SSRIS wr, a : om ii a ae 7 nee a he At Sa 1 Lae ane ie a | pa. Ran - ae i) my hy ant me me's ; ae i i ie : Ey. a . ie rr a BT her ue 4) 7 me. ie ("i ey, 7 y oe iw a ; a a ; ye _ ' we A ‘or : aN : an AN - Te S a." 9 ‘eSay- te ey i r i" vi 7 -” a ) OS i as 7 i ‘a yi Lon wi Pos a i" i. aes 7H) ne 7. 4s ee ee mo) a D: De , q it ay a i he A ae Me ay. vi : i oF - Sei: By + yh t= 7 a ny a i _ Pal a or 7 oy Oy q as ‘h, iy: iy! am i " 7 ’ ‘Wy ne Bs ny # is iD | oak ot Wag tT he 7 iy ee THIRTY-NINTH ANNUAL REPORT OF THE us, BUREAU OF AMERICAN ETHNOLOGY TO THE SECRETARY OF THE SMITHSONIAN INSTITUTION 1917-1918 WASHINGTON GOVERNMENT PRINTING OFFICE 1925 a ¢ als % : ; ry = a HTM TRIE WIT 1O TAOWHA TAUMMA > 4O UAANTA er (OOIOZNTS Als Dan, SHAT FO ¥AAT as: 42 THT OF UOlTUTMeM YAIMAOeH Tite Z{@i-L ie ZANTHSON gS a: FEB 11 757 LiBRARN fT) CALA Co LETTER OF TRANSMITTAL. SMITHSONIAN INSTITUTION, BuREAU OF AMERICAN ETHNOLOGY, Washington, D. C., November 7, 1922. Str: I have the honor to submit herewith the Thirty- ninth Annual Report of the Bureau of American ec Sh for the fiscal year ended June 30, 1918. With appreciation of your Al in the work under my charge, I am Very respectfully, yours, J. WALTER FEWKEs, Chief. Dr. CHARLES D. Watcort, Secretary of the Smithsonian Institution. TET MACE IO HOTWIRE VOLVUTITSAL MalhORU TLS = | Rig, hadi wae ae taal “SOG “Oaglinad/. 290 creat atass chiltT 8h diiverul dias oO} toued oh svot T ite taolos uti nto AA ther aft Wy dogadd feta A stent ; rer 06 ont habits Wy fnozt add vol mi wohag how a Af gr ftir tote We notin: Nt ‘Ni _ tite! euTady aro “lo Hesqeet wot asawad fered. ; VIM AVA = cone WO etait) 2. oO eats hear Fee Rr hy Wweireyn 4 +. ae CONTENTS. REPORT OF THE CHIEF. SiGliGnnlite REGO NGS. ee eo se SSS SEE SDECISSEESCATC Nes ===eeeanee see ee ee NWDMMSOHINIE ee pe Se see Se eee eee age a= See eae Editorial work and publications. -.-...-.-----_--------=-------_----- Ser t1O Ls Seen eee ee ee eee ee a Mi Dray eee ee Be ee ee ee oo ee eee eae Collections =e eee ee ee ee ee Se ee ee TPO} SON eg eS a ee IMiscellanGolls se eee ee ee ee eee ee ee eee oe ACCOMPANYING PAPER. The Osage Tribe: Rite of Vigil, by Francis La Flesche (pls. 17; figs. 4) -- v r 9 ’ ao 7 - >, i 7 = al 2) fi : : nee 7 ¥ ‘ 7 . sv REWARD THI -QUT- Yer Tota yt 7 ¥ “A dap on i mil asout Maude iz : — p wnliraiest niet && - : . efi hienmlt AS - mm tn —— sud) basliind bug 2 Laie iL = = Pas 7 » . aot Hhdawd Oana] A o> oon E : Juana ciertethd 43 ae tao i = ee pat | awe’ gst eniey) iz 7 a oe hr tees MioOnAlenY i. ‘ é i y Fal Atv ey) ij fay GEL igi edo af tray « wi’ So efit Each T ont Deal’ fi - : = - REPORT OF THE CHIEF OF BUREAU THIRTY-NINTH ANNUAL REPORT OF THE BUREAU OF AMERICAN ETHNOLOGY. J. WALTER FEwxss, Chief. The operations of the Bureau of American Ethnology during the fiscal year ended June 30, 1918, were conducted in accordance with the act of Congress approved June 12, 1917, making appropriations for sundry civil expenses of the Government, which act contains the following item: American ethnology: For continuing ethnological researches among the American Indians and the natives of Hawaii, including the excavation and preservation of archeologic remains, under the direction of the Smithsonian Institution, including necessary em- ployees and the purchase of necessary books and periodicals, $42,000. The administrative affairs of the bureau prior to March 1, 1918, were conducted by Mr. F. W. Hodge, ethnologist in charge, when he resigned to accept a position in the Museum of the American Indian (Heye Foundation). On that date Dr. J. Walter Fewkes was appointed chief and continued the administrative duties of the office to the close of the year. SYSTEMATIC RESEARCHES. As the American Indian is rapidly losing many of his instructive characteristics in his amalgamation into Ameri- can citizenship, new features of the future work of the bureau stand out prominently pleading for investigation. Among these is the urgent necessity to rescue linguistic, sociological, and mythological data of aboriginal Indian life before its final extinction. When data now available dis- appear, unless recorded, they are lost forever. Os BUREAU OF AMERICAN ETHNOLOGY. The excavation and repair for preservation of archeologie remains, by no means a new activity of bureau: work, is in the same condition. Both anthropology and popular ap- proval call for the advancement and diffusion of knowledge by the bureau along this line. In addition to their duties in “continuing ethnological researches”? among the American Indians, the members of the staff have devoted much time to matters germane to their work. Answers to many letters received by the bureau ean not be written offhand but demand investigation and often considerable consultation of authorities in the library. Their requests are not confined to Indian ethnology but include a wide variety of questions on race mixture in the United States, Old World anthropology, and the like. Although the staff is made up of experts in the study of the American Indians and the appropriation is limited to the study of our aborigines, the chief has not shrunk from the necessity of contributing what information he could on these related subjects, recognizing the need in the near future of a Bureau of Ethnology. The ‘“‘ethnological researches’”’ of individual members of the staff the past year are outlined in the following pages. At the close of the last fiscal year Mr. F. W. Hodge had begun excavations at Hawikuh, one of the ‘Seven Cities of Cibola,” situated near the present pueblo of Zuni, N. Mex. This work was continued in the summer months and yielded a large and varied collection of artifacts, which are now in the Museum of the American Indian (Heye Foundation). The excavations were confined to the great refuse heaps that cover the western side of the elevation on which the ruins are situated, the maximum height of the hillock being 60 feet above the eastern valley. It was believed that this refuse would be found to follow the configuration of a gradual slope, but this proved not to be the case, for the farther the excavation was carried toward the ruined walls on the summit the deeper the refuse was found to be, and continu- ous work for nearly three months in this direction failed to reach a natural slope or escarpment. ADMINISTRATIVE REPORT. 11 The removal of the refuse, which had reached a depth of 15 feet when the work was suspended for the season, brought to light many features of interest, for, as was expected from the character of the surface soil, this great deposit of débris, con- sisting largely of ash and other refuse from the dwellings, interspersed with quantities of broken pottery and other artifacts, strata of drift sand, building refuse, etc., formed one of the cemeteries of the pueblo, or, one might say, the western area of a single great cemetery that surrounded the pueblo which, with its appurtenances, covers an area of approximately 756 by 850 feet, or nearly 15 acres. Excava- tion of perhaps a fifth of the cemetery area resulted in uncoy- ering 237 graves. Excavation had not proceeded very far before remains of walls of dwellings much older than those of historic Hawikuh were encountered on the floor of the original surface, 15 feet: below the maximum deposit of refuse; yet, as the work pro- gressed, it was found that these walls had been built over and across the walls of other and more ancient houses that had been erected, occupied, abandoned, and filled in to afford space for the construction of the dwellings which in turn preceded Hawikuh probably by many generations. The masonry of these earlier structures, on the whole, was much eruder than that of Hawikuh proper; but if allowance be made for disturbance caused by the burial of the dead through several generations, which included more or less comparatively recent pottery in the lower levels, the earth- enware of the earliest inhabitants of the site is of finer quality and of finer decoration than that manufactured by the his- toric Hawikuh people not long before the abandonment. of their settlement. Although the study of the archeology of Hawikuh has been barely commenced, the results of last season’s work give promise of a material addition to our knowledge of an important phase of Pueblo culture and it is hoped will ulti- mately open the way to the solution of related problems in southwestern archeology. aly, BUREAU OF AMERICAN ETHNOLOGY. Besides the routine work of his desk Mr. Hodge gave what spare time he could while in Washington to continuing his work on the bibliography of the Pueblo Indians. During July and August Dr. J. Walter Fewkes, ethnologist, completed his report on the Heye collection of West Indian antiquities and in the autumn made a brief archeological reconnaissance in southwestern Colorado, returning to Wash- ington the middle of November. His plan of operations was to visit the ruins in the McElImo district and determine their architectural features in order to define with greater exact- ness the characteristics they share with the cliff dwellings and pueblos of the Mesa Verde National Park. The object was to gather material that would enable him to construct a classification of the prehistoric buildings of the Southwest from structural data. The Mesa Verde cliff dwellings and pueblos belong to a type or group of ruins distinguished by the structure of the roof and other features of the cere- monial room or kiva. The aim of the field work in 1917 was to investigate the distribution of this form of kiva and to discover other peculiarities of the Mesa Verde type or group at points remote from the plateau and thus enlarge our knowledge of the geographical distribution of the types. It was found that the ruins in Montezuma Valley and the McEImo and its tributaries show extensions westward of the Mesa Verde type, and as the field work progressed much was added to our knowledge of the characteristics of great houses and towers, the examples of which on the Mesa Verde have been little investigated. The most noteworthy group of the ancient ruins visited in the course of his field work were three clusters of great houses, castles, and towers situated a short distance over the State line on the northern tributaries of the canyons of the McElmo. The most important result of the field work in 1917 is the conclusion that the ruins of the McElmo region indicate a people allied to those of Mesa Verde, who reached a high degree of architectural technique, surpassing any in America north of Mexico. Evidence was gathered that it was pre- ceded by a stage indicated by one-house construction, and ADMINISTRATIVE REPORT. 1133 the suggestion is made that it antedated pueblos, on which account it has been designated a middle phase in the South- west. A considerable number of small ruins of the same structural type but with only one room were discovered in the tributaries of the McElmo and Dolores Rivers. As a sequel to the exploration of the great houses, towers, and pueblos of Square Tower, Holly, and Hackberry Canyons, at the suggestion of Doctor Fewkes, the Director of the Public Park Service, Department of the Interior, has taken steps to have the ruins on these and adjacent canyons set aside from the public domain as a reserve, to be called the Hovenweep National Monument. During the year Mr. James Mooney, ethnologist, remained in the office, engaged, as impaired health permitted, in the elaboration of his Cherokee sacred formulas. Throughout the winter and spring months much of his time was given to assisting the various delegations from the tribes of his work- ' ing acquaintance, in the West, in their efforts before Congress, particularly in regard to their native Peyote religion, of which he has made a special study. The proof of friendship in the assistance thus given has completely won the hearts of the tribes concerned, and has opened the door to successful investigation along every line of inquiry. On June 28 he left Washington for an extended stay with the Kiowa and associated tribes, among whom he is now at work. During the past year Dr. John R. Swanton, ethnologist, has devoted the greater part of his time to a study of three languages formerly spoken on and near the lower course of the Mississippi River—the Tunica, Chitimacha, and Atakapa (or Attacapa). The results of this study have been embodied in four papers—sketches of the grammars of the three lan- guages in question, and a comparative study. A sketch of the Tunica language, covering about 70 typewritten pages, has been accepted for publication in the International Journal of American Linguistics. The sketch of Atakapa, of 40 or 50 pages, is practically complete and is designed for publication in the same journal; that of Chitimacha covers about 100 pages. The latter is withheld from publication for the 14 BUREAU OF AMERICAN ETHNOLOGY. present so that more material may be added. Finally, the paper in which the three languages are compared and the conclusion drawn that they belong in reality to but one lin- guistic stock, is to be published as a bulletin by this bureau. This covers about 70 typewritten pages. During the latter half of April and all of May Doctor Swanton was engaged in field work in Louisiana, Mississippi, and South Carolina. In the first-mentioned State he con- tinued his investigation of the Chitimacha language. His visit to Mississippi was principally for the purpose of inquiring into the social organization of the Choctaw still living there. In South Carolina he began a study of the Catawba language, with the help of manuscript material left by Doctor Gatschet, and he plans to continue this study during the coming year. It is important as the only well-preserved dialect of any of the eastern Siouan peoples and that upon which must be based most of the relationship of the eastern Siouans to the other divisions of the stock. A small amount of ethnological material along other lines was also collected from the Chiti- macha and the Catawba. Doctor Swanton has also added some material to his history of the Creek Indians. In July, 1917, Mr. J. N. B. Hewitt, ethnologist, began a critical and comparative study of the Cayuga texts relating to the Iroquois Federation, which he had recorded during the two previous field trips. This manuscript matter aggre- gates more than 500 pages and treats of more than 40 topics or features of the Federation of the Iroquois, dealing with the principles and structure of this institution of the Five “Nations” or tribes. This comparative study was carried to tentative comple- tion and involved not only the critical reading of the 500 pages of Cayuga text but also an equal number of pages of Mohawk and Onondaga texts. Mr. Hewitt also read 200 galleys of proofs of the Seneca myths and tales of the Thirth-second Annual Report of the Bureau of American Ethnology, of which 20 were of native texts with interlinear translations; he added to them nearly ADMINISTRATIVE REPORT. 