Huntington Free Library Native American Collection m » tmm^j^&dmm .^^fxm^ CORNELL UNIVERSITY LIBRARY IpplH AJ*^24jW4 093 756 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924104093756 THE HAKO: A PAWNEE CEREMONY ALICE < '. FLETCHER HoLDKB oif Thaw Pellowshtp, Peabouy Muski.m, Hakvaku Univkksity ASSISTED BY Ml'SIC TRAN'SCKIBED BY / f^^ /_ CONTENTS Page Preface 13 Introduction _ 17 Name of the ceremony _. 17 Personnel of the ceremony 18 Requisites of the ceremony and their symbolism 19 Time of the ceremony... 33 Scheme of the ceremony . . . 24 The Hako . . . 36 The preparation . . 36 First division. Initial rites ^7 First ritual. Making the Hako _ _ 37 Part I. Invoking the powers _ . . . 37 Part II. Preparing the feathered stems ..... 37 Part III. Painting the ear of com and preparing the other sacred objects 42 Part IV. Offering of smoke 48 Second ritual. Prefiguring the journey to the Son 49 Third ritual. Sending the messengers 56 Fourth ritual _ 58 Part I. Vivifjdng the sacred objects .58 Part II. Mother Com assumes leadership 59 Part III. The Hako party presented to the powers 63 Second division. The journey 68 Fifth ritual 68 Part I. Mother Corn asserts authority 68 Part II. Songs and ceremonies of the way 73 Part III. Mother Com reasserts leadership 85 Third division. Entering the village of the Son and consecrating his lodge 89 Sixth ritual. 89 Part I. The Son's messenger received 89 Part II. The Hako party enter the village 93 Seventh ritual 98 Part I. Touching and crossing the threshold 93 Part II. Consecrating the lodge 97 Part III. Clothing the Son and offering smoke 101 The ceremony 105 First division. The public ceremony 105 Eighth ritual (first day) . The Fathers feed the children 105 Ninth ritual (first night) . Invoking the visions 117 Tenthritual. The Dawn _ 123 Parti. The birth of Dawn 123 Part II. The Morning Star and the new-bom Dawn. 1*28 7 8 CONTENTS The Hako — continued. Page The ceremony — continued. First division — continued. Tenth ritual — continued. Partin. Daylight. 131 Part rv. The Children behold the day 133 Eleventh ritual (second day) . The male element invoked 134 Parti. Chant to the Sun 134 Part II. Day songs 140 Twelfth ritual (second night) . The rites came by a vision 147 Thirteenth ritual (third day) . The female element invoked 161 Parti. The sacred feast of Corn- 161 Partll. Song to the Earth 161 Partlll. Offering of smoke 168 Part IV. Songs of the birds _. 168 Fourteenth ritual (third night) . Invoking the visions of the ancients 178 Second division. The secret ceremonies _ _' 183 Fifteenth ritual (fourth night) 183 Partl. The flocking of the birds -_ _ 183 Part II. The sixteen circuits of the lodge 187 Sixteenth ritual (fifth day, dawn) • 201 Part I. Seeking the child 201 Part II. Symbolic inception 204 Part III. Action symbolizing life. 209 Seventeenth ritual 213 Part I. Touching the child 213 Part II. Anointing the child 222 Part III. Painting the child 227 Part IV. Putting on the symbols 235 Eighteenth ritual. . Fulfilment prefigured 242 Part I. Making the nest 242 Part II. Symbolic fulfilment 244 Part III. Thank offering 24g Third division. The dance of thanks 347 Nineteenth ritual . 247 Part I. The call to the Children 247 Part II. The dance and reception of gifts 252 Fourth division. The presentation of the Hako . ^ ^ 256 Twentieth ritual n^c Part I. Blessing the child 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 256 359 260 - 260 - 365 - 367 373 . _ _ Q'^Q Origin and geographic distribution of the ceremony . 070 Purpose of the ceremony " Structure of the ceremony " " " Rhythmic expression in the ceremony . . ■ " ^o --_. 283 CONTENTS 9 Analytical recapitulation — continued. Page The preparation _ 383 First division. Initial rites 383 Firstritual. Making the Hako . 388 Part I. Invoking the powers 283 Part n. Preparing the feathered steins 387 Part III. Painting the ear of com and preparing the other sacred objects 289 Second ritual. Prefiguring the journey to the Son 293 Third ritual. Sending the messengers 294 Fourth ritual 395 Part I. Vivifying the sacred objects 295 Part II. Mother Com assumes leadership 296 Part III. The Hako party presented to the powers 297 Second division. The journey 399 Fifthritual 299 Part I. Mother Com asserts authority . . 299 Part II. Songs and ceremonies of the way 301 Part III. Mother Com reasserts leadership 306 Third division. Entering the village of the Son and consecrating his lodge 308 Sixth ritual ... . . 308 Part I. The Son's messenger received 308 Pai-t II. The Hako party enter the village 308 Seventh ritual ... 309 Part I. Touching and crossing the threshold 309 Part II. Consecrating the lodge _ . . 310 Part III. Clothing the Son and oflEering smoke 312 The ceremony ... 313 First division. The public ceremony 313 Eighth ritual (first day) . The Fathers feed the Children ..... 313 Ninth ritual (first night). Invoking the visions 317 Tenth ritual— The Dawn 320 Part I. The birth of Dawn 320 Part II. The Morning Star and the new-born Dawn . 323 Partlll. Daylight.. :m Part IV. The Children behold the day '. 324 Eleventh ritual (second day) . The male element invoked 32.) Part I. Chant to the Sun 32.'5 Partll. Daysongs 326 Twelfth ritual (second night). The rites came by a vision 328 Thirteenth ritual (third day). The female element invoked. . . 333 Part I. Sacred feast of Corn 333 Part II. Song to the Earth 333 Part III. Ofifering of smoke 836 PartrV. Songs of the birds 336 Fourteenth ritual (third night). Invoking the visions of the ancients . . .. 387 Second division. The secret ceremonies 339 Fifteenth ritual (fourth night) 339 Part I. The flocking of birds 339 Part n. The sixteen circuits of the lodge 340 10 CONTENTS Analytical recapitulation — continued. Page The ceremony — continued. Second division — continued. Sixteenth ritual (fifth day, dawn) 345 Parti. Seeking the child 345 Part II. Symbolic inception 346 Part III. Action symbolizing life - - 349 Seventeenth ritual 350 Part I. Touching the child 850 Part II. Anointing the child 353 Partlll. Painting the child 353 Part IV. Putting on the symbols 355 Eighteenth ritual. Fulfilment prefigured 357 Part I. Making the nest 357 Part II. Symbolic fulfilment 358 Part III. Thank offering _. _ 358 Third division. The dance of thanks 359 Nineteenth ritual 359 Part I. The call to the Children , 359 Part II. The dance and reception of gifts 360 Fourth division. The presentation of the Hako 361 Tv^entieth ritual 361 Part I. Blessing the child _ . 361 Part II. Presenting the Hako to the Son and thanks to the Children . . _ 361 Incidental rituals 363 Comforting the child 363 Prayer to avert storms . 354 Prayer for the gift of Children 364 Changing a man's name 364 Index 359 ILLUSTRATIONS Page Platb LXXXIII. James R. Murie 14 LXXXIV. The Ku'rahus in ceremonial dress (front view) 36 LXXXV. The Ku'rahus in ceremonial dress (profile view) _ _ 26 LXXXVI. " Kawas," the brown feathered stem (female) 3.s LXXXVII. The white feathered stem (male) 40 LXXXVm. "Mother Com" ... .. 44 LXXXIX. The rattles 46 XC. The wildcat skin and crotched stick 4s XCI. The feather symbol of Tira'wa fiS Figure 171. Diagram of the Father's lodge during the decoration of the feathered stems 36 173. Diagram of the Father's lodge during the second ritual 49 173. Diagram of the Father's lodge during the singing of the first stanza of the song of the fourth ritual, part ii . . ... T.i 174. Diagram of the Father's lodge during the singing of the sec- ond stanza of the song of the fourth ritual, part ii ._..... . 62 175. Diagram showing the movements of the principal members of the Father's party during the presentation to the powers . . - 67 176. Diagram of the Son's lodge at the beginning of the public cere- mony - 105 177. Diagram of the Son's lodge during the sixteenth ritual, part ill. 210 178. Diagram of the Son's lodge during the seventeenth ritual, part i . 214 179. The symbol of Tira'wa -_- 233 180. Diagram showing the positions of the participants in the dance ofthanks -- 248 181. Diagram of the Son's lodge during the presentation of the Hako --- ---- 257 11 THE HAKO: A PAWNEE CEREMONY By Alice C. Fletcher PREFACE In the early eighties of the last eenturj-, 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 intertribal one I hoped to make good tlie loss in some other tribe. From statements made by the Omahas, the Ponkas, and the Dakotas I was led to believe that among the Pawnees this ceremonj' 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. After four years of work, I am able to present the entire ceremony, as observed in the Chaui band of the Pawnee tribe. The diflBculty 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 LaFlesehe, 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 bj' himself to accomplish successfully the diflBcult task of recording and interpreting the rituals of a religious ceremonj'. He must 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. 13 14 THE HAKO, A PAAT^TiE CEEESIOjrr [eth. a_vs. a My collaborator in the present work has been Mr James E Murie, an educated Pawnee whom I have known since he was a school- boy, twenty years ago. Mr Murie has taken up the task of preserving the ancient lore of his people, and he has not spared himself in his labor. How difficult his undertaking has been, and still is, can only be appreciated by those who have attempted to accomplish a similar work. His 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. Tahirussawichi, a fuU-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. He thus became acquainted with the leading men of that tribe, who were my friends, and this circumstance has favored the successful prasecution of this work. During the fall of 1S9S and again in 1900 he and Mr Murie were my guests in Wash- ington; then, and also during my visits to the Pawnees in ISv'.i and 1901, we were engaged upon the rituals of this ceremony.. A final review of the manuscript was made with Mr Murie in the spring of l'X>2. Tahirussawichi is a member of the Chaui band of the Pawnee tribe and about 70 years of age. He is taU 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. He enjoys a joke and is always ready with good-fellowship, but he never foists 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. WMle he is not indifferent to the great changes which have overtaken his people, new conditions have failed to disturb in any way the couA-ictions of his early religions training. He has struggled to avoid living in a house, and has held to an earth lodge until it has dropped to pieces about him. He said :" ' • I can not live in a white mans house of any kind. The sacred articles com- mitted to my care must be kept in an earth lodge, and in order that I may fulfill my duties toward them and my people, I must live there also, so that as 1 sit I can stretch out my hand and lay it on Mother Earth. ^" Last faU (19(11) I 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. ^Vhile the vastuess and beauty of these structures gave him pleasure, they did not appeal to him,' for such BUREAU OF AMERICAN ETHNOLOGY TWENTY-SECOND ANNUAL REPORT PL. LXXXIII JAMES R. MURIE FLETCHER] HOW THE KECORD WAS OBTAINED 15 buildings he said were unfitted to contain tlie 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; I 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: "I am 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." Tahiriissawichi 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. His title is Ku'rahus. 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. 31any of its rituals deal with very sacred subjects, and it has required much patience in tlie 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 Tahiriissawichi 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 cylinders by Mr Edwin S. 