Kishpa hoshta wiki rira. See line 912.
915 See line 912.
Explanation by the Ku'rahus
As the mother eagle comes near, flying to her nest, her cries are
like screams, so we sing this stanza with the whistle, for now Kawas
is coming to us as to her nest. The lodge of the Son is her nest:
there she will alight; there she will bring the gift of children. Our
hearts are glad and strong as we sing.
Translation of Fifth Stanza
916 Ho-o-o-0! An introductory exclamation.
917 Were kaksha hosha wiki rira.
were, they.
kaksha, a tumultuous noise.
kosha, flock.
wiki, a word descriptive of the manner of approach. See line 897.
rira, coming.

ELETCHER] FIFTEENTH RITUAL 187

918 See line 917.
919 Kaksha hosha wiki rira. See line 917.
920 See line 917.

Explanation by the Ku'rahus

This stanza tells us that the noise made by the people as they gather
together on the morning of the fifth day for the presentation of gifts
to the Fathers is like the coming of a great flock of birds. The people
move like the birds; they do not come in a straight line to the lodge
of the Son, but they come from this side and from that just as the
birds gather together in a flock.

Translation of Sixth Stanza

921° Ho-o-0-0! An introductory exclamation.
922 Wetu kaksha hosha wiki rira.
wetu, it has.
kaksha, a tumultuous noise.
hosha, flock.
wiki, manner of approach. See line 897.
rira, coming.
923 See line 922.
924 WKaksha hosha wiki rira. See line 922.
925 See line 922.

Explanation by the Ku'rahus

As the people approach the lodge they make a great noise. All is
bustle; the neighing ponies to be given to the Fathers are brought
forward, and the people are calling to one another; there is the sing-
ing of songs and the shouts of pleasure; all these sounds mingling
make a noise like distant thunder. This stanza refers to this joyous
tumult.

Just before I came on to Washington I performed this ceremony, and
now asI sit here and tell you about the meaning of this song, I can
hear the happy shouts of the people as I heard them some weeks ago.
Their voices seemed to come from everywhere! Their hearts were
joyful. Iam glad, as [remember that day. We are always happy
when we are with the Hako.

Part Il. THkr SIXTEEN CIRCUITS OF THE LODGE

Explanation by the Kwrahus

The last act of the last night is the making of four times four
circuits of the lodge.

T have told you that the four circuits of the lodge which we have
been making are in recognition of the four paths down which the
lesser powers descend to man. We have been asking for help from
these powers and so we have remembered the paths down which they

188 [ETH. ANN, 22

THE HAKO, A PAWNEE CEREMONY

travel to reach us with the gifts we desire. In the four times four
circuits we remember all the powers represented in the Hako.

We must begin with the Corn, which comes from our Mother Earth,
for she has been the leader ever since the time when she sought the
Son and opened the path for us to travel safely to him. She led on
our journey to his village; she led as we entered his lodge and dur-
ing its consecration, and she has led us through all the days and
nights of the ceremony. So when we take up the feathered stems
and turn to the north to begin the first circuit of this series we sing
the following song:

FIRST SONG

Words and Music

M. M. J=116.

+ = Pulsation of the voice. Transcribed by Edwin 8. Tracy.
ue === 5 SSS SS
| 4? z 2 =. oe = = SS S|

Ha-a-a-a! Ha! A-ti-ra! Ha! A-ti-ra! Ha! <A -ti- ra!
Drum. ¢ ° e e ° e ours e e o 2 e e a 29
Rattles. | | | | |

= es SSS SS 2
== = = =o5 os = Ea ae <o ——s— =]
~ =z S= ae = = =
Ha! A -ti- ra! Ha! A-ti-ra! Ha! A-ti- ra! Ha! <A = ti - ra!
a a o o ° e e e o eo e e 3 e Py e
f | iis | oe | | { { f

= = SS === =
= = I ee SSS ee

Flas Action meT alee tional lib EtalaACs tiara
L ed

Ha! A-ti-ra! Ha! A-ti-ra!

Nore OP oe 8 @
pe tre eh be ht er fh P

A A ; A
os 86° oes o «oe

I
926 Ha-a-a-a!
927 Ha! Atira! Ha! Atira! Ha! Atira! Ha! Atira!
928 Ha! Atira! Ha! Atira! Ha! Atira! Ha! Atira!
929 Ha! Atira! Ha! Atira! Ha! Atira! Ha! Atira.
II
930 Ha-a-a-a!
931 Nawahiri! Nawahiri! Nawahiri! Nawahiri!
932. Nawahiri! Nawahiri! Nawahiri! Nawahiri!
933 Nawahiri! Nawahiri! Nawahiri! Nawahiri!

Translation of First Stanza

926 Tla-a-a-a! An introduction exclamatory.
927 Ha! Atira! Ha! Atira! Ha! Atira! Ha! Atira!

ha! look on! behold!
atira, mother. The term is applied to the ear of corn.
928, 929 See line 927.

FLETCHER] FIFTEENTH RITUAL, PART IT 189

Kaxplanation by the Ku'rahus

“Behold Mother Corn!” we sing; and we think and the Children
think, as they sing with us, of all that Mother Corn has done, how
she sought the Son, led us to him, and now is here with the power of
life and plenty.

Four times we sing this first stanza as we make the first cireuit of
the lodge, moving by the north, east, and south back to the west.
After a pause we start upon the second circuit and sing the second
stanza.

Translation of Second Stanza

930 Ha-a-a-a! An introductory exclamation.
931 Nawahiri! Nawahiri! Nawahiri! Nawahiri!
nawahiri, a ceremonial term signifying thanks; a recogni-
tion that all is well. The usual form is nawairi, but an
h is prefixed to the third syHable to give greater ease and
euphony in singing.
932, 933 See line 931.

Explanation by the Kw'-rahus

Mother Corn is leading toward the fulfilment of the promises made
through the Hako, and as the Children behold her they sing with
thankful hearts, ‘‘All is well!”

SECOND SONG

Words and Music
M. M. N=116.

+= Pulsation of the voice. Wetec by Edwin S. Tracy.
gf = ee ee
ere ar Ee == = “ss = ==5E =e
i ae 0-0- o-o! E-ru! H’A-ti - ral E-ru! H’ A-ti-ra! He! Teri E-ru! H’ A-ti-ra!
Raa eeag oe Comte eecem neler emcee Cal chap ~ Pap

E-ro! HW A-ti- & He! Ae = ru! H’A-ti-ra! E-ru! H’A-ti-ra! He!
Ep (lip ar ie sy ee ae ee ae

934 Ho-o-o-o!

5385 Eru! H’Atira! Eru! H’Atira! He! Iri!
936 Eru! H’Atira! Eru! H’Atira! He! Iri!
937 Eru! H’Atira! Eru! H’Atira! He!

II
938 Ho-o-o-o!
939 Nawa! H’Atira! Nawa! H’Atira! He! Iri!
940 Nawa! H’Atira! Nawa! H’Atira! He! Iri!
941 Nawa! H’Atira! Nawa! H’Atira! He!