15 200 numbered explanatory notes and read also 632 pages of the first and second revises for this same report, of which 100 pages are in native text with interlinear translations. During May and June, 1918, Mr. Hewitt was engaged in field work in Ontario, Canada, among the Indians of the Six Nations of Iroquois. He took up the work in textual and literary criticism of the many texts he has recorded relating directly to the institution of the federation or league of the five tribes or nations in earlier field operations. By far the largest, and also the most trustworthy, part of these texts was recorded from the dictation of one of the best-informed ritualists and expounders of the league, but much additional and supplementary matter in the form of texts was recorded from the dictation of other informants who had the reputation in the community of being authori- ties in regard to the motives and plans of the founders of the federation or league and the decrees and ordinances pro- mulgated by them; but as these texts were given from memory it was inevitable that some of the most important details of the structure and working apparatus of the league have not been remembered with the same fidelity by different persons, and so various views and statements concerning the same subject matter are found. The problem for the student, then, is to ascertain by an adequate investigation upon what facts these conflicting views and statements were originally based. The vocabulary of the national terms employed is that of statecraft and ritualism—the utterances of the statesmen and stateswomen of that earlier time, who had clear visions of institutions which are to-day being for- mulated and written into the statutes of our great republic. Among these may be mentioned the recall, the initiative, the referendum, a full-fledged colonial policy, and woman suffrage (limited to mothers), men having no voice in the body which nominates their chiefs. It is well-nigh impossible to find an interpreter among the Iroquois who is such a master of both the English and the native Iroquoian languages as to be able to translate cor- rectly a large number of the most important native terms into 16 BUREAU OF AMERICAN ETHNOLOGY. the English tongue. The following may be taken as a typical example. Dekanawida, in detailing the work of the founders in his ‘‘ farewell address,” used the following term frequently and it also occurs elsewhere. This word is “‘ We’dwéfna’- kera‘da’nyon’.”’ The literal meaning is ‘‘We have made types or symbols of things.”” This is the only rendering known to most native interpreters. But its technical-signi- fication is ‘‘We have made ordinances, or laws, or regu- lations.” Another form of criticism is the discovery of the reasons which led to the variation of the ritual as used by the father and mother sides of the league. As an example the following may be cited. One or the other of these sides is the mourning side in the council of condolence and installation. The side which is not the mourning side employs all fourteen of the sections of the ‘‘requickening address.”” But it is custom- ary for the mourning side, in replying, to employ only thir- teen, omitting the ninth, which refers to the caring for the grave of the dead chieftain. This omission may seem to be a small matter to solve, but it is one which brings out the intense esoterism and metaphoric use of terms that charac- terize terminology of the institutions of the federation or league of the five nations or tribes of the Iroquois. This definition or meaning shows that the rules of procedure among the Iroquois Five Tribes were not the commands of an autocrat or tyrant, but rather the formulated wisdom of a body of peers, who owed their position to the suffrages of those who owned the titles to them, and that the form of government was a limited democracy, or, strictly speaking, a limited gynecocracy. At the beginning of the year Mr. Francis La Flesche, ethnologist, took up the task of putting together his notes on the ‘‘Wa-shd-be A-thi",”’ a composite and intricate war ceremony of the Osage tribe. The name signifies the deter- mination of the warrior who becomes a member of the cere- monially organized war party to show no mercy to the eneniy and that he shall be even as the fire—a power that consumes all things that happen to be in its destructive course. ADMINISTRATIVE REPORT. 17 The literal translation of the name, Wa-shd-be Athi", is Wa-sha-be, a dark object; A-thi", to have in one’s possession, to carry. The word ‘‘Wa-shd-be”’ is here used as a trope for the charcoal that symbolizes the merciless fire. The making of the symbolic charcoal forms an important part of the great ceremony and each warrior is required to carry with him a piece of this charcoal tied up in a little buckskin pouch. When he is about to attack the enemy he must blacken his face with this charcoal. If he happens to neglect this, he will not be permitted to recount the strokes he may deliver the enemy in the attack and to count his war honors. Originally there was only one “‘Wa-shaé-be A-thi"”’ cere- mony, and this ceremony pertained strictly to defensive and aggressive warfare. Later this ceremony was employed for organizing a war party to be sent out to slay some mem- ber of an enemy tribe in order to send the spirit of the slain man to overtake and accompany the spirit of the deceased member of the tribe and to be his companion to the realm of spirits. The original ceremony was described by Wa-xthi-zhi, who belongs to the great division of the tribe which represents the earth and is called Ho"-ga. The ceremony, when it is used as a mourning rite, was described by Xu-thd4-wa-to"-i", a member of the great division representing the sky, and called Tsi-zhu. The account of these two ceremonies, the text, the songs, with their music, the recited parts of the ritual, and the illustrations and diagrams cover 253 pages. It required much time as well as the exercise of patience to secure the details of these war ceremonies. Particularly was this true of the wi-gi-es (the recited parts), which relate to the traditions of the people, on account of their religious character and the superstitious awe with which the men and women of the tribe regarded them. Deaths have occurred during the study of these rites, and these deaths have been by the people attributed to the reciting of the rituals without regard to the traditional and prescribed rules. 3594°—25+ 2 — 18 BUREAU OF AMERICAN ETHNOLOGY. In May, 1918, Mr. La Flesche visited the Osage Reserva- tion for the purpose of completing his investigations of the tattooing rite, which he had started some time ago, and succeeded in securing 22 of the wi-gi-es (the recited parts) from one man at a continuous sitting of two days—a remark- able feat of memorizing. Each of these wi-gi-es belongs to a gens of the tribe, the male members of which recite it at an initiation into the mysteries of the rite or at the ceremony of the actual tattooing. All of these wi-gi-es are recited simultaneously by their owners, and the volume of sound is like that of a responsive reading in a church, with the difference that the reciting is not in unison, as each man recites for himself independently of the others. Fourteen of these wi-gi-es have been transcribed and translated, and they cover about 100 pages of hand-written manuscript. Besides these 22 wi-gi-es, Mr. La Flesche secured the pen- alty wi-gi-es owned exclusively by the Thunder gens. He also obtained the penalty wi-gi-e owned in common by the various gentes of the Tsi-zhu division and the one owned by gentes of the Wa-zhd-zhe and Ho*’-ga subdivisions of the Ho"’-ga great division. These penalty wi-gi-es are recited by their owners to the man who offers himself as a candidate for initiation into the mysteries of either the fasting or the shrine degree of the tribal rites. Like the ‘‘sword of Dam- ocles,’”’ the penalty hangs over the head of the candidate and drops upon him the moment he violates his initiation obli- gations, and punishment comes to him by supernatural means. These two wi-gi-es have been transcribed, but are yet to be translated. While in the office Dr. Truman Michelson, ethnologist, was engaged in correlating the Indian texts of the White Buffalo Dance with the English translation, and revising the latter. He left Washington near the middle of July and, arriving at Tama, Iowa, resumed his field work among the Sauk and Fox. His attention was mainly directed to the esoteric meaning of the songs of the White Buffalo Dance, and to verifying sociological work of the previous season. He obtained the names of nine-tenths of the Fox Indians and obtained information regarding the gens and dual divisions ADMINISTRATIVE REPORT. 19 to which their owners belong. A number of ceremonies of these Indians were witnessed and he also learned some facts on Fox eschatology. During his work he purchased a num- ber of sacred packs for the Museum of the American Indian (Heye Foundation), receiving the right to publish by the bureau the information pertaining to them. On leaving Tama, Doctor Michelson proceeded to Mayetta, Kans., to conduct a preliminary survey of the Potawatomi, as it was very clear that the dual divisions of the Sauk and Fox could only be thoroughly understood after that of the Potawatomi was unraveled. Although unable to completely work out the regulations governing membership in the Potawatomi dual divisions, he determined definitely that this division was for ceremonial as well as athletic purposes, as among the Sauk and Fox. He successfully studied the gentile organi- zation of the Potawatomi and obtained a number of folk tales in English which show very clearly that a large body of European (French) element have been absorbed by the Potawatomi and that certain elements of the Plains Indians are present. To account for the distribution of the surviving tales we must assume an early association with the Ojibwa and a later one with the Sauk and Fox group, which is quite in line with what would be expected on linguistic and his- toric grounds. Doctor Michelson returned to Washington in October and prepared manuscript on a number of miscel- laneous topics appertaining to the Fox Indians, to serve as an introduction to the proposed memoir on the White Buffalo Dance, which, with the exception of typewriting the Indian texts and the addition of a vocabulary, is now ready to submit for publication. During the winter Edward Daven- port, a Fox pupil of the United States Indian School at Carlisle, spent a week in Washington, assisting in a number of points regarding the memoir. In the spring Doctor Michelson made a preliminary trans- lation of a Fox text of the ‘owl sacred pack.” In June he went to Carlisle and worked out the dubious points in the translation with this informant, who dictated the Indian text twice from that in the current syllabary, so that the 0) BUREAU OF AMERICAN ETHNOLOGY. entire text is phonetically restored. The punctuation (with a few exceptions, added later at Tama) of the Indian text and English translation was harmonized. Doctor Michelson edited Part I of Jones’s Ojibwa Texts, containing about 50 pages, which were published by the American Ethnological Society, and collected the author’s proofs of Part II, numbering 750, for a sketch of an Ojibwa grammar which will be offered for publication by the bureau. Doctor Michelson has now in press an article in the Journal of Linguistics showing that the Pequot-Mohegan belong to the Natick group of the central division of the Algonquian language. The beginning of the fiscal year found Mr. J. P. Harring- ton, ethnologist, in the field engaged in linguistic studies among the Mission Indians of Ventura County, Calif. At the close of this work, near the end of September, Mr. Har- rington returned to Washington and spent the following months in the elaboration of recently collected material and his Tanoan and Kiowa notes. Mr. Harrington has discovered a genetic relationship between the Uto-Aztecan, Tanoan, and Kiowa languages. The last two are so closely related that if the Kiowa had been spoken in New Mexico it would have been classed without hesitation by early writers as a Tanoan language. The Uto-Aztecan is more remotely but not less definitely related to the Kiowa genetically. The Kiowa sketch, amounting to 850 typewritten pages, now includes a com- plete analysis of all the important features of the language. On June 9, 1918, Mr. Harrington proceeded to Anadarko, Okla., where he remained until June 26 revising for publi- cation his entire sketch of the Kiowa language, after which he proceeded to Taos, N. Mex. From July to August 15, 1917, Dr. Leo J. Frachtenberg was engaged in confidential war work for the Department of Justice (Bureau of Investigation). On his return to the bureau he continued his preliminary work on the grammar and mythology of the Kalapuya Indians of central Oregon begun during the previous fiscal year. He also continued his work of extracting, typewriting, and