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 CERBMOKY [kth. ann. 32 that the exactions of Mr Tracy's professional wotk in the field of music make it impossible for him to prepare an essay upon the character of these songs and the light they throw uijon 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 giveu 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, pique, go, rule; ow is used as in how; and u represents oo in good. The consonants p, b, t, d, k, g (always hard), j, s, z, f, v, m, 1, 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 it is heard twice or distinctly prolonged. An accent mark is used to indicate stress where it seems necessary. mTRODTJCTION Name of the Ceremony The ceremony is called Skari by the Ku'rahiis 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 Ruktaraiwarius. This composite word can be analyzed as follows : ruk, from rukkis, wood, or a stick of wood ; ta, from tita, hung upon; ra, coming; iwariiis, shaking or waving. This descriptive term refers to the two objects 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 can 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 ETH— PT 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 music 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 cereinony 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 can be spoken and remembered by the English reader. Peksonnel of the Ceremony Two distinct groups of persons were essential to the performance of this ceremony. These two groups could not belong to the same clan 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] PEESONNEL 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 mau was called Ku'rahus, and to him the entii-e party was required to jdeld 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, one to act as substitute for the other, as the constant presence of a chief was required throughout tlie ceremony. The priest who had charge of the shrine sacred to rain was also of the Father's party. It was his duty to furnisli 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 liis kindred, with such of his friends as might desire to contribute to the re(|uired 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 plac<" at tlie lodge of the Father, and from it the party of tlie Fathers started on its journey. Requisites of the Ceremoxy 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 tlie 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, apart 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 OEEEMONY [kth. akn. 32 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, fromhakkow, 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 vs^ood 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 ducks; a wildcat 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 Lxxxvi, 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 caUed 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. This treatment of the upper mandible had a double significance. The red crest, which rises when the bird is angrj', 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 tho 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 4o), differed from the first feathered stem already described in two par- ticulars, namely, it was painted green, to symbolize the eartli, and the fan-shaped pendant was made of seven tail feathers from the white eagle (the young brown or golden eagle; see page -88). This eagle was not consecrated. It represented the male, the father, the warrior, and the defender. This feathered stem was carried l)y the Ku'rahus's assistant, and it was never allowed to bo next to tlie 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 remeniljered and they were never handled carelessly. During the entire time that I was engaged with Tahiriissawichi on this ceremony he ne\-er allowed the feathered stems to be placed on tlie floor or laid on a chair; thej- were always carefully deposited on the wildcat skin with a dec(jrum that was not once abated. 1 have seen manifested among the tribes not only reverence toward these sacred sj'mbols, but an affection 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 PAWKEE 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 (plate Lxxxviii, page M), 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 48) 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 crotched stick expressed the desire for many young in the nest. The sacred ointment with which tlie 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 consecrated 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 carried the dressed meat from the hunting fields to the camp ; such " The common term for com, naksu, was not used in the ceremony. FLETCHER] SIGNIFICANCE OF THE WILDCAT SKIN 23 a path would be strewTi 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, aad accomplishes this end quietly, tactfully, without arousing antagonism . From conversations with the Ku'rahus it became clear that it was these qualities and not the savageness and stealthly cruelty of the animal that were to be kept in mind. To be able to accomplish a purpose without offending, with- out raising opposition, seems to have been regarded as the special attribute vouchsafed by Tira'wa to the wildcat. It is because of this attribute that it was chosen to be always with the sacred objects during this ceremony. The sacred 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 th(< lodge during the ceremony it was borne by the chief, who walked between the Kurahus and liis 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 wildcat could be borne by a man possessing the authority of a ruler in the tribe. As the wildcat stood for the ability to accomplisli a purpose with tact and without exciting opposi- tion, ([ualities essential to the successful ruler, it would seem that the imperative association of the wildcat with a chief was intended to con- vej' 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 ceremonj' and the position and movements of those who conducted the rites had a special signifi- cance, the position given to the wildcat, as explained by the Kurahus, reveals the mind of the nati^•e 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 wlien 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 II. 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 II. Mother Com assumes leadership. Part III. The Hako party presented to the Powers. Second division. The journey. Fifth ritual: Part I. Mother Com asserts authority. Part II. Songs and ceremonies of the way. Part III. Mother Com reasserts leadership. 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. Consecrating the lodge. Part III. Clothing the Son and offering smoke. The Ceremony 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. Part II. The Morning Star and the new-born Dawn. FLETCHER] SCHEME OF THE CEKEMOBT 25 First division — continued. Tenth ritual. The Dawn— continued. Part in. 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 Com. 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 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 child. 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 II. Symbolic fulfilment. Part III. Thank oflfering. Third division. The dance of thanks. Nineteenth ritual: 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. Part II. Presenting the Hako to the Son and thanks to the-Children. Tliere are four rituals which can be interpolated during the prog- ress of the public ceremony, namely: Incidental mtiials Comforting the child. Prayer to avert storms. Prayer lor the gift of children. Changing a man's name. In tlie following pages the rituals and the explanations are presented as they were given by Taliirussawichi. His descriptions are full of detail, witli 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 PREPARATIOK Explanation hy the Ku'rahus 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 moccasins, and a buffalo robe, with the hair outside, tying it 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. He 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 Ku'rahus has begun to sing the songs belonging 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. 26 BUREAU pp AMERICAN ETHNOLOGY TWENTY-SECOND ANNUAL REPORT PL LXXXIV THE KURAHUS IN CEREMONIAL DRESS (TO ILLUSTRATE "HAKO,A PAWNEE ceremony; BY A.CFLETCHER ) BUREAU OF AMERICAN ETHNOLOGY TWENTY-SECOND ANNUAL REPORT PL UXXV " THE KURAHUS IN CEREMONIAL DRESS (TO ILLUSTRATE "HAKO A PAWNEE ceremony; BY AC FLETCHER ) PLETCHEB] FIRST EITUAL, PAET 1 27 First Divisiox. Initial Rites FIRST RITUAL. MAKIXfr THE HAKO Part I. Invoking the Powers Explanafion hy the Ku' rahu-'i At tlie creation of the world it was arranged that there should be lesser powers. Tira'wa alius, 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 Tira'wa. 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. SONG Worils mil] ^[iisir M. M. ^S=rl26. • = I'ulaation of the voice. Transcribed by Edwin S. Tracy. llo-o-ol I' - lia-re, 'liu - re, a liel I' lia-re, 'lia - re, 'a he! Drum. T ' f ' ,* * ' • ' * ' * f ' ••• • • ••• ~ » ir_-_il* ^JJ i-»- jrzi«z^» ifcl •-- »rr^^ -» - ir3 _ ''P~^ — j =1«4 Ile-ru! A-wa hok-shii. He! 1' ha-re, 'ha- re, 'a he! I IV 1 Ho-o-o! 16 Ho-o-o! 2 Ihare, 'hare, ahe! 17 I bare, 'hare, ahel 3 I hare, 'hare, ahe! 1>< I hare, 'hare, ahe! 4 Heru! Awahokshu. He! 19 Herti! HUrani. He! .") Ihare. "hare, "ahe! 3ii Ihare. 'hare, 'ahe! II V 6 Ho-o-o! 21 Ho-o-d! 7 Ihare, "hare, "ahe! 2'2 Ihare, 'hare, 'ahe! M Ihare. "hare, 'ahe! 23 I hare, "hare, "ahe! 9 Hern! Hotoru. He! 24 Heni! Toharu. He! 10 Ihare. "hare, 'ahe! 2'> 1 hare, "hare, 'ahe! Ill VI 11 Ho-o-o! 26 Ho-o-o! 12 Ihare, 'hare, "ahe! 27 Ihare, "hare, "ahe! 13 Ihare, "hare, "ahe! 28 Ihare, 'hare, "ahe! 14 Herxi! Shakuru. He! 29 Heru! Chaharu. He! 1") Ihare, 'hare, 'ahe! 30 Ihare. "hare, 'ahe! 28 THE HAKO, A PAWNEE CEKEMONY [BTH. ANN. 22 VII 31 Ho-o-o! 32 I'hare, 'hare, 'ahe! 33 I'liare, 'hare, 'ake! 34 Heru! Kusharu. He! 35 I'hare, 'hare, 'ahe! VIII 36 Ho-o-o! 37 I'hare, 'hare, 'ahe! 38 I'hare, 'hare, 'ahe! 39 Heru! H'Akaru. He! 40 I'hare, 'hare, 'ahe! IX Ho-o-o! I'hare, 'hare, 'ahe! I'hare, 'hare, 'ahe! Hem! Keharu. He! I'hare, 'hare, 'ahe! 41 43 43 44 45 46 Ho-o-o! 47 I'hare, 'hare, 'ahe! 48 I'hare, 'hare, 'ahe! 49 Heru! Kataharu. He! 50 I'hare, 'hare, 'ahe! XI 51 Ho-o-o! 53 I'hare, 'hare, 'ahe! 53 I'hare, 'hare, 'ahe! 54 Heru! Kekaru. He! 55 I'hare, 'hare, 'ahe! XII 56 Ho-o-o! 57 I'hare, 'hare, 'ahe! 58 I'hare, 'hare, 'ahe! 59 Heru! Koritu. He! 60 I'hare, 'hare, 'ahe! XIII 61 Ho-o-o! 62 I'hare, 'hare, 'ahe! 63 I'hare, 'hare, 'ahe! 64 Heru! Hlwaturu. 65 I'hare, 'hare, 'ahe! He! Translation of First Stanza 1 Ho-o-o! An exclamation introductory to the song. 2 I'hare, 'hare, 'ahe! i'hare! an exclamation that conveys the intimation that some- thing is presented to the mind on which one must reflect, must consider its significance and its teaching. 'hare! an abbreviation of the word i'hare. 'ahe! an abbreviation of the word i'hare. The change of the r to h is for greater ease in singing. 3 See line 2. 4 Ileru! Awahokshu. He! heru! an exclamation of reverent feeling, as when one is 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. 6 See line 2. FLBTCHEH] FIE8T RITUAL, PART I 29 Explanation by the Ku'rahus I'hare is an exclamation, as wheu 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 "I'hare, 'hare, 'ahe!" indi- cates 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 placed — the place where Tira'wa atius, the mighty power, dwells. Below are the lesser powers, to whom man fan 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 directly; 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. I'hare, 'hare, 'ahe means that our minds are dwelling on our aj)peal to the powers. Translation of Hucond Stanza 6, 7, 8 See the first stanza, lines 1, 2, '■]. 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. The common word for wind is utawiu; windy, tihota. he ! part of i'hare ! give heed ! See the first stanza, line 4. 10 See the first stanza, line 2. Explanation by the Ku'rahus I'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 call on 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 cry 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. I'hare, '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 ti'rasakariki, sun stand- ing. he ! part of i'hare ! 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 i'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! " iXETCHEB] FIRST BITUAL, PAET I 31 Explanation by the Ku'rahics H'Uraru, the Earth, is the lesser power we cry to uext. 