190 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22
Translation of First Stanza

934 Ho-o-0-0! An introductory exclamation.
935 Eru! H’Atira! Eru! HWAtira! He! Invi!
eru! an exclamation of reverence,
h’, the symbol of breath, the life-giving power.
atira, mother. The term refers to the ear of corn.
he! a part of ihare, an exclamation calling on one to reflect
upon a subject now brought to mind. See line 1.
iri! a part of nawairi! an exclamation of thanks and of
trustfulness.
936 See line 935.
937 Eru! WAtira! Eru! H’Atira! He! See line 935.

Explanation by the Ku'rahus

The life of man depends upon the earth (h’Atira). Tira’wa atius
works through it. The kernel is planted within Mother Earth and
she brings forth the ear of corn, even as children are begotten and
born of women.

We sing the first stanza as we make the third circuit of the lodge.
We give the ery of reverence (Eru!) to Mother Corn, she who brings
the promise of children, of strength, of life, of plenty, and of peace.
As we reflect upon her gifts we sing our thanks and bid the Children
join us.

When the circuit is complete we pause at the west. Then we turn
toward the north and begin the fourth circuit, singing the second
stanza.

Translation of Second Stanza
938 Ho-o-0-0! An introductory exclamation.
939 Nawa! H’Atira! Nawa! H’Atira! He! Izi!
nawa, a part of nawairi, a ceremonial word for expressing
thanks, confidence, trust.
h’, the symbol of breath, life, bringing forth or into.
atira, mother. The term is applied to the ear of corn, repre-
sentative of Mother Earth.
he! a part of ihare, an exclamation calling upon one to
reflect upon that which is now brought to mind. See
line 1.
iri! a part of nawairi! thanks! all is well!
940 See line 939.
941 Nawa! WH Atira! Nawa! IZWAtira! He! See line 939.

Explanation of the Kwrahus

“Nawa! HAtira!” It is Tira’wa atius who causes Mother Earth
to bring forth the corn, who gives fruitfulness to man, who sends the
gifts which Mother Corn breathes upon us. As we reflect upon this

FLETCHER] FIFTEENTH RITUAL, PART IT LOM

we give thanks to Tira’wa, and with the Children sing ‘‘Nawa!
WAtira! Nawa! H’Atira! He! Iri!” over and over until we com-
plete the fourth circuit.

In these first four circuits we have remembered the power of
Tira’wa atius with Mother Earth; in the next four circuits we shall
sing of the eagles.

THIRD SONG

Words and Music

M. M. N\=138.
= Pulsation of the voice. Transcribed by Edwin S. Tracy.

ee wee
Ho 0-0-0! Ti- ra whe ru-wa ho-ka- we ta. wi - ra, ho -
Drum. 3 py e p A p
Rattles L° £f pea a meg ein ee een lems WiC ah

ka-we ta wi-ra, ho-ka-we ta wi-ra. Ti-ra whe ru-wa_ ho-

ka-we ta wi-ra, ho-ka-we ta wi-ra, ho-ka-we ta wi- ra.
° Py e ° Se o so b- ~p Ay rt Py
fe lel” Se ee ere el a

942 Ho-o-0-o!
948 Tira whe ruwa hokawe ta wira, hokawe ta wira, hokawe ta wira.
944 Tira whe ruwa hokawe wira, hokawe ta wira, hokawe ta wira.

II
945 Ho-o-o-o!

946 Tias we ria kishpa ka wia, kishpa ka wia, kishpa ka wia.
947 Tias we ria kishpa ka wia, kishpa ka wia, kishpa ka wia.

Translation

942 o-o-0-o! An introductory exclamation.

943 Tira whe ruwa hokawe ta wira, hokawe ta wira, hokawe ta wira.
tira, a part of atira, mother. The term refers to Kawas.
whe, it.
ruwa, flying toward the speaker.
hokawe, shadow.
ta, a part of wita, coming.
wira, it is coming.

944 See line 943.

199 THE HAKO, A PAWNEE CEREMONY SETH. ANN. 22

945 Ho-o-o-o! An introductory exclamation.
946 ias we ria kishpa ka wia, kishpa ka wia, kishpa ka wia.
tias, a part of atius, father. The term refers to the white
eagle, the male feathered stem.
we, it.
ria, hovering.
kishpa, the loud ery of the eagle.
ka, a part of akaro, lodge, dwelling place.
wia, coming, moving.
kishpa, the scream of the eagle.
ka, the word has here a double reference, to the lodge, and to
the nest. The lodge represents the nest.
wia, moving about, coming.
kishpa, the scream of the eagle.
ka, a part of akaro, lodge. Refers to the nest.
wia, coming.
947 See line 946.
Explanation by the Kwrahus

This song has very few words, but a story goes with it to explain
its meaning.

One day a man was walking on the prairie; he wasthinking, and his
eyes were upon the ground. Suddenly he became aware of a shadow
flitting over the grass, moving in circles that inclosed his feet. He
stood still, wondering what this could mean; then he looked up and
beheld a brown eagle flying round and round over his head. As he
gazed the bird paused, looked down upon him, then flapped its wings
and flew away (first stanza).

Again the man was walking and thinking, when he caught sight of
a tall tree about which a great white eagle was flying, around and
around as if it were watching oversomething. As it flew it screamed,
making a great noise. It was the father bird guarding its nest (sec-
ond stanza).

The brown eagle which the man saw was Kawas; where she went
when she flew away is told in the next song. The blue-feathered
stem, with the brown eagle feathers upon it, is carried next to the
Children and waved over their heads, for she is the mother and cares
for the young.

The white eagle is the male; the green-feathered stem, with his
feathers upon it, is carried upon the outside, for he guards the nest.

The lodge where the Children are (the lodge where the ceremony is
being performed) is the nest.

The white eagle which the man saw protecting the nest teaches all
men to be brave and vigilant, to guard their children and make safe
their home. In token of this duty, the warrior father wears the white
eagle feather.

FLETCHER] FIFTEENTH RITUAL, PART II 1938

The whistle is used when we sing the second stanza, because the
white eagle whistled when he flew around his nest.