editing all Kalapuya ADMINISTRATIVE REPORT, 21 texts collected by Doctor Gatschet. The mythology of these Indians, who are almost extinct, constitutes a connecting link between the tribes of the coast and those east of the Rocky Mountains. While we possess numerous works deal- ing with the mythology of the Indians of the northwest coast and of the Great Plains, nothing has yet been pub- lished on the folklore of the tribes that inhabit the area between the Coast Range and the Rocky Mountains. Hence a volume on the mythology of the Kalapuya (and also Molala) Indians will be a welcome contribution to our knowledge of the folklore of the North American Indians. SPECIAL RESEARCHES. Dr. Franz Boas, honorary philologist, has been engaged in the correction of the proof of part 1 of his volume on the Kwakiutl-English, which has been assigned to the Thirty- fifth Annual Report. For various reasons part 2 of the Handbook of American Indian Languages has been delayed. Good progress has been made by Doctor Boas on the dialects and distribution of the Salish tribe, much work having been done on the maps. This work, which is based on field work supported by Mr. Homer E. Sargent, was almost completed by Doctor Haeberlin, whose unfortunate death has somewhat curtailed the work on these tribes. A very important work on the basketry of the Salish tribes, funds for which were also provided through the generosity of Mr. Sargent, has made good progress. Prof. W. H. Holmes, of the National Museum, accompanied by Mr. DeLancey Gill, of the bureau, made a brief visit to the Aberdeen Proving, Station, Md., where Indian remains had been reported in excavations for Government buildings. He also continued the preparation of the Handbook of American Antiquities, part 1 of which will soon be published as Bulletin 60 of the bureau. Provision was made out of the appropriations of the Bureau of American Ethnology for a brief archeological reconnaissance in the Walhalla Plateau overlooking the OA»? BUREAU OF AMERICAN ETHNOLOGY. Grand Canyon, from the last of April to the end of the fiscal year. Mr. Neil M. Judd, of the United States National Museum, was detailed for this work. He found remains of prehistoric buildings plentiful along the route of Kanab, Utah, southeastward, in the northern portion of the Kanab forest, at House Rock Valley, and in North, South, and Sad- dle Canyons. These remains consist usually of one, two, and three room structures constructed of unworked stone blocks. In many instances the foundations of the walls were stones placed on edge, their tops separating the masonry of the roof. Clusters of circular rooms, measuring from 4 to 10 feet in diameter, also occur. The floors of these rooms are generally covered with burnt earth or ashes, mingled with clay that bears impressions of willows and grass, as if parts of roofs similar to those of prehistoric rooms observed along the Colorado River in the San Juan drainage. Cliff houses also exist in the breaks bordering the Walhalla Plateau, but these are as a rule small single rooms, appar- ently cists for storage like those built by the people who inhabited the single-room houses in the open, somewhat back from the rim of the canyon. Many small artifacts were found on the cliffs, but few fragments of pottery were reported. Dr. Walter Hough was detailed from the National Museum to begin a study of the ruins in the Tonto Basin, a country of great archeological possibilities, situated between the valleys of the Little Colorado and the Gila. The result of a brief examination of the northern part of this region was encouraging, showing the existence of large ruins in the open as well as cliff houses of considerable size. Doctor Hough also made an examination of several important collections of artifacts, some of which are unique, and enumeration of the ruins visited by him indicates a promising field for future research, which it is the intention of the bureau to prosecute in coming seasons. Mr. D. I. Bushnell, jr., continued the preparation of the manuscript for the Handbook of Aboriginal Remains East of the Mississippi. The introduction, containing much ADMINISTRATIVE REPORT, 23 matter treating of sites, has been completed and will be published in advance of the handbook. It contains a valuable discussion of village sites and cemeteries, treated in a historical manner, with reproductions of old prints and maps. Dr. A. L. Kroeber has elaborated certain portions of the Handbook of the Indians of California and little remains to be done before it is ready for publication. The study of Indian music was continued by Miss Frances Densmore throughout the year. She has completed a report on the Ute music, consisting of about 375 pages, and has submitted new material on Ute, Mandan, and Chippewa music. Her account of the Mandan and Hidatsa songs con- tains 400’ pages. A new feature has been introduced in the study of the Ute melodies, where she has devised diagrams consisting of curves on a background of coordinate lines. Miss Densmore’s main studies have been on ethnobotany of the Chippewa and include plants used in treatment of the sick and other subjects. The general economic life and the industries of the people were also studied and an exten- sive collection made, which she has photographed for use in her publications. She has likewise adopted the method of tone photographs designed by Dr. Dayton C. Miller, of the Case School of Applied Science, Cleveland, Ohio. MANUSCRIPTS. The following manuscripts, exclusive of those submitted for publication by the bureau, were purchased: Unique copy of the Journal of Frederick Kurz’s Travels through the Western States (in German). In addition to the text (in German) there are two jackets of photographs of original drawings of great historical value. Six letters on British Guiana written by J. Henry Holmes to his wife, Mary Jane Holmes. EDITORIAL WORK AND PUBLICATIONS. On June 30, 1917, Mr. J. G. Gurley resigned his position as . editor and Mr. Stanley Searles was appointed to the vacancy July 1. Both editors were assisted by Mrs. Frances S. 24 BUREAU OF AMERICAN BTHNOLOGY. Nichols. A report of the publication work of the bureau during the fiscal year follows: PUBLICATIONS ISSUED. Bulletin 63.—Analytical and Critical Bibliography of the Tribes of Tierra del Fuego and Adjacent Territory, by John M. Cooper. 233 p., 1 pl. Hawarian Romance of Laieikawai.—By Martha Warren Beckwith. An advance separate from the Thirty-third Annual Report. 384 p., 5 pl. PUBLICATIONS IN PRESS. Thirty-second Annual Report.—Accompanying paper: Seneca Fiction, Legends, and Myths (Hewitt and Curtin). Thirty- third Annual Report.—Accompanying papers:.(1) Uses of Plants by the Indians of the Missouri River Region (Gilmore) ; (2) Preliminary Account of the Antiquities of the Region Between the Mancos and La Plata Rivers in Southwestern Colorado (Morris) ; (3) Designs on Prehistoric Hopi Pottery (Fewkes); (4) The Hawaiian Romance of Laieikawai (Beckwith). Thirty-fourth Annual Report.—Accompanying paper: West Indian Antiquities in the Museum of the American Indian (Heye Foun- dation) (Fewkes). Thirty-fifth Annual Report—Accompanying paper: Ethnology of the Kwakiutl (Boas). Bulletin 59.—Kutenai Tales (Boas). Bulletin 60.—Handbook of Aboriginal American Antiquities—Part 1 (Holmes). Bulletin 61.—Teton Sioux Music (Densmore). Bulletin 64.—The Maya Indians of Southern Yucatan and Northern British Honduras (Gann). Bulletin 65.—Archeological Explorations in Northeastern Arizona (Kidder and Guernsey). Bulletin 66.—Recent Discoveries of Remains Attributed to Early Man in America (Hrdliéka). Bulletin 67. —Alsea Texts and Myths (Frachtenberg). DISTRIBUTION OF PUBLICATIONS. The distribution of the publications has been continued under the immediate charge of Miss Helen Munroe, assisted in the opening months of the year by Miss Ora A. Sowersby, stenographer and typewriter, and later by Miss Emma B. Powers, Miss Sowersby having been transferred to the Bureau of American Ethnology. ADMINISTRATIVE REPORT, 25 Publications were distributed as follows: Copies. Annunlsreports andssepanatesaes—- — to! yes oe Joe a lL 66 Bulletins and separates____-_-- shee ae GH LAT) Contributions to North American Ethnology (volumes and SCD ALSUCS) ye eee ge eee SAM em ee eats eee es 7 Introductions _____- Bvrennere ces hdd Mery alo 7 toes TET. 4): 5 Miscellandous’ publications: HER Atl Shy WU Be OTe 106 Total_ epee s a eat Se oe re 344 As compared with the fiscal year 1917, there was a decrease of 4,640 in the total number of publications distributed. This was due to the fact that during the fiscal year 1917 four publications were sent out to the mailing list, whereas in the fiscal year 1918 only Bulletin 63 was distributed to the list. Twenty addresses have been added to the mailing list during the year and 15 dropped, making a net increase of 5. ILLUSTRATIONS. Mr. De Lancey Gill, with the assistance of Mr. Albert E. Sweeney, continued the preparation of the illustrations required for the publications of the bureau and devoted the usual attention to photographing visiting Indians. A sum- mary of this work is as follows: Negatives of ethnologic and archeologic subjects._-_-........_ 271 Photographic prints for distribution and office use__________ __ 525 Photostat prints from books and manuscripts. __________-_-- _ 300 Mounts used _ ¥ 800 Drawings and photograph preps ared ‘for publication a as allustra- Tons ae ou ee ee ne nee eee Ae LAN MS CMON: Illustration proofs read __ 4 $e We se eee 400 Portrait negatives of visiting Indians __ a: pnpeyeln Ado 2 depen oe asf 15 LIBRARY. The reference library of the bureau continued in the imme- diate care of Miss Ella Leary, assisted by Mr. Charles B. Newman. There was presented to the library by Dr. J. Walter Fewkes the Codex Hopiensis, consisting of three bound volumes of colored pictures of Hopi Katcinas made by a Hopi Indian in 1900. This is the material on which was 26 BUREAU OF AMERICAN ETHNOLOGY. based the article “Hopi Katcinas” in the Twenty-first Annual Report of the Bureau of American Ethnology. During the year 430 books were accessioned, of which 148 were acquired by purchase, 84 by binding periodicals, and 198 by gifts and exchanges. The periodicals currently received number about 760, of which 16 were received by subscription and 744 by gifts and exchange. We have also received 200 pamphlets, giving us at the close of the year a working library of 22,180 volumes, about 14,048 pamphlets, and several thousand periodicals. During the year there were sent to the bindery 142 volumes, and 84 bound volumes were received. In continuance of the policy of increasing the library by exchange and filling in incomplete sets, letters were written for new exchanges and for completing series already in the library. We have been able to secure by this means many valuable and important acquisitions. 7s In addition to the regular routine of cataloguing, classi- fication, ordering from book dealers, making up for binding, and keeping the serial and accession records, the efforts of the librarian were devoted to making a subject, author, and analytical catalogue of books that are represented in the old catalogue under the author only. During the year there was an increasing number of students not connected with the Smithsonian Institution who found the library of service in seeking volumes not obtainable in other libraries of the city. The library was used also by the Library of Congress and officers of the executive depart- ments, and out-of-town students have called upon the library for loans during the year. In addition to the use of its own library it was found neces- sary to draw on the Library of Congress from time to time for loan of about 450 volumes. Numerous typewritten biblio- graphic lists have been made for correspondents of the bureau and the Smithsonian Institution. The Monthly Bulletin for the use of the bureau staff has been continued throughout the year. ADMINISTRATIVE REPORT, 27 COLLECTIONS. The following collections acquired by members of the staff of the bureau, or by those detailed in connection with its researches, have been transferred to the United States National Museum: Seven baskets made by the Koasati Indians of Louisiana, collected by Dr. John R. Swanton. (61315.) A roughly chipped implement of gray limestone from British Guiana, presented by Dr. Walter E. Roth. (61325.) Six ethnological specimens of the Mandan, Ute, and Chippewa Indians, purchased from Miss Frances Densmore. (61573.) A loom of the Osage Indians, collected by Mr. Francis La Flesche. (62013.) Twelve specimens of plants from Minnesota, collected by Miss Frances Densmore. (62190.) Twenty-five stone objects from the Huastec region, Mexico, pre- sented to the bureau by Mr. John M. Muir, Tampico, Mexico. (62253.) Arrow points, spearheads (18) collected by Dr. John R. Swanton in the vicinity of Rock Hill, S.C. (62577.) PROPERTY. Furniture was purchased to the amount of $107.02; the cost of typewriting machines was $175, making a_ total of $282.02. MISCELLANEOUS. Quarters —Two rooms on the third floor of the north tower of the Smithsonian Building, occupied by the bureau, were painted; also the office of the chief. A glass partition was erected on the south front of the space occupied by the librarian as an office, in order to render the office more comfortable during the winter months. Three enlarged photographs of Spruce-tree House, Mesa Verde National Park, before and after repair, were painted and hung in the office of the chief. Personnel.