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 general 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'rahns Toharu means all the things that Mother Earth brings forth (all forms of vegetation) ; these are many. They are ^ery necessary to man and they bring him much help. They too art- 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 ha^■e a part in this ceremony. As we sing we think iipon all that Toharu gives us and Ave cry t and ,iz:ave them long life anil the power to keej) away disease and sickness. Whentlie Ku lahiis 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, spi-eailiug the paint over its entire length, but being very particular not to let any of it gel into the straight groove that runs from one end ot the stick to the oth o o \- , in V 7- o O III s cc 0- 5 < o ^ n- < 03 I UJ LO T < (- 1- CO 3 < -J 5 < O i: ^ PLETCHEK] FTEtST EITDAL, PAET U 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, Avho, 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 stick. When tlie man begins to paint the stick green this song is sung.. SECOND Bona Words (tiid Music M. M. J -126. • = Pulsation of the voice. Transcribed by Edwin S. Tracy. H' a - re - ri, h'a - re Drum. I* ^ ,• f ^ n; re - ri, 'ha - rel I' Jia re _• 'l • j ' j I* H' a - re -ri, 'ha-re! I' - ha-re re!H'a-re ri; ts t_: L; c • L-' 'lj -f>~ Hii - re el d» • • « « ^mm^'^mm^^^. H' a -re - ri, 'ha-re! I' hare rel H'a - re - ri; Hn re - el IJ ij" L.* IJ U 'U L' t - i i Ti H'areri, h'areri; ~'i H'areri, "hare! Ihare re! 74 H'areri, 'hare! Ihare re! H'areri; 75 Hure-e! 76 H'areri, "hare! Ihare re! H'areri; 77 Hure-e! Translation 72 H'areri, h'areri. h', an aspiration, a breathing forth. See the second song, line 07. 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 H'areri, 'hare! Ihare rel h'areri. 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. See line 2. i'hare re. Translated above. The doubling of the last syllable is to meet the requirements of the rhythm of the music. 40 THE HAKO, A PAWNEE OEKEMONY [eth. ann. 22 74 H'areri, 'hare! I'hare re! H'areri. All the words are trans- lated above. See lines 72 and 73. 75 Hure-e ! An abbreviation of the word haui'ae, coming from above. The vowel changes and prolongation are for greater ease in singing and also for euphony. 76, 77 See lines 74, 75. Explanation by the Ku'rahus The color green represents Toharu (Vegetation), the covering of H'Urarii, Mother Earth. As we sing, we ask that life be breathed into the symbol, that it may have power as we use these sacred arti- cles. " H'areri " 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, "Hure-e." The Ku'rahus paints the groove red in the same way, for the same reason as on the other ash stick, and when he has finished he hands the green stem back to the man on his right, toward the south, who holds it. The Ku'rahus 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. He is now ready to tie the symbolic 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. (4 3 O z X < 5 Q UJ q: UJ X < iij Li. kl H X 5 LJ X h 5 FLETCHER] FIRST EITUAL, PART II 41 The Ku'rahus 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 tlie reproductiAe 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 Ku'rahUs takes from tlie man on his. left, toward the north, the blue-painted stem and attaches to it tlie fan-like pendant made of the feathers of the brown eagle, we give thanks in our hearts as the following song is sung. THXRD SONG JVorcls (Hid ^fiixii- JI. M. ^ = 126. . = Pulsation of the voice. Transcribed by Edwin S. Tracy. Ha-a-a-a-al Ka - was we-rit-ta we - re rit- ta we -re; Ka was we- rit- Drum. 5 f f r ^.^^P^^^^^^^^^^^^^^^^-? --^^^^ i I ^ I ta we- re rit- ta we -re; Ka - was we -rit - ta we - re rit - ta we LJ L-f LJ —T LJ L-: U Ts Ha-ii-a-a-a! T!l Kawas weritta were ritta were: S(i Kawas weritta were- ritta were: SI Kawas weritta were ritta were. TrinislafioJt 78 Ila-a-a-a-a! An introductory exclamation to tlie song. 711 KawMs weritta were ritta were. Kawas, the name given to the lirown eagle in this ceremony. The common name for this bird is letahkots katit: letahkots, eagle; katit, dark or brown. wciitta, now hung. were, at this or that particular time. ritta, an abbreviated form of weritta, now hung. were, at this time. 811, SI See line T'.i. 42 THE HAKO, A PAWNEE CEKEMONY [eth. ann. 22 Explanation by the Ku'rahus 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 pendajit. 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 carried 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 crotched 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 III. Painting the Ear of Corn and PBEPARiNGt the Other Sacred Objects Explanation 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. BXETCHER] FIK8T BIT0AL, PART lU 43 SOKQ Words and Music M. M. ^S = 138. • = Palsation of the voice. Transcribed by Edwin S. Tracy. ri - ki re; We - ri lira ri - ki; H'A k m m m it m f » jf b ti - ra, we - ri hra ri - ki. L_' ; 1 i M2 83 84 85 86 87 88 I Ha-a-a-a-al H'Atira, weri hra liki: H'Atira, weri hra riki; H'Atira, weri hra riki; H'Atira, hra riki tp: Weri hra riki; H'Atira. weri hra riki. II Ea-a-a-a-al 90 H'Atira, weri ruata; 91 H'Atira, weri ruata; 92 H'Atira, weri ruata; 93 H'Atira, mata re; 94 Weri ruata; 95 H'Atira, weri ruata. m 96 Ha-a-a-a-a! 97 H"Atira, weri tuktika: 98 H'Atira, weri txikuka; 99 H'Atira, weri tukuka; 100 H'Atira, tukuka re; 101 Weri tiikuka; 103 H'Atira, weri tukuka. IV 108 Ha-a-a-a-a: 104 H'Atira, weri taiwa: 105 H'Atira. weri taiwa: 106 H'Atira, weri taiwa: 107 H'Atira, taiwa re: 108 Weri taiwa: 109 H'Atira. weri tiawa. 110 Ha-a-a-a-a: 111 H'Atira, weri tawawe: 112 H'Atira. weri tawawe: 113 H'Atira, weri tawawe; 114 H'Atira, tawawe re; 115 Weri tawawe; 116 H'Atira. weri tawawe. VI 117 Ha-a-a-a-a: 118 H'Atira, weri tawitshpa: 119 H'Atira, weri tawitshpa: 120 H'Atira, weri tawitshpa; 121 H'Atira, tawitshpa re: 122 Weri tawitshpa: 123 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 lira 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, noAv. 84, 85 See line 83. 86 H'Atira, hra riki re. h'Atira, hra riki. See line 83. re, a sign of the plural. This plural sign indicates the imper- sonation of the ear of corn; h'Atira and Ku'rahus 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 H'Uraru, the earth which brings forth the food that sustains life; so we speak of the ear of corn as h'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 flrst 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 introdiictory exclamation. 90 H'Atira, weri ruata. h'Atira, Averi. 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. BUREAU OF AMERICAN ETHNOLOGY TWFKT '-SECOND AIJNUAL REPORT PL. lyr/J.W "MOTHER CORN' (TO ILLUSTRATE "HAKO.A PAWNEE CEREMOMy; BY A C.FLETCHER ) PLETCHEHJ MEST EITUAL, PAET HI 45 91, 92 See line 90. 93 H'Atira ruata re. All the words have been translated. See lines 83, 86, and 90. 94 Weri ruata. See lines 83 and 90. 95 See line 90. Explanation by the Ku'rahus As Ave sing this stanza the Ku'rahus, holding the ear of corn in his hand by the butt, moves it slowly toward the bowl oontaining the blue paint. The bowl and the blue paint represent the blue sky, where the i)Owers 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 arc now Hying togethei- (see line 86 for translation of the plural sign, re, and Its significance). Trdnslalion of Third Stanza 96 See line 82. 97 H'Atira, weri tukuka. h'jVtii'a, weri. See line 83. tukuka, now touches, or touching. 98, 99 See line 97. 100 H'Atira, tukuka re. Sec lint's s:j, so, and 97. 101 Weri tukuka. Sec lines 83 and ii7. 102 Se(? line 07. ExplaiKitiiiii hij til/' Kii ruhiis As this stanza is sung the Ku'i'ahus dips his finger in tlic blue paint and touches (tukuka) the ear of corn with it. This act means tliat Mother Corn in her flight toward the sky now touches the place where the slcy begins. Translation of Fourth Stanza 103 Sei^ line 82. 104 H'Atira, weri taiwa. h'Atira, weri. Sec line 83. taiwa, to rub downward or mark. 105, 106 See line 104. 107 nWtira taiwa re. Sec lines S3, 86, and 104. 108 Weri tiiiwa. See lines 83 and 104. 109 See line 104. Explanation lnj the Ku'rahus Ah we sing this stanza the Ku'rahus marks with his finger four equidistant lines of blue paint on the ear of corn. He begins at the tip of the car and rubs his finger down (taiwa) about halfway to the butt on the four sides of the ear. 46 THK HAKO, A PAWKEE CEREMONY [eth.ann.22 The four blue lines represent tlie four paths at the f our direcdons (cardinal points), near which the winds stand as guards. Down these paths the powers descend to bring help to man. , .cio-ht 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 H'Atira, weri tawawe. h'Atira, weri. See line 83. tawawe, to spread. 112, 113 See line 111. 114 H'Atira 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. h'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 H'Atira 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 jjaint having now been put on the ear of corn, this part of the ceremony is completed. In all that is to follow h'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 UXXIX THE RATTLES (TO ILLUSTRATE "HAKO.A PAWNEE ceremony; BY A C.FLETCHER ) FLETCHER] FIEST RITUAL, PART III 47 When we liave finished singing this song the Ku'rahns 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 tiie ear of corn by a braided band of hair taken from the head of a buflfalo. 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 circle about the middle, with four equidistant lines from the circle to the bottom of the gourd. The circle 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 wildcat 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. The skin 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 wildcat to live in the forest. He has mucli 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 wildcat does not make enemies by rash action. He is observant, quiet, and tactful, and he always gains his end. In this cei-emony we are to carry the sacred articles to one not of our kindred in order to bind him to us bj' a sacred and sti-ong 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 wildcat is one of the sacred animals. A man who killed a wildcat 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 Ilako to the Omaha tribe. On the journey one of them killed a wildcat. I said to the man: " I am 48 THE HAKO, A PAWNEE CEREMONY [eth. ank. 23 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 Hako ! I am going to take it to the priest for sacriiice that I 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 wildcat skin is spread upon the earth in the h.oly 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 tlie 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 builds its 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 wildcat, 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 Ku'rahus 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 i^ipe with native tobacco 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. I 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 conclusion 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. BUREAU OF AMERICAN EthnOLOGV TrtENTY-SECO'.D Ar!M^ REPORT PL /C THE WILDCAT SKIN AND CROTCHED STICK ON WHICH THE TWO FEATHER CD STEMS ARE PLACED WHEN AT CEREMONIAL REST (TO !l.uUSTF,ATc'HAKO,A PAWNEE CEKf-Mj:, • BY A C.FLETCHER ) rLBTCHBR] INITIAL KITES 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 • 1 Fio. 172. Diagram of the Father's lodge during the second ritnal. 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 wildcat skin, on which are the feathered stems and rattles; 9, the eagle wings; 10, the ear of corn; 11, members of the Hako party. and the Son and their immediate families a relationship similar to that which exists between kindred is established through this cere- nionj'. It is a sacred relationship, for it is made by the supernatural powers that are with the Hako. 22 ETH— PT 2—04 4 50 THE HAKO, A PAWNEE CEREMONY [bth. ann. 22 Because 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 bj^ 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 Coi-n, 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 tlie 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 crotched 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. Words and Music M. M. ;n = 132. ^ Pulsation of the voice. Transcribed by Edwin S. Tracy. H'A-ti-ra ha-ri, h'A- ti - ra ha-ri! He! Chix-u t'i f l£pE^li^^_^^E^£E^|^=^^^pp^ •vhi-ti-ka ha-ril H' .i-ti- ra ha-ri! H' A-ti- ra ha-ri, h'A^^ti- ri Hal U Lj Lj Lj L'U Ls Lj U f -• I I FLETCHER] SECOND RITUAL 51 124 I Ha-a-a-a! 144 V Ha-a-a-a! 125 H'Atlra hari, h'Atira liari! 145 H'Atira hari, h'Atira hari! 126 He! Chixii tj whitikahari! 