FOURTH SONG

Words and Music

+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.

o- so ( a ee ie

Ha-a-a-a! Ka-wasru-a, Ka-wasru-a, Ka-wasru-a, Ka-was ru-a whe-e ru-a

Drum.$oo eogpo BietOn ee. ere a D aey Laine eras
iar iere, ep gle tolalee test ld tc ee delay dea ge ae i a
Whistle.

e; Ka-was ru-a, Ka-was ru- a whe-e ru-a_ e; He! Ka-waswhe-e ru-a
o e e oe e eo 3 a e o @ oe ° eo e eo @ e 3 e e eo o e
ey ee je — —_ — — — —— — ——
fl == ee ea |
=

Ka-wasru-a, Ka-wasru-a whe-e ru-a_ e.

Cue tcaigie “ao Mpc dts ont eel stich Pcie Gains Ceeg)

é
for cosy == — , — —— — =

948 Ha-a-a-a!
949 Kawas rua, Kawas rua, Kawas rua, Kawas rua whe-e rua e:
950 Kawas rua, Kawas rua whe-e rua e;
951 He! Kawas whe-e ruae; He! Kawas whe-e rua e:
952 Kawas rua, Kawas rua whe-e rua e
II
953 Ha-a-a-a!
954 Kawas tia, Kawas tia, Kawas tia, Kawas tia wheri ria e:
955 Kawas tia, Kawas tia wheri ria e;
956 He! Kawas wheri ria e; He! Kawas wheri ria e:
957 Kawas tia, Kawas tia wheri ria e.

Translation

948 Ha-a-a-a! An introductory exclamation.

949 Kawas rua, Kawas rua, Kawas rua, Kawas rua whe-e rua e.
Kawas, the brown eagle, symbol of the feminine powers.
rua, flying toward an object. ‘
whe, it.

e, vowel prolongation.
rua, flying toward.
e, voeable.
950 Kawas rua, Kawas rua whe-e ruae. See line 949.

22 era—pr 2—04——_13

194 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22

951 He! Kawas whe-e ruae; He! Kawas whe-e rua e.
he! a part of hare, an exclamation calling one to reflect.
See line 1.
Kkawas whe-e rua e. See line 049.
952 See line 950.

953 Wa-a-a-a! An introductory exclamation.
954 Kawas tia, Kawas tia, Kawas tia, Kawas tia wheri ria e.
Kawas, the brown eagle, the feminine power.
tia, flying overhead.
wheri, it here.
ria, above and very near.
e, vocable.
955 Kawas tia, Kawas tia wheri ria e. See line 954.
956 He! Kawas wheri ria e; Kawas wheri ria e.
he! a part of hare, an exclamation calling one to reflect
upon a subject. See line 1.
IKkawas wheri ria e. See line 954.
957 See line 955.
Explanation by the Ku'rahus

The story of this song which has come down to us is that when
the man saw the shadow on the grass and beheld the brown eagle
flying over him, the eagle, recognizing the man, flapped its wings
and flew away. The brown eagle was Kawas, the mother bird, and
she flew straight to her nest, to her young, who eried out with joy as
she came near. We use the whistle when we sing this song because
the young eagles scream as the mother returns to them.

When we sing the second stanza we remember that the lodge of
the Son is the nest of Kawas, that she is here flying over the heads
of the Children, bringing near to them the fulfilment of the promises
of the Hako.

The whistle which accompanies this stanza represents the cry of
the Children in recognition of the fulfilment which Kawas is bring-
ing. With this song we complete the fourth circuit of the eagles
and the eighth circuit of the lodge.

The songs of the next four circuits refer to the rites.

FLETCHER] FIFTEENTH RITUAL, PART IT 195

FIFTH SONG

Words and Music
M. M. Melody.

M. M. Drum. P= 138.
+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
22 ~ ee
ets se fess: Ss SS =a
Hees 0-0-0-0! api ti-ra, ru! H’A-ti-ra, ru! rm hi - aha: H’Ati-ra, ru! Ka
Drum.43 5» 3 » 2 tr Ste Py s e e yet aa)
Raitles. ef —= : — — —_
i —— Se
=== = ee Ss Se =—— == |
—9Fe08:° =o ae Ca 9%e eo: o
i a; WA-
se
==

ti-ra, ru! H’A-ti-ra, ru! Ka hi-sha; H’ A-ti-ra, ru!

Net Vi Ci PED A a OA ere ae Cae eee
oc Je) jeeT | ep jbep jeep

958 Ho-0-0-0-0!

959 H’Atira, ru! H’Atira, ru! Ka hisha; H’Atira,ru! Ka hisha-a:

960 H’Atira, ru! H’Atira, ru! Ka hisha-a:

961 H’Atira, ru! H’Atira, ru! Ka hisha; H’Atira. ru! Ka hisha.
II

962 Ho-0-0-0-o!

963 Hra shira ko; hra shira ko, ka hisha: hra shira ko, ka hisha-a:

964 Hra shira ko: hra shira ko. ka hisha-a:

965 Hra shira ko: hra shira ko. ka hisha; hra shira ko, ka hisha.

Translation

958 Ho-o-0-0-0! An exclamation introductory to the song.
959 H’Atira, ru! H’Atira, ru! Ka hisha; H’Atira, ru! Ka hisha-a.
h’, the symbol of breath; life-giving.
atira, mother. The term refers to all the feminine powers
represented with the Hako.
ru! an exclamation of joy.
ka, a part of akaro, lodge, dwelling place.
hisha, reached, entered.
h’Atira, ru! Translated above.
ka hisha-a. Translated above. The final a is a vowel pro-
longation.
960 H’Atira, ru! H’Atira, ru! Ka hisha-a. See line 959.
961 See line 959.

196 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

962 Tlo-o-0-0-o! An exclamation introductory to the song.
963 Hira shira ko; hra shira ko; ka hisha; hra shira ko, ka hisha-a.
hra, an abbreviation of haras, you, plural.
shira, came bringing.
ko, a part of Tako.
ka, a part of akaro, lodge, dwelling.
hisha, reached, entered.
964 Hra shira ko; hra shira ko, ka hisha-a. See line 963.
965 See line 965.
Explanation by the Kwrahus

In the first stanza of this song, the Fathers give the cry of joy that
they have entered the lodge of the Son with the Mother breathing
forth life.

In the second stanza the Children respond: ‘* Truly you have come,
bringing the Hako with its gifts and its promises of joy.”

SIXTH SONG

Words and Music

M.M. N—144.
+= Pulsation of the voice. Transcribed by Edwin 8. Tracy.