—Changes in the personnel of the bureau during the last fiscal year were as follows: Mr. F. W. Hodge, ethnologist in charge, resigned Feb- ruary 28, 1918, and Dr. J. Walter Fewkes succeeded him, with the title of chief, March 1, 1918. Dr. Leo J. Frachten- 28 BUREAU OF AMERICAN ETHNOLOGY. berg’s official connection with the bureau terminated October 30, 1917. Mr. Stanley Searles was appointed editor July 1, 1917. Miss Florence M. Poast, clerk to Mr. Hodge, resigned October 15, 1917; Miss Ora A. Sowersby, a stenographer and typewriter in the service of the bureau, was assigned to that position November 1, 1918. The vacancy created by this change was filled by the appointment of Miss E. B. Powers, November 5, 1917. Clerical—The correspondence and other clerical work of the office, including the copying of manuscripts, has been conducted with the aid of Miss Florence M. Poast and Miss Ora A. Sowersby, clerks to the ethnologist in charge, and later by Miss M. 8. Clark, serving as private secretary to the chief. Mrs. Frances 8. Nichols assisted the editor. Respectfully, yours, J. WALTER FEWKES, Chief. Dr. CHARLES D. Watcort, Secretary of the Smithsonian Institution. ACCOMPANYING PAPER 29° ¢ © av Deum’. ji: Qxesyl ave, ts? SAN band 1.06 nie Mihily sovghy “28 0 ela Ray ely he ee eb eee STs asl isu ; : i 1) gfe sore we? ‘ j) i » - @ e i] ae | | At rf) Ti LAww | : y 7 7 ' Py’ righ Mi “e j a itit; i { ’ rr. : | 1 \ie oa N ’ v ity mia; a ’ Li "i i oF, cis) 1 : i , s HATE WY CAAT OOO THE OSAGE TRIBE THE RITE OF VIGIL By FRANCIS LA FLESCHE AAT 4oAcO AGT Ty WO ATA AT HHO AT BOAANT yA CONTENTS. Page Introdtctione = sh) saat Saas oa ee ees en ne UU SI 37 Pent le ybree\translation=— == ===. e near ONO OY oti roving a 39 s No’-zar-zHON Wa-THON, Sones or THE Rite or Vian. PUR CISeVCNNSOD 28 Sen. sees seen ee en SE Ee 8 41 Initiationsinto the No*/-zhi==zho=ts2 = - 2) 2 eee 42 Wi’-gi-e of the guardians of the penalties_________________________ 44 Penalty wi’-gi-e used by all the gentes__________.________________ 47 Penalty wi’-gi-e of Ni’-ka-wa-ko-da-gi gens______________________ 51 Noticelofimitiaition! ceremony. =—252- = ee 52 Carrying pipe and wailing by candidate___.______________________ 53 The first smoking wi’-gi-e—the taking of the seven animals________ 54 The second smoking wi’-gi-e—the taking of the six animals_________ 59 MNT e BELO 2b e/-CunCeLe mn On iymemen=se eres con net ee eee 2 ee 61 Wi'-si-e1of the symbolicmoccasins—-—- == - =e ee 63 ED CBW ialed On¢b et Sto: Se Ree eee Se ee eo Se ee 67 pLhesmichtisingingese sees ease ee ee 68 Wutlefoitheyeandidates 2-222 -s252 53) 222 ieee ee 69 (NCR Olea ese A eS ee 69 Kaj-noztsong ands wi'-pi-e22- 28 2S ee eee 70 PaINUIN ey OPE eNO Kale oe ee ee Se ee 72 Putting symbolic articles on the Xo/-ka__________________________ 73 Wit-pi-e of thessymbolicpamtings= === sss) eee eee 74 The No*-zhi"’ Wa-tho™ (rising song)____-__-__---_2_ | 30 76 Zho*’-xa Wa-zhu (consecrated tally sticks)_--___________._____ tad Sacred order of the songs used by the Wa-ca’-be and I-gtho®’-ga PB CIUCS Hemera ee re Seen ee eee SRS Dee tee es en eee 78 Song of processional approach to the house__-_____________________ 79 The song of walking upon the sacred animal skins_________________ 83 Soneslohuntyinesthershrines == ee ee ee el 88 Preparing to enter the house of mystery__________________________ 99 egendyor tthethawle wa-xo/-bee== nes ==) ee ee ee 100 hhersymbolicnmanesas= nese ee, Oe ee eee ee 101 SILLY SON Ps meme eee ee ere eee eke ao ere ees ee ee 103 SON PSLOMUCAVI Ci SeeeEe aera ee eee Stee Eee ty? 106 SUDDUCALION SON gS emeee meee es ete ee a ove 8 111 Songs of taking up the symbolic rattle._..___._.__________________ 114 SUntolpIpe Offering s0n gseee ls een ae ne ee eee 120 Woltisongs2tres ys) soa nena er tant On ee ee 124 CrowgsOugs= se eee as Sen A oe ae a a ee ee 127 DecrsOn gs kann a aae ne eens Rates Wet ene te Ly. ee Oe 129 Songs ofthe actioh weeping sso". .5 eee eee ee oe eee 137 Wag-ri-eofetheidreans=o= = seem oe yee ne a eee nian a 138 IDWS. HN: Die o lay Aaya ee eS 144 Songsjofserzne these -do>-bem ms een mien teen ene ue eal 147 Wi’-gi-e of the Black Bear and the Wa-zha’-zhe Wa-no® gentes______ 154 3594°—25;_3 33 84 CONTENTS. Initiation into the No®’-zhi"-zho"—Continued. Sun ray wi'-gi-e of the Tsi’-zhu Wa-no®____-__-__________________- Songs of counting the o-do®’ by the Wa/-do"-be___________________ O-do®’ count of Sho®/-ge-mo®-i®______-___-_-- Se ee ee Mhetsevento-dotis2. =~ 322. oe ee ee Theisixi0-don see ee eee Se RE Se ee Rees givienitheiWal-do®-be2= 222 a= saa ee soca ee ae ee eee Crow: songs! essen = see Sn ee ee ee ORY at 2 Black ‘Beartsongs 2202 21 AO: cee ete See Ot SOS Toe, eee Bnffallopsorn gS eae eet aoe re pte ee te ee Instractions:to the wite of the singers= 92-2 ee ee Raintingyco send courage rs =a ees on 5 ee ee Wigiltotsend courage! = (2 2-- =e) Sn ee ee ee ee Shizen) ooh joy wbMNIbaYM CO)! Igo] Oe ee ee ee ae ee ee eee Shiva) pay orp) keh amehbayee Cape in Key aveltolee = @erenionial catherine off00d esas =e a ee ae Bye is Comniplanting son gSe= == eae oe = a ee ee ee ee IEDOYSIX7SON he Se ace Se Re Se a Ae ee ere ee ee Songs of the rising of the buffalo bull men___.-_____--___-___------ Songs op the ehtowdor theca Oa ee a a es eee ee ee ee Wi! =c1-e of the rush tor ube. charcoale 9 =a. eae se ae ee Songs<of (theicrossinga TlVer = =e s ee e Songs of:thesanysticshouse- 22+ a2=- see a a ne ee eee BlWe=jay SOUGS= = aa ook ae see rr ee pe eg er Supplicationvom little vev.emim oy S Ov ps se eee Songsioferatheringswoodsea = =o ae ace rete acre ees Wil=ei-elof the’symbolic firewoode sess == === r= =e ae The diré-drillisong=—-- 20" Wes ee Se See ee ee ee ee Hiré-mlaking sOnp=-=-- =o ea eae ees ee ee os See ee Songstot therceremonialifeast=-. == = =e ee eee Songs: of the: erayowl {e220 ee 2a es ee en ee ee ees Songs Ofwtrlumphea === a ee HOSE Sesh aaa ee eee = Songs of the symbols onithe war clublo--=—= === en eee IRAN SOD S8 aoe oe es Se a oe aN ee eee a SOmesrOn th Mens unten py Oh colle) Cr Uh ae ee eae Songs of striking one against the other__-_-------__-----_-----_-- Songs of triumph, or the return of the bird_________________-____- fSfopoven (ahd anos) senisybayes (Hoy colzjoy hunt SSS ae Se Se ee eS ee Wi'-gi-e used at the installation of a widow_--_--._---------------- Tsi’-zhu Wa-shta’-ge version of the No®’-zhi*-zho® rite__-_____--------- Ney Seve Ty SOI GS is ea a ee Opening ceremony—smoke offering to the sacred animal skins____--- bes vy silin Sa Cen e101 CT ty eee ee ERLE TNO CCASIN COTE IN ON ys eee ee a aaa eee Ceremony of painting and decorating the Xo’-ka___________-------- Wil-21-eron the i ussele ss ess a re ee Ceremonial approach to the house of mystery___------------------ Songiol approach tol uveOUSC == =e = ee Songs/of openin gathers iri e ses ye ee re rer ere ee Nongsof taking upithe mantles. =a oo see ee Nongshok the sya bolic mse sass. ee es TB Grete 1 SON SS 2 a ee a ee Sonpston tine mite of vigil ae ee eee Tittlevpomesxot tes Urs oa oe ae ee CONTENTS. 35 Tsi’-zhu Wa-shta’-ge version of the No®’-zhi®-zho" rite—Continued. Page. SUE ONS OTP Saley We em Nee eee a 2 CIN Rh ere Ae 283 \WioligsOn gs. 25" 757 ae a eee ee epee). 2 ly Pa. Se 290 Songs pertaining. to the avtackeeeee ae 1 ee ee es 294 SOnesyon briump his kee as eee eee ees eS ta I ee 301 Ones Ofsthepw alerts en eee ere see KL! Se 312 CrowsSol ese ae s-eee meee a seni Soret nes | SLs Se ee 316 Wid-daygsoOn tset= ee eeer ee ee ere ha See EEG ae OS 318 DCemEOn gS ieee ae ee ei ee. AY see oe Oe SO GRY MD Cyst SON eS aeps eee ae ees Se ee oe oe 327 NongsTOrmiune: febttor thelcharcomlaes- 29) 242) Sees Se 327 SONG See ee ee Oe Ltt PO PEL Fe 2 Oo 338 Blacks earssOngs eee, eee ae bee ee 344 SOnPSIOlsUNe(OSDre yea) ener wr Ley ASS 2 ee ee Peg 347 Nongyombhewbioh: Dillss. eee ee ee eh! 2 ele Ee ee - 349 PON SsOmbneClOUdsesaeermee ees ee a ta aay Sa AL earl De 351 Songsiofidecoratinpathe clubsees = a5 ey ee 355 ponpsrohstrikin eg thevearntheee. ese os os ss 358 Nougstofiwalkingyoversiheeanthe= = =~ - 2 oee eee | 362 Nongsiof drawine bherarrows\=-= = 4" ____ a Re es 364 Songs of laying down the wa-xo’-be__________-_22-=___--/22_.--.- 369 (Rares ORAP CR CISIONe ane ea tee Oo Oe ee NT yen 371 Panty ublepbiteraluiransiationo= es sso i= te ee Os Sey 515 ind exee er sera emer cee tee ee Se te ee SS ea SET ee 631 7 4 7 yw a ILLUSTRATIONS. PLATES. i i) Portrait:of -Wa-xthi’-zhi((Bumajgens)2 2-2 ap 2. Counting sticks for songs: A, Front; B, back; C, consecrated tally SULCKS2= 9 eo a ee ns a ie ee ee POEL on Weerissailhead dress 222s ern sas ee = ee ee = 40 Painting Oe No Kas => 7 nes somemnerenmen eo as NET SETA SR SEA Ae ee Os bontablesshrine sW01o) dc cs een eee eens Be ee ee hae 6G "Wa-xol-be-and' pouch: = 4 as - 2 a nereeite See ee ee 7. A, Wa-tse’-mo»-i?; B, Ku’-zhi-wa-tse, member of the Po®’-ka Wa- shta<peizenss ed i a ee a ng : 8. Stones for vapor bath and frame for the house__________-_____-____ 9. A, Ni’-ka-wa-zhi*-to"-ga, Po"’-ka Wa-shta’-ge gens; B, Sho»’-ge- MO 0 oe eee eee 2 ee ee eee 10) Sho®/=ce-mo™=1" counting, hisiwar Honors] 2s2 === 295 asso ee UIE, Dovel ys nude hy ev oneiol opr Halol losis a) oe 12. Method: of painting ace]. sae == a ee 13. Sacred hawks belted with scalp locks_._----------------=----=-___ 4. (Standards! <2 et ote. Pee en ote ee ee ee 15; ‘Symbolic clulo.2 = = 22 -. = ba ee ee ee 16. Xo’-ka setting to flight the magic, arrows--_------------------_---- 17. Xolcka dropping awl: 26-3. en ee ee ee ee ae TEXT FIGURES. 1. Diagram of cutting of buffalo skin for symbolic moceasins_-_-___-~__- 2. (Ground, plancof place/of initia tlone ee a= a 3: Portablelishnine old ed sseee == = eee eet eee ae eee 4. Bow and! arrows 220+ 2.-sse2 os es-o4e~ oe oe oe ee ee eee 36 BUREAU OF AMERICAN ETHNOLOGY THIRTY-NINTH ANNUAL REPORT PLATE 1 PORTRAIT OF WA-XTHI’-ZHI (PUMA GENS) (Died November, 1923) THE OSAGE TRIBE: THE RITE OF VIGIL. By Franots La FLescue. INTRODUCTION. The first volume of the work on the Osage tribe appeared in the Thirty-sixth Annual Report of the Bureau of American Ethnology, published in 1922. In that volume is given “The Rite of the Chiefs.” It is first presented because in it is preserved the story of the organi- zation of the Osage tribe. Beginning in allegory, the story follows the career of the people through a long period of military control to the establishment of a civil form of government, with hereditary chiefs, whose duty, among other things, was to preserve peace and order within the tribe. Throughout this long passage of time re- ligious rites were formulated and given expression in the two great symbolic divisions of the tribe, each having its various gentes with their gentile life symbols. The account closes with a description of the annual ceremony of thanks to the life-giving power that resides in the four winds for the gift of peace and prosperity to the people. The religious conceptions of the No*®’-ho®-zhit-ga and the tribal organization based upon those conceptions were essentially a part of the life of the people down to historic times. The second rite given in the first volume belongs to the ‘‘seven ceremonial divisions” of the tribal war rites that partake of degrees. The rite is called ‘‘ Ni’-ki No"-k’o"” (Hearing of the Sayings of the Ancient Men), and ‘‘deals with life in the abstract.’’ There is no single fixed order of these seven degrees, as each gens has its own arrangement, yet all agree in placing this rite, the Ni’-ki No®-k’o", Hearing of the Sayings of the Ancient Men, as the last or “seventh degree.” The songs interspersed in the rite and its wi’-gi-es, the principal one of which has 1,542 lines, all bear testimony to the antiquity of this rite that deals not only with the religious concep- tions of the people but designates their food and records their secular and ceremonial life. A few sentences are quoted from the close of the first volume: “What has been gathered and here presented of the Rite of the Chiefs and the Ni’-ki-e rites is but a small portion of the Osage tribal rites as a whole. Were the 21 versions of these two rites to be recorded and o> ol 88 THE OSAGE TRIBE. [ETH. ANN. 39 presented, years of labor would be required and many volumes filled. . . . therituals . . . ashererecorded . . . give a fair idea of what the other versions would be like.”’ ‘‘The ancient No*’-ho®-zhi"-ga in their years of pondering over life attempted to embrace in their mental vision not only the visible part of Nature, but even Wa-ko"’-da, whom no man can see, but whom they came to conceive, of as a creative Power, a power that abides in and moves among the great cosmic bodies, as well as the various forms of life in and upon the earth.” In this, the second volume, are presented two versions of one ritual, entitled ‘‘ No®’-zhi"-zho® Wa-tho",”’ Songs of the Rite of Vigil. This degree is the fourth in the order observed by the Tho’-xe gens of the Tsi’-zhu great division, and second in the order followed by the I"-gtho"’-ga gens of the Ho®’-ga great division. (See 36th Ann. Rept. B. A. E., pp. 152-153.) The first version is that of the I"-gtho"’-ga (Puma) gens and the second is that of the Tsi/-zhu Wa-shta’-ge (Peace) gens. The No®’-zhit-zho", or the Rite of Vigil, is a degree that is held as next in importance to the Ni’-ki-e, not only because the rite for which it is named brings the people in close touch with the Super- natural Power to which they appeal in times of distress but because it also contains nearly all the symbols and ceremonial forms essential to the other degrees. In the first volume the rituals are presented in three forms, and the same plan is followed in this, the second volume. The first presenta- tion is a free English translation; the second is as transcribed from the dictaphone records made by the Osage Indians; the third is a literal translation, as close as could be made under difficulties that exist between the English and the Osage languages, difficulties which are enhanced by the liberal use in their rituals of metaphors, figures of speech, modes of expression, and the disguising of words in the songs. The music of all the songs given by Wa-xthi’-zhi and Sho?’-ge- mo?-i? and recorded in this volume was faithfully and accurately transcribed by Miss Alice C. Fletcher, author of a number of books on Indian rites. PART I.