146 He! Chixu ti whichata hari! 127 H' Atira hari! 147 H'Atira hart! 128 H'Atira hari, h'Atira. Ha! 148 H'Atira hari, h'Atira. Ha! II VI 129 Ha-a-a-a! 149 Ha-a-ara! 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! Ill vn 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! 157 H'Atira hari! 138 H'Atira hari, h'Atira. Ha! 158 H'Atira hari, h'Atira. Hal 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 tib 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 ofFh •st Stanza 124 Ila-a-a-a! An introductory exclamation. 125 H'Atira hari, h'Atira hari. h', the sign of an inspiration, a breath, the symbol of jjiving forth life, atira, mother. The term is here applied to the ear of com, the life-giving product of h'Uraru, the Earth, hari, a part of the word iha'ri, young, the young of aniinals; 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. 52 THE HAKO, A PAWNEE . CEREMONY [eth. Ann. 32 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 miist 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 h'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, ofEspring, 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. 182 H'Atira hari! See line 130. 133 H'Atira hari, h'Atira. Ha! See lines 128, 130. Explanation by the Ku'rahtos 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. FLETCHBH] SECOND RITUAL 53 Translation of Third Stanza 134 Ha-a-a-a! An introductory exclamation. 135 H'Atira hari, h'Atira hari. H'Atira, 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 H'Atira hari! See line 135. 138 H'Atira hari, h'Atira. Ha! See lines 135, 128. Explanation 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, di'awing near to a place. hari, part of iha'ri, children. 142, 143 See lines 127, 128. Explanation by the Ku'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 CEEEMONY [eth. ann. 22 Translation of Fifth Stanza 14i, 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 journej'. 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 j ourney across the country is now at an end. 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 Imea 124, 125. 151 He! Chixu tih itchahka 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, 15.3 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, foUowhers 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 near. FLETCHER] SECOND BITUAL 55 Translation of Seventh Stanza 154, 155 See lines 121, 125. 156 He! Chixu ti itwhichata hari. he! look! behold! chixu, 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 Uie Son. 157,158 See lines 127, 128. Explanation by the Ku'rahus As we sing this stanza the spirit of blether Corn arrives at tlie lodge of the Son and enters. Our spiiits follow lier spirit. We lia\e 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 aud upon liim; we think of the gifts we are to bring him when we come to him with the Ilako, 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 ^.■ill be his, and we shall share in them, for all these good things go with this ceremony. Translation of Eiijlitli Stanza 159, 160 See lines 124, 12.^. 161 He! Chixu ti tokoka hari. he! look! behold! chixu, tlie 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. Explonaiion by tlie Ku'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 tlie 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 ^^•ill make him a Son are now promised to him. 56 THE HAKO, A PAWNEE OEKEMONY [KTH. ANN. 28 By toucMng 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'raTius 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. Words and Music Si3iz M. M. J =112. • = Pulsation of the voice. Blow and heavy. Transcribed by Edwin S. Tracy. =t= -r Ha-a-a! Drum. A « Rallies. I I Ka sha wha - ko f r '- Ha- a I H'ars I I I wi ta a! P r Ka r i^ !=e= m^^ — I- o: Ha a I H'ars sha wha ko 164 Ha-a-a! 165 Kasha whako-o: Ha-a! 166 Kasha whako-o: Ha-a! 167 Kasha whako-o: Ha-a! 168 Ha-a-al 169 Kusha whako-o: Ha-a! 170 Kusha whako-o: Ha-a! 171 Kusha whako-o: Ha-a! I H'Ars wita-a! H'Ars witara! H'Ars wita-a! II H'Ars wita-a; H'Ars wita-a; H'Ars wita-a. ta a! f r f r f f ^ ^ f t I i PLETCHEB] THLKD RITUAL 57 Translation of First Stanza 164 Ha-a-a! An introductory exclamation. 165 Kasha whako-o: Ha-a! H'arswita-a! kasha, a form of command, referring to an act to be performed at a future time, whako-o; whako, tell or say; o, vowel prolongation, ha-a! ha I behold 1 a, vowel prolongation, h', a contraction of ha, your, ars, a contraction of atius, father, wita-a! wita, he coming; a, vowel prolongation. 1«0, 167 See line 165. Explanation iy the Ku ralius This stanza is a command to the messengers to say, when they hand the tobacco to the Son, "Behold! Your father is coming!" ("Ha! H'ars 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 < if Second Stanza 168 See line 164. 169 Kusha whako-o: Ha-a! H'ai-s wita-a. kusha, they will; that is, those that have been comjnanded will do as they have been directed. \vhako-o; whako, tell, saj-; o, vowel prolongation, ha-a! ha! behold! a, vowel prolongation, h', a contraction of ha, your, ars, a contraction of iitius, 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 is an 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 call together 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. anit. 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 Ilako. 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 cry, "Nawairi!" ("Thanks!") 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 tlie messengers, addressing the Ku'rahus, delivers the words sent by the Son, "I am ready!" This closes the ceremony. FOURTH RITUAL Pakt I. Vivifying the Saceed 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 t«o 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 lie 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 BUREAU OF AMERICAN ETHNOLOGY TWENTY-SECOND ANNUAL REPORT PL. XCI THE FEATHER SYM BOL OF TIRAWA (TO ILLUSTRATE "HAKO, A PAWNEE CEREMON-T BY A.CFLETCHER ) 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 it 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 II. Mother Corn Assumes Leadership Explanation by the Ku'rahus As I told you before, the Ku'rahus at the beginning of the ceremonj- anointed himself with the sacred ointment and fastened upon his head EAST ■ 1 —I Fig. 173. Diagi'aiu of tlie Father^s lodge during the singing of the first stanza of the song of the fourth ritual, part ii. 1 the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the dome-shaped roof: i the holy place; 5, the Ku'rahus; 6, his assistant: 7, the hearers of the eagle wings; n, the Father (a chief); 9, the second chief; 10, members of the Hako party. 60 THE HAKO, A PAWlfEB CEKEMONY [ETH. ANN. 22 the downy eagle feather (see plate xci). 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 wildcat 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. Slow. Words and Music Transcribed by Edwin S. Tracy. H'A-ti - ra liu we - ta. a ri so! H'A - ti - ra hu :»= E3^= we - ta. a - ri so! H'A - ti ra liu we ta., i^i^EE^=^=^^lgi^l^| a-ri-sol H'A-ti -ra liu we-ta.. -Jr^.— * '*— •-— ii— .sir a - ri- so! H'A-ti - ra hu we - ta, a-ri-sol H'A-ti -ra hu we-ta,. riiETCHER] FOURTH BITUAL, PAET II 61 173 H'Atira hu weta ariso! 173 H'Atira hu weta ariso! 174 H'Atira hn weta ariso! 175 H'Atira hu weta ariso! 176 H'Atira hu weta ariso! 177 H'Atira hu weta ariso! H 178 H'Atira hu weti arisut! 179 H'Atira hu weti arisut! 180 H'Atira hu ■weti arisut! 181 H'Atira hu weti arisut! 182 H'Atira hu weti arisut! 183 H'Atira hu w^eti arisut! Translation of First Stanza 172 H'Atira 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 sovind 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. Explanation 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 lie 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 Motlier Earth, and also the authorit}- given by the po'wers above; so, as the chief, holding the ear of corn, takes the four steps that bring him in advance of the Kii'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 HAEO, A PAWNEE CEREMONY [eth. 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 Pig. 174. Diagram of the Father's lodge during the singing of the second stanza of the song of the fourth ritual, part ii. 1 the entrance to the lodge; 2, the iireplace; 3, inner posts supporting the dome-shaped roof: 4, the holy pb,ce; o, the Ku'rahus; 6, his assistant; 7, th« 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 H'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 iournev 179-18.3 See line 178. ^ •^' FLETCHER] FOUBTH EITTJAL 63 Explanation by the Ku'rahus We sing this stanza four times, taking a step at each repeat, tlie 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 tn lodge, going by the north, and all .the others follow. Part III. The Hako Party Presented to the Powers the 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 tlie left wing of the eagle to the north, on his right the Ku'rahus, then tlie principal chief, then the second chief, then the Ku'rahus's assistant, and the doctor with the right wing of the eagle at the end of the line toward tlie south. At the word of the Ku'rahus the six men bearing the sacrcil objects advancf^ abreast toward the east. The men of tlio Ilako party fall in behind and are followed by the women. When all have walked for- ward a little waj', the six men halt and sing the following song. As tlu^ party sings the Ku'rahus lifts and points his feathered stem toward the east; the assistant does the same with his i'eathei('-g J. -J. rg: -:Jr^i.-J. * \_ if- ^^i^^ 3EJ- i^ rp=i*zz»: :s)=st !!S3=S^ hi - rl; Hi A hi hi - ru 4 - ra wa. He! I I g4 THE HAKO, A PAWNEE CEREMONY [kth. ann. 22 184 Hiru ra hiri ra wa, hiru ra wa hiri; 185 Hiru ra hiri ra wa, hiru ra wa, hiri ra wa. hiri ra wa. He! 186 Hiru ra hi ra wa hiri; 187 Hiru ra hiri ra wa, hiru ra 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, ra, coming. wa, from teware, darting through the air. hiri, they who are far away; the h is used for euphony. 185 Hiru ra hiri ra wa, hiru ra wa, hiri ra wa, hiri ra wa. He! hiru ra hiri ra wa, hiru ra wa, hiri ra wa. See line 184. 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, hiru ra wa. He !. All the words are trans- lated above. See lines 184, and 185. 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 cerem.onj^ 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. BXiETCHER] FOUBTH KITUAIi, PART III 65 SECOITD BOTHa W^ords and 3Iusic M. M. J=42. ■ — Pulsation of the voice. Transcribed by Edwin S. Tracy. 188 189 190 191 193 193 194 195 196 197 198 199 300 301 303 203 204 205 A! A! A! A! A! A! I A! A! Hiri, ra rihiu! Hiri, ra rihiu! Hiri, ra rihiu! Hiri, ra rihiul Hiri, ra rihiu! Hiri, ra rihiu! II Hiri re! Hiri, ra rihiu! Hiri, ra rihiu! H'Uraru ha H'Uraru ha H'Uraru ha H'Uraru ha H'Uraru ha H'Uraru ha Hiri re! Hiri re I Hiri re! Hiri re! Hiri re! Ill H'Uraru riri wari! H'Uraru riri wari! H'Uraru riri wari! H'Uraru riri wari! H'Uraru riri wari! H'Uraru riri wari! H'Uraru ha! H'Uraru ha! Hiri re! Hiri re! H'Uraru riri wari! H'Uraru riri wari! Translation of First Stanza 188 A! Iliri, ra rihiu! A! Hiri, ra rihiu ! ;i! a part of ha! behold! Tlie exclamation nas here a double meaning; the people are to look toward the powers and the powers are called upon to behold the people, hiri, they far away; an address to the i)owers. The h is pro- fixed for euphony, ra, come. rihiu; rihi, is the place; u, a vocable to fill out the measure. 189-193. See line 188. 22 ETH— PT 2—04 5 66 THE HAKO, A PAWNEE CEREMONY [kth. ann. 22 Explanation by the Ku'rahus 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 thej' 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 H'XJraru ha! liiri re! H'Uraru ha! Hiri re! H'Uraru, the earth. ha! behold! hiri, they far away; an address to the powers of the south. re, are, in the sense of being, living. 196-199 See line 194. Explanation by the Ku'rahus When we sing this stanza we are standing arid 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 iirst 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! H'Uraru, the earth. riri, on. wari, walking. 201-205 See line 200. Explanation 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 th.^y turn 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 FLBTCHBR] FOURTH EITUAL, PAKT III WEST 67 1 _i njr >- ^C^^,^ ^ I t T t T T I t t t T T f t "^" ttii EAST Ft(J. 