Pabielapale par Sos (pele e @ © beb80 pEe a a. Oe ae

ae
u Ti-ra-a; Ka - ka-tichi-riwa-ka-ri pi-ra - u Ti-ra-a; Ka-
A A A A A A A A
o ? s e ° se e eo o o ee
i go gl cl ere ce elie Sais
SSS SS SS SSS ES ————
SO oS SS
(G*5 = Salers == =] =e 2 S=5 = SCE 2: pa sal
ka-tichi-ri wa-ka-ri pi-ra - uTi-ra-a; Ka - ka-tichi-ri wa-ka-ri pi-ra-
F nN A ; A Ao; A A BN A
a o e e e oe 9 eoeooeoo e o e e e @ e
im de f eh (eel

Ka - ka-tichi-riwa-ka-ri pi-ra - u Ti-ra- a.
, 9 ; Dip Ba pt he by.
cena Pe el em eel af eres i ee i
I

966 Ho-o-o!

967 Kakati chiri wakari pirau Tira‘a:
968 Kakati chiri wakari pirau Tira’a;
969 Kakati chiri wakari pirau Tira‘a;
970 Kakati chiri wakari pirau Tiraa;
971 Kakati chiri wakari pirau Tira’‘a;
972 Kakati chiri wakari pirau Tira’a.

FLETCHER] FIFTEENTH RITUAL, PART II 197

Il
973 Wetati chiri wakari pirau ta hao;
974 Wetati chiri wakari pirau ta hao;
975 Wetati chiri wakari pirau ta hao;
976 Wetati chiri wakari pirau ta hao:
977 Wetati chiri wakari pirau ta hao;
978 Wetati chiri wakari pirau ta hao.

Translation

966 Ho-o-o! An introductory exclamation.
967 WKakati chiri wakari pirau Tiraa.
kakati, I do not.
chiri, a part of titichiri, to know.
wakari, a modified form of wakow, voice, with the plural sign,
riz the word wakari refers to chanted prayers.
pirau, children; a general term.
Tira’a, a modification of Tira’wa, the mighty power.
968-972 See line 967.

973 Wetati chiri wakari pirau ta hao.

wetati, I now.

ehiri, know. See line 967.

wakari, chanted prayers. See line 967.

pirau, children.

ta, my.

hao, offspring; my own son or child.
974-978 See line 973.

Explanation by the Ku'rahus.

The old men who made these songs so long ago thought much upon
Tirva'wa atius and they prayed to him out on the hills nights and days
at atime. They observed all the sacred ceremonies, for they knew
that the rites were given to help the people. This Hako ceremony
was given by the great power. The old men were careful in teaching
its songs to those who were to come after them, and they explained
their meaning. I am singing these songs and explaining them just
as they were taught me, and as they had been handed down to the
Ku'rahus who gave them to me. I did not make them.

This song is very old and this is the story that came with it:

aThe recording of this ceremony occupied several weeks in each of four years, and the reiter-
ations of the Ku’rahus as to the fidelity of his communications were not apparent to him. They
were natural expressions of his earnestness and his desire to be faithful. I have deemed it best
to follow my original notes, giving these reiterations just as they were made.

198 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22

Long ago a Ku’rahus went with a Hako party to a distant tribe to
make a Son. On the last night of the ceremony he said to the people:
“Children, there is a power above which knows all things, all that is
coming to pass. I do not know what will happen, but I hope good
will come to you. I have prayed that long life and children and
plenty may be given to you, but I know not if my prayers are heard
or if they will be answered.”

He went with the Hlako a second time to the same tribe, but he said
nothing. He went a third time, but he said nothing. He went the
fourth time, and he was then a very old man. On the last night of
the ceremony he spoke and said: ‘‘ Children, I look over you and see
the little boys whom I held in my arms when they were painted“ now
grown to manhood. TI see that many children have been given to
them; I see that your people have prospered and now I know that my
prayers for you when I first came with the Tako have been answered.
I know and am sure that the great power to which I prayed hears and
answers the prayers of a man.”

The first stanza refers to the prayer of the Ku’rahus when he first
earried the Hako to the Children.

The second stanza speaks of the offspring that had beer given to the
Children, that he saw when he went the fourth time with the Hako.

We sing these stanzas on the last night of the ceremony, because
it was on the last night that the Ku’rahus spoke to the Children. As
we sing we remember what he said he had been taught, that Tira’wa
atius hears us pray for the Children and will answer our prayers.

We now begin the last four circuits of the lodge. The first song
refers to Tira’wa atius, the father of all. The second speaks of the
lesser powers, those which can be seen or heard or felt by man.

We have sung these two songs before; the first time was on the
first day, when we made the first circuit of the lodge, in the presence
of all the Children, before they partook of the food prepared for
them (eighth ritual). We sang them a second time on the third
day, after the sacred feast of corn, and before we sang to Mother
Earth and made the offering of smoke (thirteenth ritual). Now
we sing them for the third time, at the close of the fourth and last
night. They are our appeal before we begin the secret ceremonies
pertaining to the little child.

«aThis is a reference to the ceremonies with the little child which take place on the fifth
morning.

PLETCHER] FIFTEENTH RITUAL, PART IL 199

SEVENTH SONG

Words and Music
M. M. |= 126.

+= Pulsation of the voice. Transcribed by Edwin S. Tracy.
A A A A
: : ————— = =~ —— SS
2 a — == . =} E ——— tet =
e* = = —— =o ss = === ae = = |
Ha-a-a-a! HWA-ars Ti- ra-wa ha - ki; H’A-ars Ti- ra-wa_ ha- ki:
Drums, 9 f PY be) op) 8 8) 80 7 P) Py
Renee ee Mceme Ge fe leh ae Me fet aft Afar
A —_ pany ORS a B = = ih ef A
fl ——S =e: to =e a “fe—3— == + I
ee v7 ae —— wlete > 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

fe =

Si : 7.oe Fee
S =
&

Ti-we ra-ku-she ha-wa ti ha-o! Ti-we ra-ku-she ti ha-o! ‘Ti we ra-ku-she!

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!

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!

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!

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! <its-pa- hat we re ku - si... hil eeeee
LLP ees actos at eal en eae yen oe d x
L

1170 Ho-o-o!

1171 Hiri! “Hari; Hiri! Kitspahat we re kusi hi!
1172 Hiri! "Hari; Hiri! Kitspahat we re kusi hi!
1173 Hiri! ‘Hari; Hiri! Kitspahat we re kusi hi!