—FREE TRANSLATION 39 _ =, ‘ye : oii ve be ‘wt tha, oe vig ath O07 1 eviuteel bl gain" 5 dai } 1pa4 ite Whe ee iv { j ine i) Se Oh 24 O arity) ent Y ass “Ts { Ajtai | fe 1 OR ee ( Pllap ee Tina) Pre Rone faa stn pare - Be Ol, | ty 1) - 3 uh win Wale ” 7 ) éiiiee ofr oar \ sf j t ® OIA siin Samy ‘ i Laie py * : lie heat it s j he iit’ «gf yy eee fee 1 ug oe wily UN NA _ : 4 ; » Pw ay dt - "1 y j At Tu te , meu PARI YEA Sat NO*’-ZHI*-ZHO* WA-THO*, SONGS OF THE RITE OF VIGIL. THE SEVEN SONGS. The title of this ritual, No®’-zhit-zho" Wa-tho", freely translated into English, is Songs of the Rite of Vigil. The word no®’-zhi"-zho® may be analyzed as follows: No®-zhi, to stand; zho, to sleep. This composite word, no®’-zhi-zho", is understood as referring to the rule which requires the man chosen to act as a mediator between Wa-ko®’-da and the tribe to stand or to sit in an upright position while performing this sacred duty. The man is strictly enjoined to be wakeful and watehful while he is actually offering his supplica- tions to Wa-ko®’-da, lest by inadvertence he might lose the sign of approval that may be given him by that Divine, Power. Wa-tho® means songs. The people of the Omaha, a cognate tribe, use the same title, No®’-zhi"-zho", for the Rite of Vigil as observed by them. The cry that is taught the child, and that is also used by a grown person when addressing Wa-ko"’-da, is put in musical form and is called Wa-ko"’-da Gi-ko®, The Cry to Wa-ko®’-da. (See 27th Ann. Rept. B. A. E., pp. 128-129.) The No®’-zhit-zho® Wa-tho" is counted as second in the sacred order of the seven tribal war rites as observed by the I®-gtho®’-ga or Puma gens of the Ho"’-ga subdivision; and the people of the Tho’-xe gens of the Tsi’-zhu great tribal division place this degree as the fourth in the order followed by them. (See 36th Ann. Rept. B. A. E., pp. 152-153.) The No®’-zhi®-zho® is a supplicatory rite which was observed by the Osage in the following manner: First: Collectively, as when all the people cried to Wa-ko®’-da at dawn, at midday, and at sunset. (See 36th Ann. Rept. B. A. E., pp. 49-50.) Second: As when the tribe determines upon going to war a man is chosen to perform the rite for the people as the introductory part of the ceremonies that attend the organization of a war party. The rite is continued by the man thus chosen, not only during the cere- monies, but throughout the entire expedition, both when going and returning. Third: Individually, as when a man, having lost by death his wife, son, daughter, brother, or sister, takes the rite for a period of four 41 49 THE OSAGE TRIBE. [ETH. ANN, 39 days only, or he may continue it for a few months or even as long as two years. Among the Omaha the No®’-zhit-zho" was observed by a youth who, voluntarily or at the behest of his parents, seeks the aid of Wa-ko®’-da for strength to meet the hardships and the dangers that beset his life’s pathway. The time for the youth to take upon himself this prayerful rite is when winter has passed, when the thunder heralds the arrival of spring, when the earth awakes and begins her life activities. It is then that the youth, standing amidst the blossoming flowers, lifts his voice in prayer to Wa-ko®’-da for pity. At any time during the summer season the man who is stricken with sorrow by the loss of some beloved relative may take upon himself this rite and seek consolation from the Mysterious Power whose presence fills all space in the heavens and all things upon the earth. The man serving sentence of banishment for putting to death a fellow-tribesman may take the rite in seeking pity from the Mysterious Power, and as evidence of his contrition for having violated the tribal law. This he must do while all nature is fully awake and active. « Fourth: The rite is observed by a man when being initiated into the mysteries of the Ga’ Tha-dse Ga-xe, Weaving of the Portable Shrine, one of the seven degrees of the tribal war rites. The shrine symbolizes the earth, with its myriad forms of life, the arch of the heavens within which the single stars, the constellations, and the galaxy eternally move, for the No®’-ho®-zhi®-ga in their searchings had arrived at the belief that all the great cosmic bodies are the out- ward manifestations of that Mysterious Power which moves among and within them. Therefore the act of making the symbolic shrine must be performed with all due reverence and in a worshipful manner. The shrine is woven of rush by a woman ceremonially appointed to do the work, and the candidate taking the degree is required to observe the rite of No®’-zhi"-zho" during the time the task of weaving is being performed. Fifth: The woman appointed to weave the shrine is also required to take the rite of No®’-zhi®-zho®, and thus to appeal to the Mysterious Power on behalf of the warrior who must at all times be ready to risk his life in order that the lives within the tribe may be protected against external dangers. This rite she must continue until she has fulfilled her task of weaving, which requires about four days of con- tinuous work. INITIATION INTO THE NO*’-ZHI*-ZHO*. A man who makes up his mind to take the No?’-zhi-zho® degree may send his wife or some friend, informally, for a Sho’-ka. A Sho’-ka must be chosen from a gens or subgens whose established office is to act as Sho’-ka (Ceremonial Messenger) for a gens or a LA FLESCHB] RITE OF VIGIL—-FREE TRANSLATION. 43 group of gentes in the ceremonies of the tribal rites. (See 36th Ann. Rept. B. A. E., pp. 52-53.) From the moment the man chosen to act as Sho’-ka responds to the call and appears before the candidate for the degree the relation between the two becomes formal and cere- monial. The candidate addresses the Sho’-ka, saying: ‘My nephew,” or whatever the kinship term may be that he ordinarily uses in speaking to him, “I have sent for you so that you may call for me my elder brother,” giving the name of a member of his own gens. The term ‘‘my elder brother” used by the candidate is not the ordi- nary kinship term but a ceremonial one. Having thus made his for- mal request, the candidate places in the hand of his Sho’-ka a filled pipe to carry as his badge of office and to show that the message he bears is of a ceremonial character. The Sho’-ka having delivered his message, and the elder brother having arrived and taken the seat assigned him in the house, the can- didate addresses him, saying: “ My elder brother, I have called you because I want to ask you to act as Xo’-ka for me.”’ The office of Xo’-ka is teacher or initiator. The elder brother asks, in reply: ‘“‘In what rite do you wish me to act as Xo’-ka for you, my younger brother?” The elder brother asks this question because if he had not taken the degree desired by the candidate he could not properly act as Xo’-ka for him. The candidate replies: ‘‘ My elder brother, I wish to have you act as my Xo’-ka in the No®’zhi"-zho® rite.” Then the elder brother, without any doubt or hesitancy, replies: “Ttis well, my younger brother. I have myself sung the songs (taken the degree) of that rite and can, therefore, act as Xo’-ka for you.” The two men having thus come to a definite understanding, the elder brother proceeds at once to enter upon his duties as Xo/-ka. He commands the Sho’-ka to summon the heads of two of the princi- pal war gentes to appear at the house of the candidate, namely: the Tsi’-zhu Wa-no®, of the Tsi’-zhu division, and the Wa-zha’-zhe Wa-no®, of the Ho*’-ga division. The Xo’-ka also commands the messenger to call an A’-ki-ho® Xo’-ka, an additional Xo’-ka. This assistant is chosen by the Xo’-ka himself from the gens of which both he and his candidate are members, knowing him to be a man well versed in this rite and competent to conduct the ceremony in all the details. The call of the heads of the two gentes, the Tsi’-zhu Wa-no® and the Wa-zha’-zhe Wa-no", to witness the preliminary ceremony serves as notice to all the No?’-ho®-zhi"-ga that a member of one of the gentes of the Ho®’-ga division has offered himself as a candidate for initiation into the mysteries of the No"’-zhi"-zho" degree of the war rites. The two men who represent the Tsi’-zhu Wa-no" and the Wa-zha’- zhe Wa-no® gentes promptly arrive and are assigned seats appropriate 44 THE OSAGE TRIBE. [RTH. ANN. 39 to their dignity. Almost at the same time the A’-ki-ho® Xo’-ka enters and is motioned to his place. After the ordinary greetings are exchanged between the men, the Xo’-ka in a formal address announces to the two representatives of the principal war gentes the application of the candidate for initiation into the mysteries of the No®’-zhit-zho® rite and at the same time expresses his willingness to act as his Xo/-ka during the ceremony. The two representatives give their approval and consent with expressions of pleasure at the coming initiation. The Xo’-ka then asks the A’-ki-ho" Xo/-ka to recite for the benefit of the eandidate the Wa’-xpe-gthe A-do®-be Wi’-gi-e, which may be freely translated as the Wi’-gi-e of the Guardians of the Suspended Penalties. The meaning of this wi’-gi-e may be explained as fol- lows: When the candidate has chosen his Xo’-ka and through him summoned to his house the representatives of two of the principal war gentes in order to obtain their consent to the initiation into the mysteries of the No®’-zhi"-zho® rite, the candidate had by these acts taken upon himself the vow that he will without fail be initiated into the rite and will perform all the acts necessary to be done in the initiatory ceremonies. The moment that the two representatives give their consent to the conferring of the No®’-zhi"-zho® degree the penalties attached to the vow become effective and hang suspended over the head of the candidate, to drop upon him as soon as he violates any of the obligations put upon him as a candidate. For instance: He may lay aside some articles of value with the thought, I will use these for fees in my initiation, or he may gather stores of food for entertaining the No®/-ho"-zhi"-ga when they assemble to witness or to take an active part in his initiation. Should the can- didate in the stress of adverse circumstances use for his personal comfort or that of his family any of these provisions, although his acts may be known only to himself, the penalties will fall upon him. The ever watchful guardians are the spirits of four animals, namely, the mottled lynx, the male puma, the black bear, and the elk, within each one of whom is reposed the supernatural power as well as the duty of inflicting these penalties. W1’-GI-E OF THE GUARDIANS OF THE PENALTIES. (Osage version, p. 375; literal translation, p. 517.) Verily, at that time and place, it has been said, in this house, The Ho®’-ga, a people who possess seven fireplaces, Verily, a people among whom there are none that are craven, Spake to one another, saying: Look you, my younger brothers, 5. Let the little ones! choose for themselves an avenger. Be ON Re 1 The term “‘little ones?’ frequently used in these rites always refers to ‘‘the people,” but it also conveys their belief in the continuity of their life as a tribe. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 45 Thereupon they took to themselves an animal, To be their avenger, Even the little mottled lynx, They took to be their avenger. When they had made their choice, . They further said to one another: It shall be for the little ones, . An avenging guardian of the overhanging penalties, as they travel the path of life, O, my younger brothers, . Behold the door that stands near by, . Even the doors of their houses shall be guarded with watchful care, as they travel the path of life, . Behold the fire that stands near by, . Even their fireplaces shall be guarded with watchful care, as they travel the path of life, O, my younger brothers, . The choice of an avenger thus made shall stand forever. . The male puma that lies outstretched, . They also made to be their avenger. . When they had made the puma to be an avenger, they said to one another, . It shall be for the little ones an avenging guardian of the over- hanging penalties, as they travel the path of life, my younger brothers. . Behold the door that stands near by, . Even the doors of their houses shall be guarded with watchful care, as they travel the path of life, O, my younger brothers, . Behold the fireplace that stands near by, . Even their fireplaces shall be guarded with watchful care, as they travel the path of life, O, my younger brothers, The choice of an ayenger thus made shall forever stand. . The unblemished black bear that lies outstretched, . That animal also, . We shall make to be our avenger. When they had made this choice they said to one another: . The bear shall be for the little ones an avenging guardian of the overhanging penalties, as they travel the path of life, my younger brothers, . Behold the door that stands near by, . Even the doors of their houses shall be guarded with watchful care, as they travel the path of life, O, my younger brothers, . Behold the fireplace that stands near by, 5. Even their fireplaces shall be guarded with watchful care, as they travel the path of life, 0, my younger brothers, . The choice of an avenger thus made shall forever stand. 