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 an eagle. The arrows attached to the dots show the direction in which the persons are facing, i Bv an error, but five dots were drawn, instead of six.) Each of the other arrows represents a step taken by the group, and points in the direction in which it is taken. 68 THE HAKO, A PAWNEE OEKEMONY [KTH. ANN. the earth the figure of a man. This image that we liave 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. Mother 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: ITKST SONG Words and Music M. M. J_= 56. • = Pulsation of the voice. Transcribed by Edwin S. Tracy. J> = 112.2p, Ho - 0-0-0-0 ! H' A - ti-ra shi-ra ti wa - re! H'A-ti - ra »hi-ra ti ■ 206 207 206 207 208 209 210 Ho-o-o-o-o! H'Atira Bhira tiware! H'Atira sMra tiware! H'Atira shira tiware! Whe-e ratiwa! II 211 Ho-o-o-o-o! 212 H'Atira shira tiwara! 213 H'Atira shira tiwara! 214 H"Atira shira tiwara! 215 Weru tihiwa! Translation of First Stanza Ho-o-o-o-o! An introductory exclamation. H'Atira shira tiware ! ' h', an aspiration, symbolic of a breathing fortli, as the gi^^ng 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 refers to Ihe ear of corn. Mother Corn; me refers to the Father's party 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] FltTH EITUAL, PABT 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'rdhns 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 iMother Corn (h'Atira shira); we, as one person, must walk with her over the devious, Avinding 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 Ilako, 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 SpcoihI Stanza 211 Ho-0-o-o-o! An introdnetorj' exclamation. 212 H'Atira shira tiwara. h', symbolic of bi-eatliiug forth. atira, mother; the term refers to tho 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. 21.5 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 Ku'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 ns 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 have moved on a little distance, and have left the village 70 THE HAKO, A PAWNEE OBEEMONY [hth. ANN.gg behind ns so that we can no longer see our homes, we halt and sing ^,he first stanza of the following song. SECOND SONO Words and Music M. M. js = ll2. • = Pulsation of the voice. Transcribed by Edwin S. Tracy. Ho-o-o-ol Ka-ra ba-tu-ru ta? Kara ha-tii-ru ta? H'A-ti ra ku-hra Rotttes-ljlr f 1 1 U LJ LS i_r W i/ Lj* L^:^^^ ha-tu-ru e? Ka-ra ha-tii - ru ta? H'A-ti - ra ku-hra ha-tu-ru e? Li U Lr U U U Lj L'Lj' t -^ i i I 316 Ho-o-o-o! 217 Kara haturu ta? Kara haturu ta? 218 H'Atira kuhra haturu e? 219 Kara haturu ta? H'Atira kuhra haturu e? II 220 Ho-o-o-o! 221 Wiri haturu ta, wirj. haturu ta; 322 H'Atira kuhra haturu e; 223 Wiri haturu ta, h'Atira kuhra haturu e.. Translation of First Stanza 216 Ho-o-o-o! 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 music 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 H'Atira kuhra haturu e? h', symbolic of the breath; a breathing forth, atira, mother. The term applies to Mother Com. 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 tlie 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 EITUAL, 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?" 220 221 222 Translation of Second Stanza lio-o-o-o! An introductory exclamation. 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. See line 218. Wiri haturu ta, h'Atira kuhra haturu e. All the words are translated above. See lines 221 and 218. Explanation by the Ku' rahua 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 sajs that here, right before us, stretches out the path she has made straight. Then our eyes are opened and we see tlie way we are tu go. But although we se^ our way we are not to take tlie path by our- selves; we must follow Mother Corn; she must lead us, must direct and guide our steps. The next scjiii,' is to enforce obedience to Mother Corn. THTRD SONQ JVords (ijiil Jfusir M. M. ^S = 112. • = Pulsation of the voice. Transcribed by Edwin S. Tracy. 13V3- Ho - o-o-ol Ra ri - hi u ha- wa ra-ti - ni JtatUes. f I* ^ f f 1 i I ^ ' Ra ri - hi u i . i . "=-=1- Bfili S^£sE3E^ ha-wa rati - ra e; Ha-wa-a rari-hi u ha-wara-ti ■ ra e; tj Li ULr L: L: U lj L Ra ri hi n 224 Ho-o-o-o! 235 Ra rihi n hawa ratira e; 226 Ra rihi u hawa ratira e; 227 Hawa-a ra rihi u hawa ratira e; 228 Ra rihi u hawa ratira e; 229 Ra rihi u hawa ratira e. II 230 Ho-o-o-o! 231 Ti rihi u hawa ratira e; 232 Ti rihi u hawa ratira e; 233 Hawa-a ti rihi u hawa ratira e; 234 Ti rihi u hawa ratira e; 235 Ti rihi u hawa ratira e. 72 THE HAKO, A PAWNEE CEREMONY [eth. ann.22 Translation of First Stanza 224 Ho-o-o-o ! An introductory exclamation. 225 Ra rihi u hawa ratira e. ra, at a distance; yonder. rihi, a place; a locality. 11, 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 ratira e. See line 225. 228, 229 See line 225. Explanation by the Ku'rahus When this song is to be sung, the Ku'rkhus 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 330 IIo-o-o-o ! An introductory exclamation. 331 Ti rihi u hawa ratira e; ti, this. rihi u hawa ratira e. See line 225. 332 See line 331. 333 Hawa-a ti rihi u hawa ratira e. 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 «See first ritual, second ritual, and fourth ritual. FLETCHER] FIFTH RITUAL. 73 are not moving at random, but in a prescribed manner, which the Ku'rahns 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 op the Way Explanation 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 at a 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 wat«r and hear it rippling, then we sing to the water, the water that ripples as it runs. BONO TO THE TREES AND STREAMS Words and Music M. M.^=112. • = Pulsation of the voice. No drum. Transcribed by Edwin S. Tracy. =4=^= \Vi- ra u - ha - ki, Bataea. ^ • ,* • ? wi - ra u - ha - ki; U t-' u Ka-tu - ha-ru Lr LJ =i«9:: u - ha - ki, Lj L.' 236 Wira vihaki, wira uhaki; 237 Katuharii uhaki, wira uhaki; 238 Katuharu uhaki. II 239 Wira uhaki, wira uhaki; 240 Kichaharu uhaki, wira uhaki; 2-tl Kichaharu uhaki. Ill 242 Wira wihakn, wira wihaku; 243 Kichaharu wihaku, wira wihaku; 244 Kichaharu wihaku. 74 THE HAKO, A PAWNEE CEREMONY [eth. Ann. 22 Translation I 23G Wira uhaki, wira uhaki. wira; wi, a qualifying word meaning that an object is long or stretched out; ra, at a distance, j^onder. uhaki, something that is in a line, a stretch. 237 Katuharu uhaki, wira uhaki. katuharu, trees, timber, woods, uhaki, a long line, a sti-etch. wira uhaki. See line 236. 238 Katuharu uhaki. See line 237. II 230 See line 236. 240 Kichaharu uhaki, wira uhaki. kichaharu, a stream, a river. uhaki, a long stretch, wira uhaki. See line 236. 241 Kichaharu uhaki. See line 240. Ill 242 Wira wihaku, wira wihaku. wira, something that is long seen at a distance. wihakii, rippling. 24C Kichaharu wihaku ; wira wiharu. kichaharu, a stream, a river. wihaku, rippling. wira wihaku. See line 242. 244 Kichaharu wihaku. See line 243. Explanation Inj the Ku'r alius 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 niglit and the moon, and she can permit us to enter and wade through the stream. So, whenever we come to a river we call uijon 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 continuitj^ 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. TLETCHBR] FIFTH RITUAL, PART II 75 SONG ■WHEN CKOSSrNG THE STKEAMS Words and Music M.M. ^^ = n6. ' — Pulsation of the voice. No drum. Transcribed by Edwin S. Tracy. Ho-o-o I He! Ka-was si-re te - wi liu-ku-ka, Te-wi hu-ku-ka. He ! Ka-was si-re a hel Ka-was si-re te-wi 24.1 246 247 248 249 250 251 252 253 254 255 256 257 25.S 259 hu-ku-ka. He'. Ka-was si -re te-wi I hu-ku-ka. Ho-o-o 1 He! Kawas sire tewi huktika. Tewi hukuka. He! Kawas sire a he! Kawas sire tewi hnknka. He! Kawas sire tewi hnkuka. II Ho-o-o! He! Kawas sire tewi hariki, Tewi hariki. He! Kawas sire a he! Kawas sire tewi hariki. He! Kawas sire tewi hariki. Ill Ho-o-o! He! Kawas sire tewi haiwa, Tewi haiwa. He! Kawas sirn a he! Kawas sire tewi haiwa. He! Kawas sire tewi haiwa. IV 260 B.o-o-0'. 2fil He! Kawas sire tewi hawitshjia, 262 Tewi hawitshpu. 263 He! Kawas sire a he! Kawas seri tewi hawitshpa. 204 He! Kawas sire tewi hawitshpa. Trail. 'ilaiioii I 245 Ho-o-o! All introductory e.xclaination. 24(1 He! Kawas sire tewi hukuka. he! a part of the e.xelamatioii hiri! give heed! haiken! Kawas; llie 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. 247 Tewi hukuka. tewi, it lias; tlie water has touched the feet, hukuka, step into the water. The feet have stepped into the water. 76 THE HAKO, A PAWNEE CEREMONY [eth. ann. 22 248 He ! Kawas sire a lie ! 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. 249 See line 246. II 250 Ho-o-o ! An introductory exclamation. 251 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. 252 Tewi hariki. tewi, it has. hariki, water standing. Our feet are standing in the water. 25.3 He! Kawas sire a he! Kawas sire tewi hariki. See lines 248 and 251. 254 See line 251. Ill 255 Ho-o-o! An introductory exclamation. 256 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 chaharu, water; iwa, moving in : haiwa, moving in the water. 257 Tewi haiwa. See line 256. 258 He! Kawas sire a he! Kawas sire tewi haiwa. See lines 248 and 256. 259 See line 256. IV. 260 Ho-o-o! An introductory exclamation. 261 He! Kawas sire tewi hawitshpa. he! harken! give heed! Kawas, the brown eagle; the mother, tlie 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. FLETCHER] FIITH RITUAL, PART II 77 262 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 hy 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 liave 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 call on the Wind, llotoru, to come and touch us that we may l)ecome dry. M. M. ^N = 132. • = Pulsation of the voice. No drum. Ho-o-o-o I _ • • • I Rattles- I I I I SONG TO THE WTND Words and ^fiisic Transcribed by Edwin S. Tracy. to ru, tu - ku - ka 205 Ho-o-o-o ! 266 Tukuka, tukuka ha Hotoni, 267 Tukuka ha Hotoru, 268 Tukuka ha ! II 269 Ho-o-o-o ! 270 Taiwa, taiwa ha Hotoru, 271 Taiwa ha Hotoru, 272 Taiwa ha ! 273 Ho-o-o-o ! 27-t Tawawe, tawawe he Hotoru, 27.5 Tawawe he Hotoru, 276 Tawawe he I IV 277 Ho-o-o-o ! 278 Tawitshpa, tawitshpa ha Hotoru, 279 Tawitshpa ha Hotoru, 280 Tawitshpa ha ! 78 THE HAKO, A PAWNEE CBEEMONY [eth. ann. 22 Translation I 265 Ho-o-o-o! An introductory exclamation. 266 Tnkuka, tukuka ha Hotoru. tukuka, touch or touched. ha, a syllable added to meet the rhythm of the music. Hotoru, the Wind, the supernatural power. 267 Tukuka ha Hotoru. See line 266. 268 Tukuka ha! See line 266. II 269 Ho-o-o-o! An introductory exclamation. 270 Taiwa, taiwa ha Hotoru. 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 powerr;. 271 Taiwa ha Hotoru. See line 270. 272 Taiwa ha! See line 270. Ill 273 Ho-o-o-o ! An introductory exclamation. 274 Tawawe, tawawe he Hotoru. 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 277 See line 265. 278 Tawitshpa, tawitshpa ha Hotoru. tawitshpa, the completion of an act, the accomplishment of a purpose. Hotoru has completely touched all parts of the bodj^ ha, a syllable added to fill out the rhythm of the music. Hoturu, the Wind; one of the lesser powers. ■27'J Tawitshpa ha Hotoru. See line 278. 280 Tawitshpa ha! See line 278. Explanation hy 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 AVind 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 ha\'e 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 BUFFAIX) TFo;y7.s- and JIusir M. M. J = 120. • = Pulsation of the voice. Transcribed by Edwin S. Tracy. --■=*==^a^ ^ ~ ~ J ■ ' ^=f a- wa rati whi-cha. ? : ^ r ^ r I ri! Ha-wa ra-ti whi-cha; A ti-ra sa- ka ri-ki U L^' L; L/ ^ L^- i^- S=^^5EE3^£^E iS=-j= g=.i5 S==|s=i^ a - wa ra-ti whi-cha; A ti-ra sa - ka ri- ki a-wara-ti whi-cha. U Ij U Lj Lj Ij t^ I - i I 3*3 A tira saka riki awa rati whicha; 344 A tira saka riki awa rati wMciia. 345 Iri! Hawa rati wMcha; 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 343 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 Iri I Hawa rati whicha. iri! thanks! a part of the word na'wairi, thanks, thankful. hawa, again. rati, I coming; refers to Mother Corji. ... o.^^i^'^t' ^'■'■"'^'^' '■^^'^^^^ *^^ P^i'i* «f destination. 34fa, 347 See line 343. BT.ETCE.EB] FIFTH EITFAL, PART UI 89 II 348 A tira eaka 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. 