II
1174 Ho-o-o!
1175 Hiri! “Hari; Hiri! Kitspahat re ru ata ha!
1176 Hiri! “Hari; Hiri! Kitspahat re ru ata ha!
1177 “Hiri! “Hari; Hiri! Kitspahat re ru ata ha!
Tit
1178 Ho-o-o!
1179 Hiri! “Hari; Hiri! Kitspahat ri tukuka ha!
1180 Hiri! ‘Hari; Hiri! Kitspahat ri tukuka ha!
1181 Hiri! ‘Hari; Hiri! Kitspahat ri tukuka ha!
IV
1182 Ho-o-« y!
1183 Hiri! “Hari; Hiri! Kitspahat ri ta iwa ha!
1184 Hiri! “Hari; Hiri! Kitspahat ri ta iwa ha!
1185 Hiri! ‘Hari; Hiri! Kitspahat ri ta iwa ha!
y
1186 Ho-o-o!
1187 Hiri! “Hari; Hiri! Kitspahat ri ta wawe he!
1188 Hiri! “Hari: Hiri! Kitspahat ri ta wawe he!
1189 Hiri! ‘Hari; Hiri! Kitspahat ri ta wawe he!

bo
be
oo

THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22
VI
1190 Ho-o-o!
1191 Hiri! “Hari; Hiri! Kitspahat ri ta witshpa ha!
1192 Hiri! “Hari; Hiri! Kitspahat ri ta witshpa ha!
1193 Hiri! "Hari; Hiri! Kitspahat ri ta witshpa ha.

Translation of First Stanza

1170 ~Ho-o-o! An introductory exclamation.
1171 ~=Hiri! "Hari; Hiri! Kitspahat we re kusi hi!
hiri! give heed!
*hari, a part of iha’ri, child.
hiri! give heed!
kitspahat; kits, from kitzu, water; pahat, red. The term
means red paint.
we, now.
re, am.
kusi, sitting.
hi! from hiri! give heed!
1172, 1173 See line 1171.

Explanation by the Ku'rahus

The Ku'rahus had prepared the paint by mixing red clay with run-
ning water. Ile mixes it rather dry so that what is left can remain in
theshell. Onlythe right half of ashell can be used to hold the paint.
You remember what I told you of the shell and why we use it (first
ritual, part 11). The red clay we use for paint was made by Tira’wa
for this purpose.

The paint symbolizes the red clouds of the dawn, the coming of the
new day, the rising sun, the vigor of life. The power of the new day,
the new life, is now standing before the child.

Translation of Second Stanza

1174 Ho-o-0! An introductory exclamation.
1175 Hiri! “Hari; Hiri! Kitspahat re ru ata ha!
hiri! give heed!
hari, a part of iha/ri, child.
hiri! give heed!
kitspahat, red paint.
ies Ae
ru, it.
ata, flying.
ha! behold!
1176,1177 See line 1175.

FLETCHER] SEVENTEENTH RITUAL, PART III 229

Explanation by the Ku'rahus

During the singing of the second stanza the old man moves the shell
containing the paint toward the child. The vigor of life is coming
to the child, flying toward it as through the air, like the coming of
dawn.

Translation of Third Stanza

1178 Ho-o-o! An introductory exclamation.
1179 Hiri, Hari; Hiri! Kitspahat ri tukuka ha!
hiri! give heed! harken!
*hari, a part of iha’ri, child.
hiri! harken! give heed!
kitspahat, red paint.
Tin lus
tukuka, touching.
ha! behold!
1180,1181 See line 1179.

Explanation by the Ku'rahus

As we sing this third stanza the old man touches the forehead with
the red paint. The vigor of life, the power of the touch of the sun,
is now on the child.

Translation of Fourth Stanza

1182 Ho-o-o! An introductory exclamation.
1183 Hiri! "Hari; Hiri! Kitspahat ri ta iwa ha!
hiri! give heed! harken!
*hari, a part of iha’ri, child.
hiri! harken!
kitspahat, red paint.
ri, it.
ta, a part of taokut, to touch.
iwa, downward movement.
ha! behold!
1184,1185 See line 1183.

Explanation by the Ku'rahus

While we sing the fourth stanza the old man makes the same lines
on the face of the child as those made with the water, the brush of
grass, and the ointment. This means that the vigor of life, the power
of the touch of the sun, the new life of the dawn, are all from Tira’ wa
atius.

230 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22
Translation of Fifth Stanza

1186 Ho-o-0! An introductory exclamation.
1187 Hiri! "Hari; Hiri! Kitspahat ri ta wawe he!
hiri! harken! give heed!
*hari, a part of of iha’ri, child.
hiri! harken!
kitspahat, red paint.
ri, it.
ta, a part of taokut, to touch.
wawe, spreading over.
he! from hiri! give heed!
1188,1189 See line 1187.

Explanation by the Ku'rahus

As we sing the fifth stanza the old man touches the child’s face here
and there, and then spreads the red paint entirely over it. This
symbolizes the full radiance of the sun with all its power, giving to
the child its vigor of life.

Translation of Sixth Stanza

1190 Ho-o-0! An introductory exclamation.
1191 Hiri! "Hari; Hiri! Kitspahat ri ta witshpa ha!
hiri! harken!
*hari, a part of iha’ri, child.
hiri! give heed!
kitspahat, red paint.
ri, it.
ta, a part of taokut, to touch.
witshpa, accomplished; completed.
ha! behold!
1192,1193 See line 1191.

Hxplanation by the Ku'rahus

We sing in this stanza that if is accomplished, that the child is
encompassed by the power which Tira’wa atius has given to the sun
and the vigor imparted to its day.

The old man now takes a shell containing blue paint which had
been prepared by the Ku’rahus from blue clay and running water,
and while we sing the first stanza of the following song he holds it
before the child. This is a very sacred act.

FLETCHER] SEVENTEENTH RITUAL, PART III 231

SECOND SONG

Words and Music
(d) M. M. N= 126.

+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
re === = =
SS

o- ~~ ws: a o
Ho-o-o! Hi-vri!’Ha-ri; Hi-ri!A-wikotswe re hreku-si..... hil... Hi -
D A
fein (LG (Sipe, (ae fl One
———— | ————————— F =
lé =a a =
Ba eee a: ee ee ee eo Fo ee
ri! a= ris Hi - ri! A-wi kots we re hre ku - si hilee. Hi -
Sergei te PE peepee vier Pe
a ee ee ——
Ié ee =e aE = SS} = SS SS == Hl
ri! ’Ha-ri; Hi-ri! A-wikots we re hre ku- si..... hil.....
A A A A
epee eer ett i !

I
1194 Ho-o-o!