46 THE OSAGE TRIBE. [ETH. ANN. 39 37. Verily, at that time and place, it has been said, in this house, 38. The tall animal (elk) that hes outstretched, 39. That animal also, 40. We shall make to be our avenger, 41. To avenge offenses committed, 42. To inflict the overhanging penalties upon all offenders, 43. It shall be for the little ones an avenging guardian of the over- hanging penalties, as they travel the path of life, my younger brothers, 44. Behold the door that stands near by, 45. Even the doors of their houses shall be guarded with watchful care, as they travel the path of life, O, my younger brothers, 46. Behold the fireplace that stands near by, 47. Even their fireplaces shall be guarded with watchful care, as they travel the path of life, O, my younger brothers, 48. The choice of an avenger thus made shall forever stand. This wi’-gi-e belongs exclusively to the I*-gtho™’-ga and the Wa-ca’-be gentes and, according to Wa-xthi’-zhi (Pl. 1), only a few No®’-ho®-zhi"-ga members of those two gentes have succeeded in learning it. Those who know it will not teach it thoroughly except- ing to persons with whom they have friendly relations or to those who are very liberal with their fees. To one who is not particularly liked or is not generous with his fees the learned No®’-ho®-zhi"-ga will recite the wi/-gi-e but once and then, gathering up his fees, he will hurriedly depart. The slightest inattention on the part of the learner is always seized upon by the teacher as an excuse to abandon his work. ; After the recitation of the wi’-gi-e the Xo’-ka and his assistant, the A’-ki-ho® Xo’-ka, fold up their fees preparatory to going to their homes, but before leaving they inform their candidate that he is allowed, by custom, seven years in which to prepare for the initiation. Within this time he must lay aside various articles of value to use as fees to be given to the officers who are to take an active part in the initiatory ceremony. He must also store away food supplies to be used in entertaining the No"’-ho?-zhi®-ga order whom he will have to invite to the initiation. For ceremonial and symbolic use he must collect the skins of seven animals, namely: (1) the skin of a mottled lynx; (2) the skin of a gray wolf; (3) the skin of a male puma; (4) the skin of a male black bear; (5) the skin of a male buffalo; (6) the skin of an elk; (7) the skin of a deer. Having given these instructions to their candidate as to his duties, the Xo’-ka and the A’-ki-ho® Xo’-ka depart for their respective homes. In the early days when the arrow with its bow was the only weapon possessed by the Osage that was effective at a distance, it was diffi- LA FLESCHE | RITE OF VIGIL—-FREE TRANSLATION. 47 cult for a candidate, even with the generous assistance of his friends and relatives, to procure so great a supply of goods, provisions, and animal skins as were required for use in the initiation. Taking this difficulty into account, the No*’-ho*-zhit-ga allowed a candidate seven years in which to prepare himself to take the degree. In later days when the Osage came into contact with the traders who supplied the people with flintlock muskets, powder and balls, as well as other commodities, the task of the candidate was not as great, and with the help of his friends he could prepare himself for the initiation in a shorter time. There is a penalty wi’-gi-e which is used in common by all the various gentes of the tribe in which the penalties to be inflicted are definitely prescribed. For a long time Wa-xthi’-zhi hesitated to recite this wi’-gi-e, but finally, in the spring of 1918, after much per- suasion he consented to give it. It is as follows: Prnatty Wt’-ci-— Usep spy ALL THE GENTEs. (Osage version, p. 376; literal translation, p. 518.) 1. Verily, at that time and place, it has been said, in this house, 2. In the midst of the winds that precede the approaching storm, 3. Move the Wa’-ca-ki-the of the little ones. 4. My grandfather (referring to a great butterfly, one of the Wa’-ca- ki-the), 5. Is, verily, a being from whom nothing is hidden, 6. He is the Great Butterfly (Dsi"-tha’ to®-ga), 7. Who moves amidst the winds that precede the storm, 8. My grandfather, it is said, 9. Ever moves amidst those advancing winds, 0. From him nothing can be hidden, as he moves onward amidst the winds, 11. Guarding the acts over which hang the penalties. 12. In the very depths of secret places these acts may be performed, 13. Yet he watches over them as he moves in the midst of the winds. 14. The guilty ones travel along life’s pathway, 15. My grandfather, 16. Overtakes them and makes them to become languid, to seek solitude and to sit in wretchedness, 17. Verily, he makes their skin to become sallow and of sickly hue; 18. He makes them to become restless and to lie here and there in distress. ‘ 19. My grandfather, 20. Causes them to fail to reach the four divisions of the days (four stages of life), 21. My grandfather, THE OSAGE TRIBE. [ETH. ANN. 39 2. Even causes them to lose consciousness and never to recover, . Verily, at that time and place, it has been said, in this house, . He even takes from the guilty their spirit (sanity) when bidden to do so. 5. The Great Butterfly stands as a Wa’-ca-ki-the of the little ones, it has been said, in this house. . And the Swallow (Ki-gthu’-ni-ka), . Amidst the winds that precede the storm, . Moves always, it is said, . Verily, nothing is hidden from him as he moves in the winds, . Guarding the acts over which hang the penalties. . My grandfather (the Swallow), 2. Overtakes the guilty persons, . And verily makes them to become languid, . He makes them to lose flesh which they never regain, 5. Verily, he makes their faces to become sallow and of sickly hue, . Makes them to lay their heads here and there in distress, . My grandfather, 8. Takes from the guilty, even their spirit (sanity) when asked to to do so, . Verily, at that time and place, it has been said, in this house, . The swallow stands as a Wa’-ca-ki-the of the little ones. . The mottled eagle also (A’-hiu-ta-ta), 2. Moves amidst the winds that precede the storm, . Guarding the acts over which hang the penalties, . My grandfather (the Eagle), 5. Overtakes the guilty persons, . And verily makes them to become languid, 7. Makes their skin to become sallow and of sickly hue, ;. And to lay their heads here and there in restlessness, in distress, . My grandfather, . Takes from the guilty, even their spirit when asked to do so, . The mottled eagle stands as a Wa’-ca-ki-the of the little ones. 2. And there is a little pipe (No®-ni’-o"-ba zhi"-ga), oo or Or Or oon oe or . That moves amidst the advance winds of the storm, Guarding the acts over which hang the penalties. . My grandfather, Overtakes the guilty and verily makes their skin to become sallow, and of sickly hue, . Makes them to become languid, . To lie here and there in restlessness, in distress, . My grandfather, LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 49 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. (ale 72 ae 73. 74. 15. 76. dad itis 78. 7S 80. sl. 82. 83. 84. 85. 86. 87. 88. 89. 90. Oi. 92. 93. 94. 95. 96. Takes from the guilty, even their spirit when asked to do so. Verily, at that time and place, it has been said, in this house, The nighthawk that lies outstretched (Tse-shi®’/-shi-e}, Moves amidst the winds that precede the storm, Verily there is nothing hidden to my grandfather, He overtakes the guilty persons, And verily makes them to become languid, Verily, at that time and place, it has been said, in this house, He makes their skin to become sallow and of sickly hue, To lie here and there in restlessness, in distress, Verily at that time and place, it has been said, in this house, My grandfather, Takes from the guilty, even their spirit when asked to do so. Amidst the winds that precede the storm, The great dragon fly (Tse’-pi-tha to®-ga), Moves always. To my grandfather nothing is hidden as he moves forth in the winds, Guarding the acts over which hang the penalties, My grandfather overtakes the guilty, And verily makes them to become languid, Makes their skin to become sallow and of sickly hue, He makes them to lie here and there in restlessness, in distress, My grandfather, Takes from the guilty even their spirit when asked to do so. What is the Wa’-¢a-ki-the of the little ones, they said to one another, My grandfather, The swallow that hes outstretched (Ni-shku’-shku), Amidst the winds that precede the storm, Moves always, Guarding the acts over which hang the penalties. My grandfather, Overtakes the guilty persons, And verily makes them to become languid, Verily, he makes their flesh to wither, He makes them to lie here and there in restlessness, in distress, My grandfather, Takes from the guilty even their spirit when asked to do so. 3594°—25;——4 50 THE OSAGE TRIBE. [ETH, ANN. 39 The symbols mentioned in this wi’-gi-e belong to seven different gentes. They are as follows: 1. The great butterfly belongs to the Ho®’-ga U-ta-no®-dsi. The name used in the wi'-gi-e, Dsi"-tha’ to™-ga, is an archaic name and not that in ordinary use. The common name is Dsi-o®’-dsi-o", 2. The swallow belongs to the Wa-ca’-be and the I*-gtho"’-ga gentes. The identity of the bird seems to be in doubt among the No®’-ho®-zhi®-ga of to-day. Ka-gthu’-ni-ka, the name used in the wi'-gi-e, is archaic and its meaning has become obscure. Wa-xthi’- zhi, who recited the wi’-gi-e, believes that the buzzard is referred to in the archaic name, but Wa’-thu-xa-ge of the Tsi’-zhu Wa-shta’-ge gens is certain that the name refers to the swallow. In the free translation, however, the swallow is used. 3. The mottled eagle, the immature golden eagle of the dark plumage, belongs to the Ho®’-ga A-hiu-to® gens. The name, A’-hiu- ta-ta, used in the wi’-gi-e, is archaic but it is still known to what bird the name refers. The name in common use for this bird is Ho®’-ga gthe-zhe, the mottled eagle, from the mottled marks on its tail feathers. 4. The little pipe, No®-ni’-o"-ba zhi"-ga, belongs to the Wa-zha’-zhe Wa-no® of the Ho"’-ga division. This pipe was used in the suppli- catory ceremonies of the people, and it is probably for this reason that it was included in this wi’-gi-e. It may be safe to presume that this symbolic pipe was used in the rite calling for the punishment, by supernatural means, of persons treating with contempt the sacred rites. 5. The nighthawk belongs to the Tsi’-zhu Wa-no" and the Tse- do’-ga I"-dse gentes. The name, Tse-shi®’-shi®-e,-used in the wi’-gi-e, is archaic; that commonly used is Pshu’-shka. 6. The great dragon fly belongs to the Mi’k’ Wa-no® gens. The ordinary name for the insect, Tse’-pi-tha to®-ga, is used in the wi/-gi-e. 7. The bank-swallow belongs to the Ni’-ka-wa-ko"-da-gi and the Tho’-xe gentes. The common name of the bird, Ni-shku’-shku, is used in the wi’-gi-e. When Wa-xthi’-zhi gave the penalty wi’-gi-e used in common by all the gentes he also recited one that belonged exclusively to the Ni’-ka-wa-ko"-da-gi gens. The wi’-gi-e of this gens, like the penalty wi’-gi-e of the I"-gtho"’-ga gens, prescribes no definite penalty to fall upon those guilty of performing acts of irreverence, but this would not be necessury in any case, because if the word wa’-xpe-gthe alone should appear in a wi’-gi-e it would be respected by the people. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 51 —_ to 13. 33. 34. rPODOmAN oor WN Prenatty Wt’-ci-r or THE N1’-KA-wa-KoO%-pa-Gr GENS. (Osage version, p. 379; literal translation, p. 520.) Verily, at that time and place, it has been said, in this house, Amidst the winds that precede the storm, A Wa’-ca-ki-the of the little ones always moves. Verily, at that time and place, it has been said, in this house, The red-breasted swallow that lies outstretched, Amidst the winds that precede the storm, Moves always, . Guarding the acts over which hang the penalties. . To my grandfather, . Nothing is hidden as he moves amidst the winds, . Verily, throughout the divisions of the days (the seasons), Nothing is forgotten by him, nor is there anything hidden from my grandfather. What is the Wa’-ca-ki-the of ‘the little ones, they said to one another, The black-breasted swallow that lies outstretched. . My grandfather, they said, . Amidst the winds that precede the storm, . Moves always, . My grandfather, Guards the acts over which hang the penalties, as he moves amidst the winds. My grandfather, . Even though the divisions of the days have passed, . Forgets not the acts that have been performed, he is a person who forgets not. . Verily, nothing is hidden to my grandfather. . What is the Wa’-¢a-ki-the of the little ones, they said to one another, . The white-breasted swallow that lies outstretched, 5. My grandfather, . Amidst the winds that precede the storm, . Moves always, they said, . Guarding the acts over which hang the penalties. . Verily, nothing is hidden to my grandfather, . Even though the divisions of the days have passed, . He forgets not the acts that have been performed, he is a person who forgets not. What is the Wa’-ca-ki-the of the little ones, they said to one another, The yellow-breasted swallow that les outstretched, 52 THE OSAGE TRIBE. [BTH. ANN, 39 35. My grandfather, 36. Amidst the winds that precede the storm, 7. Moves always, they said, 38. Guarding the acts over which hang the penalties. 39. Verily, at that time and place, it has been said, in this house, 40. My grandfather, 41. Even though the divisions of the days have passed, 42. Forgets not the acts that have been performed, he is a person who forgets not. 43. Verily, he is a person to whom nothing is hidden, 44, As he moves amidst the winds, guarding the acts over which hang the penalties. Notice or INITIATION CEREMONY. After a lapse of time, when the candidate has fully prepared him- self for the degree, he calls his Sho’-ka whom he sends to the Xo’-ka and his assistant to give them notice that he is ready to proceed with the initiatory ceremony. The two men go to the candidate’s house to examine the amount of food supplies he had provided as well as the quality and the number of goods he had collected to be used as fees. When the Xo’-ka and his assistant have satisfied themselves that there is an adequate amount of provisions to be distributed to the No®’/-ho?