350 Iri ! 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 Kn'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 thej' 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 song. Third Division. Exterixg the Village of the SorAXD Coxse- CKATixo His Lodoe SIXTH RITUAL Part I. The Sox's Messengers Received Explanation by tht^ Ku'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 tlie Ilako 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 mo^-ing out for the occasion. In this vacated lodge the ceremony was to be performed and the Fathers were to live da}* 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 Ieth. ann.22 Every Pawnee village keeps certain men on tlie 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 conduct him to the Hako party. A cushion was placed for him 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. SONQ Words and Music M. M. / = n6. * • = Pulsation of the voice. Transcribed by Edwin S. Tracy. No drum . r^ HRF4— ^■^— (H-^— ^- i--i — i- ^»-IF» i^ji— a-l— F4-»— J-i^— i-ai— H-4r-.*-^-»-*- Ho-o-o-o! Ti-we ra-kn-she ti ha-o; Ti-we ra-ku-she ti ha-o; l^^^:i|^^Eii^£&!iEiS|^ElE^^E^I Ti-we ra-ku-she ha-wati ha-o; Ti-we ra-ku-sLe ti ha-o; Ti-we ra-ku-she. I II 353 Ho-o-o-o! 359 Ho-o-o-o! 354 Tiwe rakushe ti hao; 360 Tiwe riata ti hao; 355 Tiwe rakushe ti hao; 361 Tiwe riata ti hao; 356 Tiwe rakushe ha wa ti hao; 862 Tiwe riata hawa ti hao; 357 Tiwe rakushe ti hao; 863 Tiwe riata ti hao; 858 Tiwe rakushe. 364 Tiwe riata. Translation of First Stanza 353 Ho-o-o-o! An introductory exclamation. 354 Tiwe rakushe ti hao. tiwe, here. rakushe, he sitting. ti, my. hao, my own child; my offspring. 355 See line 354. 356 Tiwe rakushe hawa ti hao. tiwe, here. rakushe, he sitting. hawa, again. ti, my. hao, my own cliild. 357 See line 354. 358 Tiwe rakushe. See line 354. B'LETCHER] SIXTH BITTJAL, PART I 91 Explanation iy the K^u'rahiis In this stanza we speak of the messenger as "my own cMld " (ti hao), because he represents the Son, to whom we are being led by Mother Corn. Although the man who is the Son is not and can not be of any blood kinship to ns, yet by the power of the sacred objects in this ceremony he is to be made as our own child, as our oilspring, 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 "I am ready." Truncation of Sfuond Stanza 359 IIo-o-o-o! An introductory exclamation. 3G0 Tiwe riata ti hao. tiwe, here. rial a, he walking. ti, my. hao, my t)wn child. 361 S(!o line 3(iO. 362 Tiwe riata hawa ti hao. tiwe, here. riata, he walking. hawa, again. ti, my. hao, my own child. 363 See line 300. 364 Tiwe riata. See line .'iOO. K.rpluiKtIioii by the Ku' rdJius 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. AVe 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 towai'd the lodge of the Son. Just before we reach the village we halt and sing the next song. 92 THE HAKO, A PAWNEE CEEEMONY [eth.ann.22 Part II. The Hako Party Enter the Village Words and Music • — Pulsation of the voice. Transcribed by Edwin S. Tracy. M. M. ^S = l]6. # ■AEi^z E^^^m^Mm^=^^h= m Ho-o-o-o! Ki - ru ra- ka wi? ^s. Lr L' Lj Lj Lr U Ki-ru ra-ka wi, Lr U ti lia-o? Lj Lr ■:t= -^—J—ir-Jr Ki - ru ra - ka wi, i3==|i ^1 ti ha - o? Ki-ru ra-ka, ki-ru ra-ka wi? i Lj U LrL' Lr Lr Ls U I I I, 365 Ho-o-o-o! 366 Kiru raka wi? 367 Kiru raka wi, ti hao? 368 Kiru raka wi, ti hao? 369 Kiru raka, kiru raka wi? II 370 Ho-o-o-o! 371 Tiwi reka wi! 372 Tiwi reka wi, ti hao! 373 Tiwi reka wi, ti hao! 374 Tiwi reka, tiwi reka wi! 365 366 367 368 369 370 371 372 373 '.I 37i Translation I Ho-o-o-o! An introductory exclamation. Kiru raka wi? kiru? where? raka, a composite word; ra, where; ka, part of akaro, a lodge. wi, is. Kiru raka wi, ti hao? kiru raka wi? See line 366. ti, my. hao, my own child, my offspring. See line 367. Kiru raka, kiru raka wi? See line 366. II Ho-o-o-o ! An introductory exclamation. Tiwi reka wi ! tiwi, here. reka, a composite word; re, here; ka, part of akaro, lodge. wi, is. Tiwi reka wi, ti hao! tiwi reka wi. See line 371. ti, my. hao, my own child, my offspring. See line 372. Tiwi reka, tiwi reka wi ! See line 371. FLETCHER] SIXTH EITUAL, PABT II 93 Explanation hy the Ku'rahus When Mother Corn went in search of the Son (second ritual) she 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 Sou wherein he sits waiting forme?" By the time we have finished singing, tlie messenger, who has walked on in advance, has reached and entered the lodge set apart for the ceremonJ^ 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, tlie 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 KITUAL Part I. Touching and Ckossino the Threshold Kxplanuiion hy the Kit 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 ceremonj', 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 it to show that he is not seeking his own honor. By the choice of him as the Sou a verj- high honor has been bestowed upon him, and his apxireciation of this is shown by his taking the seat of the lowliest and not assuming prominence before the people. When the Hako 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 l)een 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 CEKEMONY [BTH. ANN.i?2 SOITQ Words and Music M. M. J =68. '■ Pulsation of the voice. Transcribed by Edwin S. Tracy. ==l= m Ho-o-o!H'A ti - ra rako-ka, ri! H'A ti-ra ra Dnim p f^ f> [^ Rattles. ' — ' ' 375 376 377: 379 380 I 375 Ho-o-o! 376 H'Atira ra koka, ri! 377 H'Atira ra koka, ri! 378 H'Atira ra koka, ri! 379 Wi ra koka, ri! 380 H'Atira ra koka, ri! II 381 Ho-o-o! 383 H'Atira ra koka, 383 H'Atira ra koka, 384 H'Atira ra koka, 385 We ra koka, ri! 386 H'Atira ra koka. ri! ri! ri! Ill 387 Ho-o-o! 388 Kawas i ra koka, ri! 389 Kawas i ra koka, ri! 390 Kawas i ra koka, ri! 391 "Wi ra koka, ri! 393 Kawas i ra koka, ri! lY 393 Ho-o-o! 394 Kawas i ra koka, ri! 395 Kawas i ra koka, ri! 396 Kawas i ra koka, ri! 397 We ra koka, ri! 398 Kawas i ra koka, ri! Translation of First Stanza Ho-o-o! An introductoiy exclamation. H'Atira ra koka, ri! h', a symbol 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. 378 See line 376. Wi ra koka, ri ! wi, now. ra koka, ri. See line 376. ' See line 376. Explanation hy 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! " FLKTCHBR] SEVENTH KITUAL, PABT 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 Ho-o-o! An introductory exclamation. 382 H'Atira ra koka, ri! h', a symbol of breath; " breathing forth life." atira, mother; the term is applied to the ear of com. ra, moving, walking, koka, entered. ri, part of nawairi, an expression of thankfulness. 383, 384. See line 382. 385 Werakoka, ri! we, it has. ra koka, ri. Sec line 382. 386 See line 382. Explaiiu/ioii by ih<- Ku' rnhus The words of this stanza meaii that Mother Corn has entered the doorway of the lodge, slio has walked within the cutranc-eway with her promise of life which makes the heart of man thankful. Mother Corn has now opened the door of the lodj":*' for tlic 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 beliind the Ku'rahus and his assistant, who now advance and stand upon the threshold while the third stanza is sung. Traiisldtion of Third Stanza 387 Ho-o-o! An introductory exclamation. 388 Kawas i ra koka, ri ! Kawas, the name used in this ceremony to designate the brown eagle, i, it. ra, moving, koka, enter. ri, part of nawairi, an exclamation of tliankfulness. 389, 3ltO See line 3S.S. 391 Wi ra koka, ri! wi, now. ra koka, ri. See line 3SS. 392 See line 388. 96 THE HAKO, A PAWNEE CEEEMONY [kth. Ann. 22 Explanation by the Ku'rahus The words of tMs 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 entraneeway 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. I 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 Kii'rahus tells the chief to go forward and keep a step in advance. 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 aroiind 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. VIjBICHBB] SEVENTH EITUAI/ 97 Part II. Consecrating the Lodge FIBST BOITO Words and Mv^ic • = Pulsation of the voice. Transcribed by Edwin S. Tracy. M. M. jS=120. Batlles. lia wa - ra; We ri - ka wa- — N — IW- -S.-TS--' ra;H'A ti - ra we ri - ka wa - ra. Lj Lr Lj Ls Lj Lj Lj t ^ I I 399 A-a-a! 400 H'Atira we rika wara; 401 H'Atira we rika wara; 402 We rika wara; 403 H'Atira we rika wara. n 404 A-a-a! 405 H'Atira wetib ka wara; 406 H'Atira wetife ka wara; 407 Wetib ka wara; 40H H'Atira wetih ka wara. Translation I 399 A-a-a! An introduction to the song. 400 H'Atira we rika wara. h', a symbol of breath, a breathing fortli. 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 tjie 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 H'Atira wetih ka wara. h', a symbol 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 KTH— PT 2—04 7 98 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 Explanation by the Ku'rahus The words of the fli-st stanza meau 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 circuit 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: SBOOND SONG Words and Music M. M. ^N = 126. ■ — Pulsation of the voice. Transcribed by Edwin S. Tracy. Ho-o-o! Ka-wafi te-wi ka-we he-ra ti ra - o; K»-was te-wi ka - we U Li-Lr L' L' tJl he-ra ti ra UUtj ,L; Lj L- L; , I 409 Ho-o-o! 410 Kawas tewi kawe hera ti rao; 411 Kawas tewi kawe hera ti rao; 412 Kawas tewi kawe hera ti rao. he-ra ti II 413 Ho-o-o! 414 Kawas tewi kire hera ti rao; 415 Kawas tewi kire hera ti rao; 416 Kawas tewi kire hera ti rao. Translation of First Stanza 409 410 Ho-o-o ! An introductory exclamation. 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. ti, possessive pronoun. rao, part of the word pirao, child. 411. 412 See line 410. FLETCHER] SEVENTH KITUAL, 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. Kawas 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 f)ver her nest. This stanza is sung slowly, for the eagle as it hovers is slow in its movements. TranfdatioH of Second Stanza 413 IIo-o-o! An introductory exclamation. 414 Kawas tewi kire hera ti rao. Kawas, the brown eagle, rei)resenting 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. E.rplanafion by the Ku'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 ceremonj'. 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 tlie 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 [kth. 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. Here 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 wildcat 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 a 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 a,nd divided so that nothing will be neglected and there will be no •dispute or confusion. While these appointments are being made the Son dispatches ninners to notify the people that the Hako party has arrived and to bid his relatives come to the lodge. FLETCHER] SEVENTH RITUAL 101 Part m. Clothing thb Son and Offekino Smoke Explanation hy the Ku'rahvs 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 pnt upon him and he is wrapped in a fine robe. The Ku'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. ITBST SONG Words and Music M. M. J = 52. Slow. ■ Pulsation of the voice. Transcribed by Edwin S. Tracy. ii^^j^ Ho-o-o I Suks pa-ka wa - wa hi ra-ta a Drum. f>,r p tr Matties. I ''^- r ''^■'-— -~~~ — ■ -. tr.. ha ha I Suits pa-ka wa wa hi ra-ta - a ha hal 'tr.. 417 418 419 420 417 418 Ho-o-o; Suks paka wawa hi rata-a hao hal Hiri! Hi rata-a hao ha! Silks paka wawa hi rata-a hao ha! II 421 Ho-o-o! 422 Ti wawaka wawa hi rata-a hao ha! 423 Hiri! Hi rata-a hao ha! 424 Ti wawaka wawa hi rata-a hao hal Translation of First Stanza Ho-o-o ! An introductory exclamation. 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, mj' or mine. a, vowel prolongation. hao, child; "offspring. ha, a musical vocable used to fill out the measure. 102 THE HAKO, A PAWNEE OEBEMONY [eth. ann. 22 419 Iliri! Hi rata-a hao lia! Mri! an exclamation meaning give heed! harken! hi rata-a hao ha! See line 418. 420 See line 418. Explanation ly 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 it 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 cereniony, 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 hal 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. ISxplfmation hy 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 aiidible 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. PLETOHER] SEVElfTH EITTJAIi, PABT III 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. Transcribed by Edwin S. Tracy. Ho-o-o-ol Dl'Utn. m » m m Battles. [_' [_' Ka-wi-9u ha-ku ri! Ti we-ri ha-ku ra-wi-su ba-ku ril --^^^ =S==1= -^Sr-st— pf-^r^r -J-.