1195 Hiri! “Hari; Hiri! Awi kots we re hre kusi hi!

1196 Hiri! ‘Hari; Hiri! Awi kots we re hre kusi hi!

1197 Hiri! ‘Hari; Hiri! Awi kots we re hre kusi hi!
Il

1198 Ho-o-o!

1199 Hiri! ‘Hari; Hiri! Awi kots we re ru ata ha!

1200 Hiri! "Hari; Hiri! Awi kots we re ru ata ha!

1201 Hiri! “Hari; Hiri! Awi kots we re ru ata ha!
II

1202 Ho-o-o!

1203 Hiri! ’Hari; Hiri! Awi kots we ri tukuka ha!

1204 Hiri! “Hari; Hiri! Awi kots we ri tukuka ha!

1205 Hiri! “Hari; Hiri! Awi kots we ri tukuka ha!

IV
1206 Ho-o-o!
1207 Hiri! “Hari; Hiri! Awi kots we ri ta iwa ha!
1208 Hiri! ‘Hari; Hiri! Awi kots we ri ta iwa ha!
1209 Hiri! ‘Hari; Hiri! Awi kots we ri ta iwa ha!
v
1210 Ho-o-o!
1211 Hiri! “Hari; Hiri! Awi kots we ri ta wawe he!
1212 Hiri! “Hari; Hiri! Awi kots we ri ta wawe he!
1218 Hiri! “Hari; Hiri! Awi kots we ri ta wawe he!
VI
1214 Ho-o-o!
1215 Hiri! “Hari; Hiri! Awi kots we ri ta witshpa ha!
1216 Hiri! “Hari; Hiri! Awi kots we ri ta witshpa ha!
1217 Hiri! “Hari; Hiri! Awi kots we ri ta witshpa ha!

232 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22

Translation of First Stanza

1194 Ho-o-o! An introductory exclamation.

1195 Hiri! Hari; Hiri! Awi kots we re hre kusi hi!
hiri! give heed!
*hari, a part of iha’ri, child.
hiri! harken!
awi, a part of awiu, a picture.
kots, a part of rekots, whitish; asa thin cloud through which

one can see a tinge of the blue sky beyond. Light blue.

we, now.
re, am.
hre, holding.
kusi, sitting.
hi! from hiri! give heed!

1196, 1197 See line 1195.

Explanation by the Ku'rahus

Blue represents the sky, the place where Tira’wa atius dwells, and
with this blue paint we are to make upon the child a picture of the
face of Tira’wa atius. It is a mark of Tira’wa atius’ acceptance of
the consecrated child anda sign of his presence. The symbol of
the dwelling place of Tira’wa atius stands before the child.

Translation of Second Stanza

1198 Ho-o-o! An introductory exclamation.
1199 Hiri! "Hari; Hiri! Awi kots we re ru ata ha!
hiri! harken!
*hari, a part of iha’ri, child.
hiri! give heed!
awi, a part of awiu, a picture.
kots, light blue (paint).
we, now.
re, is.
ru, it.
ata, flying.
ha! behold!
1200, 1201 See line 1199.

Explanation by the Ku'rahus

While we sing the second stanza the old man moves the shell con-
taining the blue paint toward the child. The blue of the sky where
Tira’wa atius dwells is coming near, descending through the air.

FLETCHER] SEVENTEENTH RITUAL,’ PART III 233

Translation of Third Stanza

1202 Flo-o-o! An introductory exclamation.
1203 Hiri! "Hari; Hiri! Awi kots we ri tukuka ha!
hiri! harken!
*hari, a part of iha’ri, child.
hiri! give heed!
awi, a part of awiu, a picture.
kots, light blue (paint).
we, now.
ri, it.
tukuka, touching.
ha! behold!
1204, 1205 See line 1203.

Explanation by the Ku'rahus

As we sing the third stanza the cld man touches the forehead with
the blue paint. The blue sky has reached the child; its forehead has
been touched by the abode of Tira’wa atius.

Translation of Fourth Stanza

1206 Ho-o-o! An introductory exclamation.
1207 Hiri! "Hari; Hiri! Awi kots we ri ta iwa ha!
hiri! give heed!
*hari, a part of iha‘ri, child.
hiri! give heed!
awi, a part of awiu, a picture.
kots, light blue (paint).
we, now.
ris, it.
ta, a part of taokut, to touch.
iwa, downward movement.
ha! behold!
1208, 1209 See line 1207.

Explanation by the Ku'rahus

While we sing the fourth stanza the old man traces with the blue
paint the lines he has made with the water, the brush of grass, the
sacred ointment, and the red paint. In these lines we see the face of
Tira’wa atius, the giver of life and power to all things (see figure 179).

The lines forming an arch across the forehead
and down each cheek of the child represents
the dome of the sky, the abode of Tira’wa atius.

The line from the middle of the forehead, the
center of the arch, down the ridge of the nose is
the breath of Tira’wa atius. It descends from
the zenith, passing down the nose to the heart, — Fre.179.. The symbol of

giving life to the child. sigan

234 THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22

The picture of the face of Tira’wa atius is put upon the face of the
consecrated child.
Translation of Fifth Stanza

1210 Ho-o-o! An introductory exclamation.
1211 Hi-ri! "Hari; Hiri! Awi kots we ri ta wawe he!
hiri! give heed!
*hari, a part of iha’ri, child.
hari! harken!
awi, a part of awiu, a picture.
kots, light blue (paint).
we, now.
TI) 1b:
ta, a part of taokut, to touch.
wawe, to spread.
he! from hiri! give heed!
1212,1213 See line 1211.

Explanation by the Ku'rahus

As we sing the fifth stanza the old man touches the lines here and
there to make them clear; he can not spread the paint, for he is
making a picture.

Translation of Siath Stanza

1214 Ho-o-o! An introductory exclamation
1215 Hiri! "Hari; Hiri! Awi kots weri ta witshpa ha!
hiri! harken! give heed!
*hari, a part of iha’ri, child.
hari! give heed!
awi, a part of awiu, a picture.
kots, light blue (paint).
we, now.
ri, it.
ta, a part of taokut, to touch.
witshpa, accomplished; completed.
ha! behold!
1216,1217 See line 1215.

Haplanation by the Kw'rahus

In the sixth stanza we sing that it is done, that the face of Tira’wa
atius is upon the face of the consecrated child.

There is a group of stars overhead which forms a circle (Corona
Borealis). This is a circle of chiefs. Tira’wa atius placed them there
and directed them to paint their faces with the same lines we have
put upon the child, and all who are to be leaders must be so painted.

From this circle of stars came a society called Raristesharu. All
dances (societies) given by Tira’wa atius are called raris; tesharu

FLETCHER] SEVENTEENTH RITUAL 935

means chief (the te is a modification of le, in the word lesharu,
chief). The members of the society Raristesharu are chiefs, and
these men are permitted by the star chiefs to paint their faces with
the blue lines and to wear the downy feather on the head. The
members of this society do not dance and sing; they talk quietly and
try to be like the stars.