-zhit-ga during the ceremony, and that there is a sufficient amount of goods to be given to the heads of the gentes who will take part, they set a day for the initiatory ceremony. The Sho’-ka is then sent to give formal notice to the No®’-ho®-zhi-ga to attend the initiation. This notice is called the U’-thu-ce U-tha-ge, Notice to Come and Participate. As on every ceremonial occasion, the Sho’-ka thus sent goes from house to house to deliver his message, carrying in his hand a little pipe as the credential of his office. Only those of the No®’-ho®-zhit-ga who have taken this or the Ni’-ki-e degree of the tribal rites respond to the call. This formal notice is equivalent to a command that cannot be ignored when given to members of a gens having a passive or an active part in the ceremony. A good representation of such gentes is always desired because of the symbolic character of the group. At the appointed time for the initiation the No®’-ho®-zhi"-ga gather at the village of the candidate where some of them camp and others are entertained at the homes of relatives or friends. Before the ceremonies begin, which occupy from three to four days, as well as at the intermissions, there is much feasting and visiting between the inhabitants of the candidate’s village and the families who have come from a distance to attend the ceremonies. LA FLESCHB] RITE OF VIGIL—FREE TRANSLATION. 53 N Tsi’-zhu Great Division Sky Ho®’-ga Great Division Wa-zha’-zhe Subdivision Ho®’-ga Subdivision Water Earth 8 Early in the morning of the day set for the beginning of the initia- tory ceremonies the No®’-ho®-zhi"-ga go to the house of the candidate to perform a ceremony called No®-ni’ A-tha-sho-dse, which, freely translated, is, ‘‘The Smoking.” This title means that tobacco smoke is ceremonially blown by the No®’-ho®-zhi"-ga upon the seven animal skins procured by the candidate to be used as symbols (see p. 46). While the house in which the ceremony is to take place may not have been built with reference to the cardinal points it was, for cere- monial purposes, treated as though it had been oriented. The end of the long house at the left of its entrance is regarded as the east and the opposite end as the west. The initiating gens enter the house first, the members taking their places at the east end of the lodge. The candidate, his Xo’-ka, the A’-ki-ho™ Xo’-ka, and the chosen singers occupy the middle space and all sit facing the west. Then follow the other No®’-ho®-zhit-ga by divisions and gentes, those of the Ho®’-ga (earth) division taking their prescribed places at the south side of the lodge, and those of the Tsi’-zhu (sky) division, the north side (see diagram). Thus the house, together with the No*’- ho®-zhi®-ga, seated in groups according to divisions and gentes, becomes symbolic of the visible universe, for the ceremony to be performed is largely a dramatization of the movements of the great life-giving power, the Sun, through the heavens and over the earth. The initiating gens personate the sun, the Tsi’-zhu division, the sky, with its celestial bodies, and the Ho®’-ga division, the earth, with its water and all terrestrial life. CarryING Pirz AND WAILING By CANDIDATE. When the No®’-ho"-zhi"-ga have taken their places in the order above described, and ordinary conversation among the members has ceased, the candidate rises in response to a signal given by the A’-ki-ho™ Xo’-ka, who now conducts the ceremonies, and receives from him a little pipe. This marks the beginning of the initiatory ceremonies. The first act is in three parts, which are performed simultaneously. This act is called “ Wa’-i" Xa-ge,’”’ which, freely translated, means 54 THE OSAGE TRIBE. [BTH. ANN, 39 ) “Carrying (a pipe) and Wailing.’ The candidate carries in his right hand the pipe he received from the A’-ki-ho" Xo’-ka, his left hand is outspread, and in this attitude he passes along the lines of No®’- ho?-zhi"-ga sitting on either side of the lodge, places his hands upon the heads of two men at a time, and wails. The pipe carried by the candidate is a symbol of supplication to Wa-ko®’-da and the wailing is in appeal to the No®’-ho®-zhi®-ga to recite the sacred wi’-gi-e in full and not to hold any of it back. The second part is the reciting of the sacred wi'-gi-e by the No®’-ho"-zhit-ga. As the candidate passes along, carrying the emblem of supplication, and as he touches each couple the No®’/-ho®-zhi"-ga who have memorized the wi’-gi-e at once begin its recitation, simultaneously, but not in concert. This recital is an expression of the wish that the candidate shall succeed in all his enterprises as a warrior, and in all his other acts that pertain to the maintenance of life. The third part is performed by the women, who wail in sympathy with the candidate as an appeal to the No®’-hot- zhi®-ga that they will perform their part without reserve or prejudice. Widows of deceased members of the degree take their husbands’ place at the ceremony and are honorary members. When the candidate begins this act, ‘Carrying (the pipe) and Wailing,” he observes the courtesy due from an initiating division (in this instance the Ho®’-ga), to the opposite division. The candi- date therefore approaches the two men sitting at the east end of the line of No®’-ho®-zhi"-ga of the Tsi’-zhu division and places his hands upon their heads. The moment the candidate touches the heads of these two men he and the women begin to wail and all the No®’-ho- zhit-ga begin to recite the Smoking Wi’-gi-e. The candidate passes from couple to couple until he has reached the west end of the lodge. He then crosses over to the Ho®’-ga side and continues wailing and touching the heads of the No"’-ho®-zhi®-ga until he comes to the east end of the lodge. If the reciting of the wi’-gi-e goes on when he reaches the east he stands waiting until the recitation ceases, when he and the women stop wailing. In the No®’-zhi"-zho" degree of the tribal rites there are two Smok- ing Wi’-gi-es; the first is called Wa-k’o"’-ci Thu-¢e Pe-thon-ba tse, “The Taking of Seven Animals.’’ The second, Wa-k’o®’-ci Thu-ce Sha’-pe tse, ‘‘The Taking of Six Animals.” Tue Frrst Smoxine W1’-ci-E—TuHE TAKING OF THE SEVEN ANIMALS. (Osage version, p. 380; literal translation, p. 521.) 1. What shall the little ones make to be a symbol of courage as they travel the path of life? they said to one another. 2. The little mottled lynx that lies outstretched, they said, 3. Our grandfather, whose courage is great, we shall make to be a symbol of courage. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 55 — te a He 02 = Or e ior) LEZ 31. 32. NE SOHN De Tt was he who, at the beginning of the day, Rushed forth in attack, Upon the young male deer, with curved horns, And threw him to the earth where he lay in death. My grandfather returned to the deer, After he had made the attack. Verily, at that time and place, it has been said, in this house, He uttered a loud ery of triumph, Then spake, saying: When the little ones go toward the setting sun, . To strike and overthrow their foes, . They shall always fall upon them in this very manner, . And their hands shall always be upon the fallen foe, as they travel the path of life, . And as the mottled lynx stood there he made the first cut,?-it has been said, in this house. What shall the little ones make to be a symbol of courage? they said to one another, . The dark gray wolf that les outstretched, they said; . Our grandfather, whose courage is great, we shall make to be a symbol of courage. It was he who, at the beginning of the day, . Rushed forth in attack, . Upon the young male deer with gray horns, . Verily, it was within the bend of a river, . Our grandfather overtook the deer and made it to lie upon the earth in death, . Our grandfather uttered a loud ery of triumph, . Then spake, saying: When the little ones go forth to strike their foes . They shall always strike them in this manner, as they travel the path of life, . When they make my hands to be their hands, . Then shall their hands always be upon the foe, as they travel the path of life. . And as the gray wolf stood there he made the second cut, it has been said, in this house. What shall the little ones make to be a symbol of courage? they said to one another, The male puma that lies outstretched, they said, 2 Noexplanation could be obtained from either Wa-xthi’-zhi or Tse-zhiz’-ga-wa-da-in-ga as to the meaning of thisline and the closing line of each of the three following sections. The lines probably refer to the custom of cutting the scalp taken from the foe by a war party into four parts before cutting it into smaller pieces for distribution among the sacred hawks—the wa-xo/-be. 43. 44. 62. 63. THE OSAGE TRIBE. (BIH. ANN. 39 . Our grandfather, who is of great courage, 4. We shall make to be a symbol of courage. . It was at the beginning of the day, . That our grandfather rushed forth in attack, . Upon the full-grown male deer with dark horns, . Verily, it was within the bend of a river, . That our grandfather struck the deer to the earth and made it to lie in death, . Then our grandfather uttered a loud cry of triumph, . And spake, saying: When the little ones go forth to strike their foes, . They shall always strike them in this manner, as they travel the path of life, Their hands shall always be upon the foe, as they travel the path .of life. And as the puma stood there he made the third cut, it has been said, in this house. 5. What shall the little ones make to be a symbol of courage? they said to one another, The male black bear that lies outstretched, they said, . Our grandfather we shall make to be a symbol of courage. It was at the beginning of the day, . That our grandfather rushed forth in attack, Upon a hummock, Which he tore apart with his hands, Exposing the little bugs that dwelt therein. . He attacked them and crunched them between his teeth, And out of the corner of his mouth, on the right side, Blood began to trickle down. Then, at that very time and place, it has been said, in this house, He uttered a loud ery of triumph, And spake, saying: When the little ones go forth to strike their foes, They shall always strike them in this manner, as they travel the path of life, . Their hands shall always be upon the foe, as they travel the path of life. . And as the male black bear stood there he made the fourth cut, it has been said, in this house. What shall the little ones make to be a symbol of courage, as they travel the path of life? they said to one another. The great animal (buffalo bull) who stands firmly upon the earth, LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 5 64. 65. 66. 67. 68. 69. 70. Cle 72. 86. 88. 89. 903 Die 92. Our grandfather who is of great courage, we shall make to be a symbol of courage. It was at the beginning of the day, That our grandfather rushed forth in attack, Upon a high bank, And in his anger tore it down with his horns, Then he uttered a loud cry of triumph, ‘ And spake, saying: When the little ones go forth to strike their foes, They shall always strike them in this manner, as they travel the path of life, Their hands shall always be upon the foe, as they travel the path of life. . What shall the little ones make to be a symbol of courage? they said to one another. The tall animal (the elk) who stands firmly upon the earth, Our grandfather, we shall make to be a symbol of courage, Verily, in the midst of an open prairie, There stood a plant whose blossoms always look up to the sun (Silphium laciniatum), . The stalks of this plant he angrily attacked with his horns and reduced them to a twisted knot, . Then he uttered a loud cry of triumph, And spake, saying: When the little ones go forth to strike their foes, . They shall always strike them in this manner, as they travel the path of life, . Their hands shall always be upon the foe, as they travel the path of life. . What shall the little ones make to be a symbol of courage ? they said to one another. . The little animal (the deer) that lies outstretched, they said, 5. Although not possessed with the gall * that excites anger, We shall make to be a symbol of courage. . Four villages lay side by side, Along the outskirts of these villages the deer ran swiftly and escaped his pursuers, Although the deer runs along the edges of the village in his flight, The arrows of his pursuers flying about him in forked lines, He escapes all dangers. When the little ones make of the deer a symbol of courage, 3 There are many references in literature to the absence of the gall bladder in the deer family, but a refer- ence to one authority will suffice. See Flower and Lydekker, ‘‘Mammals, Living and Extinct,’’ p. 313. 58 THE OSAGE TRIBE. [BTH. ANN. 39 93. They shall enable themselves to escape all dangers, as they travel the path of life, 94. Thus it shall be with the little ones, 95. Their hands shall always be upon their foes, as they travel the path of life. At the close of the recitation of the wi’-gi-e by the No®’-ho?-zhi"-ga and when the wailing has ceased, the candidate returns to his seat by the side of his Xo’-ka. The A’-ki-ho™ Xo’-ka then gives to the Sho’-ka the skin of the little mottled lynx, the animal first mentioned in the wi’-gi-e, and also a little pipe which he has filled with tobacco. As the Sho’-ka takes the pipe he wraps around the stem the head of the lynx skin, letting the body hang down loosely, and having thus arranged the two sacred articles he carries them to the man sitting at the east end of the line of No®’-ho"-zhit-ga of the Tsi’-zhu division. He spreads the lynx skin upon the ground before the man and then presents to him the little pipe and touches the tobacco within the bowl with a small firebrand. The No"’-ho®-zhi-ga draws at the stem of the pipe and when the smoke passes freely he blows four whiffs upon the skin of the animal chosen to be a symbol of courage. In this way the Sho’-ka passes the pipe and the lynx skin from man to man until all the No®’-ho"-zhi-ga of the Tsi’-zhu division have blown tobacco smoke upon the sacred emblem. When the Sho’-ka reaches the west end of the lodge and all the members of the Tsi’-zhu division have blown smoke upon the lynx skin he crosses over to the Ho®’-ga division and moves eastward, presenting each member of that division with the pipe and lynx skin until he reaches the east end of the lodge. All the No®/-ho-zhi®-ga of both divisions having per- formed the ceremony of smoking upon the little mottled lynx, the other animal skins, the symbols of courage, are smoked in the same manner and in the order in which they are mentioned in the wi’-gi-e. This ceremony belongs to the Ho®’-ga division. It was performed when a war party composed of men belonging to both the Ho?’