- Ti we-ri ha-kul Ra-wi-su ha-ku ri ti we-ri ha - ku ! Ra-wi-su ha-ku ri! ^tr.. 425 Ho-o-o-o! 426 Rawisu haku ri! 427 Ti weri hakn rawisu hakii ril 428 Ti weri haku! 429 Rawisu haku ri ti weri haku! 430 Rawisu haku ri! II 431 Ho-o-o-o! 482 Bawis kaha witshpa! 433 Ti weri witshpa rawis kaha witshpa! 434 Ti weri witshpa! 435 Rawis kaha witshpa ti weri witshpa! 436 Bawis kaha witshpa! Translation of First Stanza 4:25 IIo-o-o-o ! An introductorj' exclamation. ■426 Rawisu haku ri. rawisu, smoke. haku, passes by. ri, present time. 427 Ti weri haku rawisu haku ri. ti, it. weri; we, now; ri, present lime. haku, passes by. rawisu haku ri. See line 426. 428 Ti weri haku. See line 427. 421> Rawisu haku ri ti weri haku. See lines 426, 427. 430 See line -426. 104 THE HAKO, A PAWNEE CEBEMONY [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 431 Ho-o-o-o ! 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. weri; we, now; ri, is; denotes present time, witshpa, has completed, reached, arrived, rawis kaha witshpa. See line 432. 434 Ti weri witshpa. See line 433. 435 Rawis kaha witshpa ti weri witshpa. See lines 432, 433. 436 See line 432. Explanation by the Ku'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 in a 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. ffLETCHER] EIGHTH EITUAL 105 THE CBEEMO^TY FmsT Division. The Public Ceremony EIGHTH EITUAL (FIRST DAY). THE FATHERS FEED THE CHILDREN Explanation by the Ku'rahus The runners dispatched by the Son deliver their messagfe, and soon men, women, and children, dressed in their best attire, can be seen EAST ■ t Pig. 176. Diagram of the Son's lodge at the beginning ot the pnbUc ceremony. 1, the entrance to the lodge; 2, the fireplace; 3, inner posts sapporting 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 com (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 CEBEMONT [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 Are and the Hako. All gifts are received silently unless someone brings a present of food; fox 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 wildcat 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 tir e ceremony. Kawas has flown about the lodge seeking its child, and iiere he has been found. " You must all 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 occasion. Every Ku'rahus can choose his own words, but he must at this time tell th,e 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 ITRST SONG Words and Musii M. M. J =126. " ^^ Pulsation of the voice. Transcribed by Edwin S. Tracy. Ha - a - a - al H' A-ars Ti - ra - wa lia - ki; H' A-ars Ti - ra - wa ba - ki; H'A-ara Ti-ra-wa ba-ki; H'A-ai-a Ti-ra-wa' ba -ki; H' A-ars Ti-ra-wa ba-1 ^ r f r P r ^ r P f ^ r fr f r r I / 437 438 437 Ha-a-a-a! 438 H'Aars Tira'wa haki 439 H'Aars Tira'wa haki 440 H'Aars Tira'wa haki 441 H'Aars Tira'wa haki 442 H'Aars Tira'wa haki. Translation An introductory exclamation. Ila-a-a-a! H'Aars Tira'wa haki. h', a part of the word ha, your, aars, a contraction of the word alius, father. Tira'wa, the designation of the great power Tira'wa alius, thought to be above all other powers, haki, many. 439-442 See line 438. Explanation hy the Ku'rnhus When the Ku'rahus 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 alius. 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 evei'ywhere, 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 alius being the father of all things. This and all stanzas are sung four times. When we have gone entirelv around the lodge and have returned "The Pawnee pronoun here translated "he" does not in the original indicate sex, nor is it equivalent td "it," as the "word relates to a person. 108 THE HAKO, A PAWNEE CEKEMONY [KTH. ANN, 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 iirst 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. sEicomD BOTna Words and Music M. M. J=]26. • = Pulsation of the voice. Transcribed by Edwin S. Tracy. ^^^^m =l=S==!s:S= ^^ Ha-a- a- al H'A- arg e he! Ti-ra-wa ha-ki; H'A-ars e hel f r ^ r Pr f r ^ r Pr ^ r ^ r Drum, i % I Matties, r r r I 1-|fg^1 =3=l=:3= ^^S^^^^^ -^-H-g-i<-M-^— al- 443 444 445 446 447 Ti-ra-wa ha-ki; Hi-dhi! Ti-ra-wa ha-ki; H'A-ars Ti-ra-wa ha-ki. Pr^f^r fr^r f r f r Pr nn ^-i- 443 Ha-a-a-a! 444 H'Aars e he! Tira'wa haki; 445 H'Aars e he! Tira'wa haki; 446 Kidhi! Tira'wa haki; 447 H'Aars Tira'wa haki. Translation Ha-a-a-a! An introductory exclamation. H'Aars e he ! Tira'wa haki. h', a part of the word "ha", 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. See line 444. 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. H'Aars Tira'wa haki. See line 444. FliETCHER] EIGHTH RITUAL 109 Explanation hy the Ku'rahus When we begin this song and sing " H'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 eoTsa Words and Music M. M. j^ = 126. • = Pulsation of the voice. Transcribed by Edwin S. Tracy. ^=t= ^^ Ho-ol Ho-o!Nawa 'Ti - ra, na wa 'Ti - ra, na'Ti-ra we-ri-ra! Na'Ti-ra iJaMies. LJ* U-T C-T r * r f r * Lr UU Lr U we-ri-ra I Na-wa'Ti - ra, na wa 'Ti ra, na - wa. Ha! We-ri-ra 1 Lit: Li L-' Lj L-T U Lr i i i I 448 Ho-o! Ho-o! 449 Nawa 'Tira, nawa 'Tira, na 'Tira werira! 450 Na 'Tira werira I 451 Nawa 'Tira, nawa 'Tira, nawa. Ha! Werira! II 452 Ho-o! Ho-o! 453 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, she comes. 110 THE HAKO, A PAWNEE OEEEMONY [bth.ann.38 450 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 Ku'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 iix 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. 453 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. Explanation 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 four 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 wildcat 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. "In the following pages the places will be indicated where these songs must be sung, but to avoid unnecessary repetition the songs themselves will be omitted. FI.BTCHEB] EIGHTH RITUAL 111 The feathered stems represent the eagle; the holy place, where the stems are laid to rest, represents the eagle's nest. A n^st 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 lies 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 four songs for the ceremony of laying down the feathered stems. Each song has two stanzas. We sing two of these songs every time we lay these objects to rest. We sway the stems over the cat skin, dropping them lower and lower, then suddenly we raise them again and finally let them gently down on 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. We are like the young bird.s in the nest, so we cry "Hiri!" expressing our gratitude to Kawas, who is making her nest with us. We pray in our hearts as we sing. SONaS FOE LATINa DOWB THE FEATHERED STEMS soira Words (uid Music M. iM. j.= 69. • = Pulsation of the roioe. Transcribed by Edwin S. Tracy. He-e-e-el Whe ri A A Drum. f> tr P tr Battles. ! "^ I "^— a; whe ri a a; whe n A * f a. Hi - ri! 112 THE HAKO, A PAWNEE OEEEMONY [ETH. ANN. 22 456 457 458 459 460 461 463 463 464 465 466 467 He-e-e-e! Whe ria-a; whe ria-a; whe ria. Hiril Whe ria. Hiri! Whe ria. Hiri! "Whe ria. Hiri! Whe ria-a; whe ria-a; whe ria. Hiri! II He-e-e-e! Whe ria-a; whe ria^a; Whe ria. Hiri! Whe ria. Hiri! Whe ria. Hiri! Whe ria-a; whe ria-a; whe ria. Hiri! whe ria. Shpetit! Translation I 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! euphony. 458,459,460 Whe ria. Hiri! 461 See line 457. thanks! The initial h is added for See line 457. II 462 He-e-e-e ! An introductory exclamation. 463 See line 457. 464, 466, 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 EITTJAL 11.8 SOKQ Words and Music M. M. J= 108. ■ Pulsation of the voice. Transcribed by Edwin S.' Tracy. Hi - ri I Hawa ra - ti ra. Hi ri I Hawa ra-ti ra I Hi tu - ka i ra - ra - spi 1 Battles, r '' I '' „.^^^^«~^-.^ I r . _.„„_ ^^^ Hi - ril Hawa ra-ti ra. Hi - ril Hawa ra-ti - ra! Hi tuka i ra-ra-spi. A A A ftr ftr (=«r I 468 Hiri! Hawa ratira. Hiri! Hawa ratira! 469 Hi tuka 1 raraspi! 470 Hiril Hawa ratira. Hiri! Hawa ratira! 471 Hi tuka i raraspi! II 472 Hiri! Hawa rassira. Hiri! Hawa rassiral 478 Hi tuka i rarispil 474 Hiri! Hawa rassira. Hiri! Hawa rassira! 475 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. 23 ETH— PT 3—04 8 114 THE HAKO, A PAWNEE CEKEMONY II [BTH. ANN. 22 472 Hiri! Hawa rassira. 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. 473 Hi tuka i rarispi. hi, it; refers to the eagle. tuka, slantwise. i, vocable used to iill out the measure of the music. rarispi, has alighted. 474 See line 472. 475 See line 473. SONG M. M. J= 56. • = Pulsation of the voice Words and Music TranBcribed by Edvrin S. Tracy. Ha-a-a! E ■ ra he-ra i ru - wa. Hal Ti wi ru-wa, ti wi ru-wa,ka- Drum. P i^ Hattles. I •tr.^ P ir.^ rtr.^ tr.^.^ ra wi-ti - ka? Ka-waa ti wi ru-wa, ti wi ruwa, ka rtr.^ ■ f tr.^ ra wi-tika? E ■ ra lie - ra i A ru - wa. Hal Ti wi ru-wa, ti wi ruwa, ka- rawi-ti-ka? ': 476 Ha-a-a! 477 Era hera iruwa. Ha! Ti wi itiwa, ti wi ruwa, kara witika? 478 Kawas ti wi ruwa, ti wi ruwa, kara witika? 479 Era hera iruwa. Ha! Ti wi ruwa, ti wi ruwa, kara witika? II 480 Ha-a-a! 481 Era hera eria. Ha! Ti wi ria, ti wi ria, hara witika; 482 Kawas ti wi ria, ti wi ria, hara witika. 483 Era hera eria. Ha! Ti wi i-ia, ti wi ria, hara witika. FLETCHER] EIGHTH EITUAL 115 Translation 476 Ha-a-a! An introductory exclamation. 477 Era liera 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. 478 Kawas ti wi ruwa, ti wi ruwa, kara witika? Kawas, the brown eagle, the leading bird in the ceremony. ti wi ruwa. See line 477. kara witika? has it alighted and sat down within its nest? 479 See line 477. II 480 lia-a-a! An introductory exclamation. 481 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. wi, is. ria, a part of the word eria, circling over. hara, it has. witika, sat down within, or settled on, its nest. 482 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. 483 See line 481. 116 THE HAKO, A PAWNEE CEKEMONY [ETH. ANN. 23 M. M. J= 68. • = Pulsation of the voice. Words and Music Transcribed by Edwin S. Tracy. :it?Sl= a *^il= ^ ~s=ac S:S^= S= ^ Ha-a-aa! Ka-ra wi-tit?Ka-ra wi-tit? Ka-ra wi-tit? Ka-ra wi-tit?Ka-ra wi-tit? Drum. <3 Rattles. I tr. f'tr.. . ftr.. .ftr .ftr.. Ka-ra A e? Ka-ra wi-tit? Ka-ra wi-tit? Ka-ra wi-tit? Ka-ra e? tr.. . f tr.. tr.. f L 484 Ha-a-a-a! 485 Karawitit? Karawitit? Karawitit? Karawitit? Karawitit? Karae? 486 Kara witit? Kara witit? Kara witit? Kara e? 487 Ha-a-a-a! 488 Hara witit; biara witit; hara witit; hara witit'; hara witit; hara e! 489 Hara witit; hara witit; hara witit; hara el Translation I 484 Ha-a-a-a ! An introductory exclamation. 485 Kara witit? Kara witit? Kara witit? Kara witit? Kara witit? Kara e? kara? has it? a question. witit, sat down or lit upon (its nest). The iteration of the words follow the picture made by the movements of the feathered stems as they are waved now lower and now higher over the cat skin, simulating the eagle as she pre- pares to alight on her nest. e, a vocable to fill out the measure of the music. 486 Kara witit? Kara witit? Kara witit? Kara e? See line 485. 487 488 489 II Ha-a-a-a ! An introductory exclamation. Hara witit; hara witit; hara witit; hara witit; hara witit; harae! hara, it has. witit, 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 vocable to fill out the measure of the music. Hara witit; hara witit; hara witit; hara e! See line 488. FLETCHER] EIGHTH AND NINTH EITUALS 117 Explanation hy the Ku'raTius When the Hako are at rest, the food which has been standing beside the iire 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 satisjfied. 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 Kxplaiiatiun. by the Ku'rahus When the sun has set and it is dark and the stars are shining, therr the Children gather in the lodge. Some, as they come in, will advance to the holy place and there drop a stick ; 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 drum follow the Hako bearers as they move slowly aroimd the lodge, singing the following song. 118 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. SONG Words and Music M. M. }\ - 132. ■ = Pulsation of the voice. Transcribed by Edwin S. Tracy. Ho-o-o-o Matties. ij'fcj- L-^ i-: L^' L^' hi hit-ka-sha-rul Bu-hu Eu-hu ri-hi hit-ka-sha-ru! Ru-hu - ri-hil iu- i^- Lj Lj- Lj L- iJ Lr ^ w i 490 Ho-o-o-o! 491 Hitkasharia! 