I was told that it was from this society that permission was given to
paint the child with the blue lines and to put the downy feather
upon it.

Part IV. PUTTING ON THE SYMBOLS

Explanation by the Kw'rahus

The old man now takes a bunch of eagle down, and as we sing the
first stanza of the following song he holds it before the child.

FIRST SONG

Words and Music
(e) M. M. $= 126.

+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
—2 === ———— = — SS
== e i = = =e ——
lea == =5= 2== == ==! = = See =>; =|
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

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

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

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.

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

| 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

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.

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.

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

368

370

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.

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.

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.

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.

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.

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

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.

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.

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.

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!

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!

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

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!

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

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.

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?”

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

Dark against the sky yonder distant line
Lies before us. Trees we see, long the line of trees,
Bending, swaying in the breeze.

Bright with flashing light yonder distant line
Runs before us, swiftly runs, swift the river runs,
Winding, flowing o’er the land.

Hark! Oh hark! <A sound, yonder distant sound
Comes to greet us, singing comes, soft the river’s song,
Rippling gently “neath the trees.

SONG WHEN CROSSING THE STREAMS)

Diagram of Time

Rhythmic Rendition
I

Behold, upon the river’s brink we stand!

River we must cross;
Oh Kawas, come! To thee we call. Oh come, and thy permission give
Into the stream to wade and forward go.

«Music on page 73. b Music on page 75.

3804 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

Behold, the water touches now our feet!

River we must cross;

Oh Kawas, hear! To thee we call. Oh come, and thy permission give
On through the stream to pass and forward go.

Behold, our feet now in the water move!

River we must cross;

Oh Kawas, heed! To thee we call. Oh come, and thy permission give
On through the stream to pass and forward go.

IRs

Behold, the water covers now our feet!

River we must cross;

Oh Kawas, hear! To thee we call. Oh come, and thy permission give
On through the stream to pass and forward go.

SONG TO THE WIND"

Diagram of Time

Rhythmic Rendition
I

Hither, Winds, come to us, touch where water
O’er us flowed when we waded;
Come, Oh Winds, come!

Now the Winds come to us, touch where water
O’er us flowed when we waded;
Now the Winds come.

Ii
Here and there touch the Winds where the water
O’er us flowed when we waded;
Now the Winds touch.

IV
Lo! The Winds round us sweep where water
O’er us flowed. Safe now are we,
By the Winds safe.

SONG TO THE BUFFALO?)

Diagram of Time

a Music on page 77. b Music on page 79.

FLETCHER}

« Music on page 80. b Music on page 82

FIFTH RITUAL, PART II

Rhythmic Rendition
I

When to prepare us a pathway Mother Corn sped
Far in her search for the Son, passing this place,
Lo! She beheld buffalo in many herds here.

Now, as we walk in the pathway Mother Corn made,
Looking on all that she saw, passing this place,
Lo! We behold buffalo and many trails here.

SONG OF THE PROMISE OF THE BUFFALO

Diagram of Time

Rhythmic Rendition
I

Clouds of dust arise, rolling up from earth,
Spreading onward; herds are there.
Speeding on before,

Going straight where we must journey.

What are those we see moving in the dust?
This way coming from the herd;

Buffalo and calf!

Food they promise for the Children.

SONG TO THE MOUNTAINS?

Diagram of Time

Rhythmic Rendition
I

Mountains loom upon the path we take:
Yonder peak now rises sharp and clear:
Behold! It stands with its head uplifted,
Thither go we, since our way lies there.

22 ern—pr 2—04——20

305

806

we
¥

THE HAKO, A PAWNEE CEREMONY [ETH. ANN,

Il
Mountains loom upon the path we take;
Yonder peak now rises sharp and clear;
Behold! We climb, drawing near its summit;
Steeper grows the way and slow our steps.

Mountains loom upon the path we take;
Yonder peak that rises sharp and clear,
Behold us now on its head uplifted;
Planting there our feet, we stand secure.

IV
Mountains loom upon the path we take;
Yonder peak that rose so sharp and clear,

Behold us now on its head uplifted;
Resting there at last, we sing our song.

SONG TO THE MESA «

Diagram of Time

/ oo - on oo - - eeeee

Rhythmic Rendition
I

The mesa see; its flat top like a straight line cuts across the sky;
It blocks our path, and we must climb, the mesa climb.
I
More mesas see; their flat tops rise against the sky, they bar our path;
We reach their base, and we must climb, the mesas climb.

Ii
The mesa’s side we now ascend, the sharp ridge pass, its flat top reach;
There lies our path that we must take, and forward go.

IV
The mesas rise around us still, their flat tops cut across the sky;

They block our way, yet still we climb, the mesas climb.

Part Ill. Moruer Corn ReasseRTS LEADERSHIP

The next two songs are in sequence and refer to the mystical jour-
ney and leadership of Mother Corn. They return to the theme of
part 1 of this ritual.

Upon the journey the people had been led to appeal to different
objects as manifestations of the supernatural powers, but now that
the journey was nearing its end the maintenance of discipline required
that the people should be reminded that Mother Corn was leading
and that to her they were still to render undivided obedience.

The first song was sung at the border of the land of the Son.

a Music on page 84.

FLETCHER] FIFTH RITUAL, PART II 307

FIRST SONG«

Diagram of Time

Rhythmie Rendition

Here we give our thanks, led by Mother Corn,
As our eyes dwell upon the borders of the land
Where dwell the Children we are seeking.

Now we travel on. led by Mother Corn.
Soon our eyes catch the print of footsteps on the ground,
Made by the Children we are seeking.

Til
Still we travel on, led by Mother ( orn.
Now our eyes look on people walking to and fro;
They the Children are we are seeking.

When the village where the ceremony was to take place was clearly
in sight the second song was sung.

At the close of the song the sacred objects were laid at rest. This was
the first time during daylight, since the journey began, that they had
been so placed. They had always been in the hands of the Ku’rahus
and his assistants, who walked at the head of the long procession as it
moved over the country.

SECOND SONG?

Diagram of Time

Rhythmic Rendition
J

Here is the place where I came, seeking to find the Son;
Here have I led you again, here is our journey’s end.
Thanks we give unto the Mother Corn!

Here is the place where she came, seeking to find the Son;
Here she has led us again, here is our journey’s end.

a Music on page 86. b Music on page 8&8.

308

THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

Here to this place have we come, bringing the Son our gifts,

All of the gifts that go forth bearing the promised help.

Thanks he'll give as he sees, Mother Corn,

All of the gifts that we bring, bring to his village here;

Here, where you led, Mother Corn; here, where our journey ends.

THIRD DIVISION. ENTERING THE VILLAGE OF THE SON AND CON-

SECRATING HIS LODGE

SIXTH RITUAL

Part I. THE Son’s MESSENGER RECEIVED

The messenger dispatched by the Son to the Hako party, which was
now camped outside the village, was received as a son. He was met,
conducted to the tent of the Father, where food was offered him, and
he was clad in gala garments. The first song accompanied these acts,
which, the K ‘rahus explained, represented ‘‘the care of a father for

his child.”

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 again tidings from the Son:
** Father, come to me, here I sit,
Waiting here for thee.”

Now our eyes look on him who is clad
As befits the Son we have sought;

He, arising, walks; follow we his steps,
Moving slowly on toward the Son.
Where he waiting sits.

Part II]. THE Hako Party ENTER THE VILLAGE

Led by the Son’s messenger, the party moved to the edge of the
village, where a half was made, in order to conform to the movements
of Mother Corn in her mystical journey (second ritual). ‘‘ We must

do as she did,” says the Ku'rahus.

« Music on page 90

PLETCHER | SIXTH AND SEVENTH RITUALS 309

After singing the first stanza, the party entered the village and
passed on to the lodge pointed out to them by the messenger, where
they again halted and sang the second stanza.

These songs are repeated in the sixteenth ritual, when the child is
sought.

SONGa

Dicgram 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?
1a

Here is he, the Son,

Here is his dwelling place that I seek;
This is here his lodge, where he sits
Silent. waiting, waiting here for me.

SEVENTH RITUAL ‘THE CONSECRATION OF THE LODGE
Part I. ToucHING AND CROSSING THE THRESHOLD

The ceremony at the door of the lodge is another instance of the
prefiguration of an act. The chief, with the cat skin and the ear of
corn, advanced, and during the singing of the first stanza of the fol-
lowing song stepped on the threshold and touched but did not cross it.

The stanzas, which are in five musical phrases, were sung four times
in remembrance of the path at the four directions, down which Tira wa
atius sends, by the lesser powers, the gifts promised through this
ceremony.

While the second stanza was being sung, the chief crossed the
threshold, and, in recognition of the powers and to represent the pro-
gression of a long life, took the four ceremonial steps, which are some-
times spoken of as reaching and crossing the four hills.

Thus the way into the lodge was opened by Mother Corn, assisted
by the tact of the wild cat carried by the chief (see page 23), so that
the direct representatives of the powers above, the feathered stems,
might enter. ;

The chief retired two steps behind the Ku’rahus, outside the lodge
door. The Ku'rahus and his assistant, carrying the feathered stems,

«a Music on page 92

310 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22

advanced and repeated in the same order the movements made by the

chief. Meanwhile the third and fourth stanzas were sung. At the

close the two men retired and took their places beside the chief.
SONG«

Diagram of Time.

Rhythmic Rendition
I

Sent down by powers on high,

She bears a promise most sure;

The Mother Corn breathes forth life,
On threshold She stands

Of my Son's dwelling. All's well!

Sent down by powers on high,

She bears a promise most sure;

The Mother Corn breathes forth life,
The threshold crosses

Of my Son’s dwelling. All's well!

Sent down by powers on high,

She bears a promise most sure;
Now Kawas brings new life,

‘On threshold She stands here

Of my Son’s dwelling. All's well!

TV
Sent down by powers on high,
She bears a promise most sure—
Now Kawas, bringing new life,
The threshold crosses
Of my Son’s dwelling. All's well!

Part II. ConsecratinGc THE LODGE

When the Hako entered the long passageway the wildcat skin and
the ear of corn were carried a few steps in advance of the feathered
stems, thus being the first to enter the large circular room. This
relative position of the corn was maintained during the first two cir-
cuits around the lodge, Mother Corn ‘‘ opening the way.”

The stanzas of the song are in four musical phrases, and each

co Music on page 94.

FLETCHER] SEVENTH RITUAL, PART II 311

stanza is sung four times in recognition of the four directions, for
Mother Corn is breathing forth within the lodge the gift of life brought
down from Tira’wa atius by the lesser powers.

FIRST SONG«a

Diagram of Time

Rhythmic Rendition
I

The Mother Corn, with breath of life,
Now enters into my Son's lodge;

There she walks within:

With breath of life walks Mother Corn.

Il
The Mother Corn, with breath of life,
Now circles she within the lodge,

Walking round within;
With breath of life walks Mother Corn.

Now the wildcat skin and the ear of corn are taken back into line
with the feathered stems, and Kawas becomes the leader. The first
stanza of the song accompanying the third and fourth cireuits of
the lodge speaks of her hovering as over a nest. In the second she
flies about, cleansing her nest of all impurities by the flapping of
her wings. Meanwhile the two doctors with their eagle wings also
simulate the cleansing of the nest, sweeping out of the lodge all harm-
ful influences.

SECOND SONG)

Diagram of Time >
, ,
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!

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

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.

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.

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.

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.

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.

Now Kawas wakens from sleep,
Awakes. for night is far spent;
The signs of dawn are now seen
In east, whence cometh new life.

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.

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.

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!

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.

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

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,

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.

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.

Now we travel, led by her who breathes forth life. Seeking the Son
With the Mother, Mother Corn, seeking the Son now we go.

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

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.

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!

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.

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.

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.

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!

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!

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!

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!

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.

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

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

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!

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 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

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

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

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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.

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

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.

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!

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

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-<seseeee 219, 352
of touching the child with the

feathered stems-___.____- 206, 207, 349
of tying the eagle’s feather on the

Child) = seas ee eee ee 238, 239, 357

on feathering the feathered stem -_ 41,289
summoning the children to send

eitte.. 2 eee ee 140, 327
to awaken the children -__._-___ ---- 132, 324
toithe:buttaloc 22 2s-e ee 79, 305

to the ear of corn before feeding

theichildren’ 22 ss22-2=sseene 109,314 |

to the ear of corn in the sixteen cir-
cuits of the lodge --_.__-.____- 188, 341

|
|
|

)

Page

Song to the lesser powers_________ 27-37, 283-286

toithe.mesas\- 2 -. se eee 84, 306

to the morning star 128, 323

to the mountains ___- 305, 306

to the Pleiades________- 51,330

to the powers. ________- 65, 298, 299

toithe'sumisss= = =2- - = see eae 135, 326

toithe wind :> 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

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Full text of "Annual report of the Bureau of American Ethnology to the Secretary of the Smithsonian Institution"

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