492 Ruhurihi Mtkashani! 493 Euhurihi! 494 Ruhurihi hitkasharu! 495 Ruhurihi! II 496 Ho-o-o-o! 497 Hitkasharu! 498 Weri rawha hitkasharu! 499 Weri rawha! 500 Weri rawha hitkasharu! 501 Weri rawha! Ill 502 Ho-o-o-o! , 503 Hitkasharu! 504 Weri whicha hitkasharu! 505 Weri whicha! 506 Weri whicha hitkasharu! 507 Weri whicha! 514 Ho-o-o-ol 515 Hitkasharu! 516 We rakawa hitkasharu! 517 We rakawa! 518 We rakawa hitkasharu! 519 We rakawa! VI 520 Ho-o-o-o! 521 Hitkasharu! 522 We riteri hitkasharu! 523 We riteri! 524 We riteri hitkasharu! 525 We riteri! VII 526 Ho-o-o-o! 527 Hitkasharu! 528 We rahwara hitkasharu! 529 We rahwara! 530 We rahwara hitkasharu! 581 We rahwara! 508 509 510 511 512 513 IV Ho-o-o-o! Hitkasharu! We rahruka hitkasharu! We rahruka! We rahruka hitkasharu! We rahruka! « 532 533 534 535 536 537 VHI Ho-o-o-o! Hitkasharu! Wera rawhishpa hitkasharu! Wera rawhishpa! Wera rawhishpa hitkasharu! Wera rawhishpa! " Translation of First Stanza 490 I-Io-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. J Here the Hako are laid at ceremonial rest. See pages 111-116. FLETCHER] NINTH EITUAL 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 hy the Ku'rahus 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-o! An introductory exclamation. 497 Hitkasharu! The visions that attend the Hako. See line 401. 498 Weri rawha hitkasharu ! weri, they. rawha, are coming. hitkasharu, the visions which attend the Hako. 499 Weri rawha! See line 498. 500 See line 498. 501 See line 499. Explanation by the Ku'rahi As we go around the lodge the second time we sing this stanza. The visions have heard the call of the spirits of the birds upon the feathered stems, joined to the call of our spirits, and thej' 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 Hitkasliaru! 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 Ku'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. We are 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. 609 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 We rahruka! 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 circuit 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 ftlTUAL 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-o-o ! An introductory exclamation. 615 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 We i>akawa! See line 516. 518 See line 516. 519 See line 517. Eocplanation by the Ku'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-o! An introductory exclamation. 521 Hitkasharu! The visions that attend the Hako. See line 491. 522 We riteri hitkasharu! we, a pari; of the word wei'i, they. riteri, touching in different places, touching here and there. hitkasharu, the visions that attend the Hako. 523 We riteri! See line 522. 524 See line 522. 525 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. Q See pages 111-116. 122 THE HAKO, A PAWNEE CEREMONT [bth.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-o! An introductory exclamation. 527 Hitkasharu! The visions that attend the Hako. See line 491. 528 We rahwara hitkasharu! we, a part of the word weri, they, rahwara, walking away, departing, hitkasharu, the visions that attend the Hako. 529 We rahwara! See line 528. 530 See line 528. 531 See line 629. 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 Eighth 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 534. 536 See line 534. 537 See line 535. Explanation by the Ku'rahus Once more, foi- 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. "See pages 111-116. ELBTOHER] 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 Ku'rahus orders the server to lift tlie 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. We sing it slowly and with reverent feeling, for it speaks of the mysterious and powerful act of Tira'wa alius in the birth of Dawn. M. M. ;^ = 116. k=^ - Pulsation of the voice. Words and Music Transcribed by Edwin S. Tracy. W^^^^^^^^^. Ho-o-ol H'A - ti-ra si wha-ta Drum. J, Battles, r tr. H'A ti - ra si wha-ta Re- IV 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; Ill 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 1: 565 We tatichiri wak ka riki; 551 Reshuru tiara i; 566 Reshuru tiara i ; 552 H'Kawas si whata i. 507 We tatichiri wak ka riki. 124 THE HAKO, A PAWNEE CEKEMONY [bth. Ann, 2g VII VIII 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 Beshuru tiara i; 572 Pirau si whata i. 577 Pirau ta wata i. Translation of First Stanza 538 Ho-o-o! An introductory exclamation. 539 H'Atira 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. H'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. Tra7islation of Second Stanza 543 Ho-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, PAKT I 125 546 Reshuru tiara i. Reshuru, the Dawn. tiara, born. i, a pai't of riki, now, present time. 547 See line 544. Explanation by the Ku'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. h', 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. 552 See line 549. Explanation by the Kxi'rahus We call upon Kawas to awake, to move, to arise. Kawas had been sleeping and resting during the night. Kawas represents the lesser powers which dwell above, those which are sent 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, ha.s 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 CEKEMONY [eth. ann. 22 Explanation by the Ku'rahus H'Kawas 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 Ho-o-o ! An introductory exclamation. 569 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 Are. 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. Explanation by the Ku'rahiis Kawas, the brown eagle, the messenger of the powers above, now stands within the lodge and speaks. The Ku'rahus hears her voice 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 wlio is serious-minded and sincerely desires to learn these sacred things. Translation of Sixth Stanza 563 Ho-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 569. riki, standing. 565 See line 564. 566 Reshuru tiara i. See line 546. 567 See line 664. FLETCHER] TENTH RITUAL PAKT I 127 Explanation by the Ku'rahus In this stanza the Ku'rahus answers Kawas. He 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 jt 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 639. i, a part of riki; now, present time. 570 See line 569. 571 See line 546. , 572 See line 569. ExiJilanation hy the Ku'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 Eighth Stanza 573 Ho-o-o! An introductory exclamation. 574 Pirau ta wata i. piraii, my son; the term refers to the Son. ta, a personal pronoun referring to ^he Son. wata, has arisen, i, a part of riki; now. 575 See lino 574. 576 See lino 546. 577 See line 574. Explanation of the Ku'rahus The Son hears the call. He wakes, he moves, he rises, he looks to tho cast, and sees the signs of the dawn. 128 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. i Part II. The Morning Star and the New-born Dawn Explanation by the Ku'rahus 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 Ku'rahus awaiting the coming of dawn. The Ku'rahus has sent the server outside the lodge to watch for the morning star. We stand at the west and wait its coming. When it appears he sings the following song: SONG Words and 3£usic 132. • = Pulsation of the Toice. M. M. ^^ Transcribed by Edwin S. Tracy. i^l^^^ ri - sha; H'0-pi-rit ri-ra ri Lj* Lr U Li Lj L-: Ho-o-o-ol H'O-pi-ritri ra ^islLi Lj* U Lj* Lj Lr Lj i ^ I III 588 Ho-o-o-o! 589 Eeshurn rira risha; 590 Reshuru rira risha; 591 Reshuru rira risha; 593 Reshnru rira risha. IV 593 Ho-o-o-o! 594 Reshuru ta ahrisha 595 Reshuru ta ahrisha 596 Reshuru ta ahrisha 597 Reshuru ta ahrisha. I 578 Ho-o-o-o! 579 H'Opirit rira risha; 580 H'Opirit rira risha; 581 H'Opirit rira risha; 582 H'Opirit rira risha. II 583 Ho-o-o-o! 584 H'Opirit ta ahrisha 585 H'Opirit ta ahrisha 586 H'Opirit ta ahrisha 587 H'Opirit ta ahrisha, Translation of First Stanza 578 H-o-o-o! An introductory exclamation. 579 H'Opirit rira risha. h', 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 distance, where the object was scarcely discernable, to a nearer point of view, but still distant. 580, 581, 582 See line 679. FLETCHER] TKNTH EITUAL, 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 [eth. asx. 22 Translation of Third Stanza 588 Ho-o-o-o ! An introductory exclamation. 589 Reshnrn rira 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 Ku'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-o-o! 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 watch, the Dawn vanishes from our sight. We sing this song four times. FLETCHER] TENTH RITCAL 131 M. M. ^S = 132. Part III. Daylight SONQ Words and Mil sic ' — Pulsation of the voice. Transcribed by Edwin S. Tracy. Ta-he-sha! Ta-he sha! Pi- ra-oruxki-rika. Ta-he - sha! Ta-he Ta-he-sha! Ta-he- sha! Pi-ra- oruxki-ri ka. Ta-he-sha!.. tJ U Lj ti tj Lj U Lj Lr L- i_' U ip^^Eli^^: ±1= Ta-he sha! Ta-he-sha! Ta-he-sha! » f ^ f ^ fi ^ 5-, i I I Lj Li Lj I .j98 Tahesha! Tahesha! 599 Pirao rux kiri ka. Tahesha! Tahesha I 600 Tahesha! Tahesha! 601 Pirao rux kiri ka. Tahesha! Tahesha! 603 Tahesha! Tahesha! II 603 Ta ira! Ta ira! 604 Ira, ta ira! Hern rera, ta ira! 605 Ta ira! Ta ira! 606 Ira, ta ira! Heini rera. ta ira! 607 Ta ira! Ta ira! Translrditin of First Sfuiizn ,5!)8 Tahesha! Tahesha! tahesha, daylight, the light of ilay, before the sun rises. 599 Pirao rux kiri ka. Tahesha! Tahesha! pirao, child, son. I'lix, 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 £98. 601 See liiii' 599. 602 See line 698. 132 THE HAKO, A PAWNEE CEREMONY [eth. ann. 22 Explanation by the Ku'rahus We sing this song with loud voices, we are glad. We shout, ' ' Day- light has come ! Day is here!" The light is over the earth. 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 call 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 Ira, ta ira; heru rera, ta ira. ira, ta ira. See line 603. heru, there, rera, coming. 605 See line 603. 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 I " We sing this stanza four times. Part IV. The Children Behold the Day BONO Words and Music M. M. jS = 160. • = Pulsation of the voice. Transcribed by Edwin S. Tracy. Ho-o-o! Euxki-ri ka, hi-ra-ti ha- o! Rnxki-ri ka, hi-ra-ti ha- Bams. [_ lj ! '^■~"~ — "- L_r L_i L_i L-j C—i Lj L ppl^l^^^iiil^^i^l^ii^^li o! Pi-ra o ra-ti ha o; Eux ki-ri ka, hi-ra-ti ha o! U U L- L^ U L'Lj L: U ^ - I i i FLETCHER] TENTH KITUAL, PABT IV 133 I n 608 Ho-o-o! 613 Ho-o-o! 609 Rux kiri ka, hirati hao! 614 Ti kiri ka, hirati hao! 610 Eux kiri ka, hirati hao! 615 Ti kiri ka, hirati hao! 811 Pirao rati hao; 616 Pirao rati hao; 612 Rux kiri ka, hirati hao! 617 Ti kiri 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 kirikri, 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 Ku'rahtis 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 l)y 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 613 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 ^'isible, to be seen. hirati, my or mine. See explanation of the word in line 609. liao, offspring, mj' own child. 615 See line 614. 134 THE HAKO, A PAWNEE CEREMONY [eth. ann. 22 616 Pirao rati liao. pirao, child, a general term, anybody's child, rati, a part of the word hirati, my. hao, my own child. 617 Tikirika. Ha! Witahesha! ti kiri ka. See line 614. ha! behold! wita, coming. hesha, a part of the word tahesha, daylight. Explanation by the Ku'rahas 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 RITUAI. (SECOND DAY). THE MALE ELEMENT INVOKED Part I. Chant to the Sun Explanation by the Ku'rahus On this, the second day of the ceremony, we remember our father the Sun. The sun comes directly from Tira'wa atius, and whoever is tohched 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. I was 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 I am 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 success 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 KITUAL, PABT 1 135 CHAUTT WorJs and Music M. M. s = 120. • = Pulsation of the voice. Transcribed by Edwin S. Tracy. Ho-o-ol tm. Raltlet. Hi-i h'A-ars i - ra a, we-re hu-ka-wi, hu-ru ka ha-a '"""'i.L'U L' U Li U Sj'L' Lr L-f Lr Lr ^ 33^ hu-ka-wi, hu-ru ka hu-ka-wi, hu-ka-wi hu - ru ka ha. Lj L^ Ls Ls L: L-: ^ -^ I i I 618 Ho-o-ol