-ga and the Tsi’-zhu divisions was preparing to go against the enemy. Such a war party was called Do-do®’-hi®-to®-ga, War Party in Great Numbers. (See 36th Ann. Rept. B. A. E., pp. 60-62.) The animals mentioned in the wi’-gi-e were those ceremonially appealed to by the warriors. The meaning of the title of the second Smoking ceremony is not strictly literal. In the title of the first Smoking ceremony all of the seven symbols are, in reality, ‘ Wa-k’o"’-ci” or animals. In the title of the second Smoking ceremony two of the symbols are not animals, as the term ‘‘ Wa-k’o"’-ci” would imply, one of them being “the little pipe” through which the supplications of the people are vicariously offered to Wa-ko®’-da and the other the buffalo hair out LA FLESCHE] RITE OF VIGIL FREE TRANSLATION. 59 of which cords were made for pinding the captives to be taken by a war party. Tue SEconD SMOKING W1’-GI-E—THE TAKING OF THE Stix ANIMALS. (Osage version, p. 382; literal translation, p. 524.) 1. Verily, at that time and place, it has been said, in this house, 2. They spake to one another, saying: What shall they make to be a symbol of courage, as they travel the path of life? It was a little pipe, They made to be a symbol of courage. They made the little pipe to be a symbol of courage, So that when they go toward the setting sun against their enemies, They may overcome the foe with ease and make them to he low in death, as they travel the path of life. Verily, at that time and place, it has been said, in this house, They made this symbol of courage to stand forever, it has been said, in this house. ND Oe oe © 0 10. The shell of the mussel, they said to one another, 11. We shall make to be a symbol of courage. 12. When we make the shell of the mussel to be a symbol of courage, 13. And go toward the setting sun against our enemies. 14. We shall always go forth with courage, as we travel the path of life. 15. Verily, at that time and place, it has been said, in this house, 16. They made this symbol of courage to stand forever, it has been said, in this house. 17. This buffalo hair, they said to one another, 18. We shall make to be a symbol of courage. 19. When we make the buffalo hair to be a symbol of courage, 20. And go toward the setting sun against our enemies, 21. We shall always go forth with courage, as we travel the path of life. 22. Verily, at that time and place, it has been said, in this house, 23. They made this symbol of courage to stand forever, it has been said, in this house. 24. Verily, at that time and place, it has been said, in this house, 25. They said to one another: The bird that is without stain (golden eagle) . We shall make to be a symbol of courage. . Verily, at that time and place, it has been said, in this house, . The bird, at the beginning of day, Suddenly rushed forth in attack. bo bo hb bt ont & © 38. . When the little ones make these hands to be their hands, . And go toward the setting sun against their foes, . Their hands shall always be upon the foe, as they travel the path 58. 9. They made (the horned owl) this symbol of courage to stand THE OSAGE TRIBE, [ETH. ANN. 39 . Verily, in the midst of a lowland forest, . Upon the great turkey that sat therein, 2. Verily, at that time and place, it has been said, in this house, 3. He struck the turkey to the earth where it lay in death, as its feathers floated away in the wind. . Verily, at that time and place, it has been said, in this house, . Off in the distance the eagle was heard to say, . When they (the little ones) go in small bodies to strike the foe, . They shall strike them in this manner, as they travel the path of life. Behold my hands, of life. 2. Verily, at that time and place, it has been said, in this house, 3. They made the eagle as a symbol of courage to stand forever, it has been said, in this house. . The great horned owl, it has been said, in this house, . At the beginning of the day, . Suddenly rushed forth in attack. . Verily, in the midst of a lowland forest, 48. 49. . And threw him to the earth, where he lay doubled up in death. . Quickly he (the owl) uttered a loud cry of triumph, . Then spake, saying: When they (the little ones) go forth in small Upon the male raccoon that sat therein, Verily, at that time and place, it has been said, in this house, bodies to strike the foe, . Verily, in this manner they shall always strike them. 4. Behold my hands, . When they make these hands to be their hands, as they travel the path of life, . And go toward the setting sun against their enemies, . Their hands shall always be upon the foe, as they travel the path of life. Verily, at that time and place, it has been said, in this house, forever, it has been said, in this house. The great gray owl, they said to one another, . We shall also make to be a symbol of courage. 2. The great gray owl they made to be a symbol of courage. . Verily, at that time and place, it has been said, in this house, . At the beginning of the day, LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION, 61 65. The gray owl suddenly rushed forth in attack, 66. Verily, among the groves that were strung along a little stream, 67. Upon the young male raccoon, 68. And threw him to the earth where he lay doubled up in death. 69. Then, far away in the distance, he was heard to say: 70. When the little ones go forth in small bodies to strike the foe, 71. Verily, in this manner they shall always strike them, as they travel the path of life. 72. Verily, at that time and place, it has been said, in this house, 73. He was heard to say: Behold my hands, 74. When they make these hands to be their hands, 75. And go toward the setting sun against their enemies, 76. Their hands shall always be upon the foe, as they travel the path of life. 77. Verily, at that time and place, it has been said, in this house, 78. They made (the gray owl) this symbol to stand forever, it has been said, in this house. In the second Smoking ceremony the wailing of the candidate and the women is omitted and only the wi’-gi-e is recited by the No?’/-ho?- zhit-ga. The symbolic articles, however, are passed around by the Sho’-ka and smoke is blowg upon them by the No®’-ho™-zhi®-ga in the same manner as in the first Smoking ceremony. The second Smoking ceremony was performed when a small war party composed of warriors of a few of the gentes of each division were about to go against the enemy. <A war party of this class was called Tsi’-ga-xa Do-do", the meaning of which term has become obscure. (See 36th Ann. Rept. B. A. E., pp. 60-66.) At the close of these two ceremonies food was distributed among the No®’-ho®-zhi"-ga from the stores of the candidate. In the early days the food consisted of jerked buffalo and deer meat, and corn; in modern times the food is beef, flour, coffee, sugar, etc. After this distribution of provisions the No®’-ho®-zhit-ga adjourn until the next day. Tue Ho*-pe’-¢u Ceremony. At sunrise on the following day the No®’-ho®-zhi"-ga again assemble at the house of the candidate for the ceremony next in order, called Hot-be’-cu, the literal translation of which is, Ho®-be, moccasins; ¢u, tocut. This title means to the Osage the cutting of the material from which to make the symbolic moccasins to be worn by the Xo/-ka and the Sho’-ka during the entire ceremony as a part of their sacer- dotal attire. | When the No®’-ho®-zhi"-ga had entered the house and taken their places in the gentile order as described on page 46, the A’-ki-ho® 62 THE OSAGE TRIBE. [ETH. ANN. 39 Xo’-ka directs the Sho’-ka to take to the head man of the Tse-do’-ga T*-dse (Buffalo-bullface) gens a piece of buffalo skin (Fig. 1) and to spread it before him. The Sho’-ka performs this duty and also presents to the head man of the gens a blanket as afee for the reciting of the Moc- casin Wi’-gi-e. Having performed this act, the Sho’-ka takes up a knife and holds it in readiness to perform his part of the ceremony. The Fic. 1.—Diagram of cutting of buffalo skin for symbolic moccasins. head man then begins to recite the wi’-gi-e relating to the cutting of the material for the symbolic moccasins. When he comes to the fourth line of the fourth section the Sho’-ka cuts, in pantomime, the skin, beginning at the center and ending at the edge on the right side. In like manner he cuts the skin from the center to the edge nearest to himself. This ceremonial act has a triple meaning: (1) The act of LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 63 cutting implies a wish that when the Osage warriors go against the enemy they shall always succeed in destroying the warrior of the enemy who is honored for his military prowess. (2) The cut toward the right indicates the east. (3) The cut toward the Sho’-ka in- dicates the south. Without pause the recitation continues, and when the fourth line of the eighth section is reached the Sho’-ka cuts again, in pantomime, beginning at the center of the skin and ending at the edge at his left; then beginning again at the center he cuts to the edge farthest from himself. This act also has a triple meaning: (1) There is implied in the act of cutting that the Osage warriors who go against the enemy shall always succeed in slaying the woman of the enemy who has given birth to her first child. (2) The cut running from the center to the left indicates the west. (3) The cut running from the center to the edge farthest away from the Sho’-ka indicates the north. When these ceremonial acts have been performed the Sho’-ka lays aside the knife and takes up an awl, which he holds in readiness for the acts that are to follow. The recitation continues, and when the fourth line of the ninth section is reached the Sho’-ka gives an imaginary thrust with the awl into one corner of the skin. This thrust implies a determination to destroy the adolescent youth of the enemy. The recitation goes on without pause, and when the fourth line of the tenth section is reached the Sho’-ka gives a thrust to the second corner of the skin. This second thrust is for the destructian of the adolescent maiden of the enemy. The recitation moves on, and at the fourth line of the eleventh section the Sho’-ka gives a thrust to the third corner of the skin. This thrust is for the destruction of the warrior of the enemy distin- guished for his military honors. When the fourth line of the twelfth section is reached the Sho/-ka gives a thrust to the fourth corner of the skin. This thrust is for the destruction of the woman of the enemy who has given birth to her first child. Wi’-Gi-r OF THE SymBoLic Moccasins. (Osage version, p. 384; literal translation, p. 525.) = . Verily, at that time and place, they said, it has been said, in this house, The turtle that has a tail with seven serratures, We shall make to be the symbol of our foot, O, younger brothers. When we make this turtle to be the symbol of our foot, : And go forth against our enemies who dwell toward the setting sun, Hm Co hy Or 64 10. ile 18. 19. 20. 32. THE OSAGE TRIBE. [BTH, ANN. 39 . We shall enable ourselves to tread down the harmful grasses, as we travel the path of life. . What shall we make to be a symbol of our moccasin string? they said, it has been said, in this house. . The garter snake that les outstretched . Shall be a symbol of our moccasin string, as we travel the path of life. When we make this snake to be our moccasin string, The harmful grasses that lie in our course, as we travel the path of life, 2. Shall not cut or break our moccasin string, O, younger brothers, they said to one another. . What shall we make to be a symbol of our knife? they said, it has been said, in this house. . There is the young buffalo bull, . It is his right horn, That shall be a symbol of our knife. . When we make the right horn of the young bull to be a symbol of our knife, And go against our enemies who dwell toward the setting sun, Our knife shall always be sharp and ready for use, as we travel the path of life, O, younger brothers, it has been said, in this house. Upon what shall we cut this skin? they said, it has been said, in this house. 1. Toward the setting of the sun, 2. There is a man of our enemies who is honored for his valor. . It is upon him that we shall cut this skin. . When we do our cutting upon that valorous man, . It shall be easy for us to do our cutting, as we travel the path of life, O, younger brothers, they said to one another. . Verily, at that time and place, they said, it has been said, in this house, . The turtle that has a tail with six serratures, . We shall make to be a symbol of our foot, O, younger brothers. . When we make that turtle to be our foot, And go forth against our enemies who dwell toward the setting sun, . We shall enable ourselves to tread down the harmful grasses, as we travel the path of life. What shall we make to be a symbol of our moccasin string ? they said, it has been said, in this house. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 65 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 59. 60. The garter snake that lies outstretched, Shall be a symbol of our moccasin string, as we travel the path of life. When we make this snake to be our moccasin string, The harmful grasses that lie in our course Shall not cut or break our moccasin string, as we travel the path of life, O, younger brothers, they said to one another. What shall we make to be a symbol of our knife? they said, it has been said, in this house. There is the young buffalo bull, It is his right horn That shall be a symbol of our knife. When we make the right horn of the young bull to be a symbol of our knife, And go against our enemies who dwell toward the setting sun, Our knife shall always be sharp and ready for use, as we travel the path of life, O, younger brothers, it has been said, in this house. Verily, at that time and place, they said, it has been said, in this house, . Upon what shall we cut this skin? they said, it has been said, in this house. . Toward the setting of the sun . There is a woman of our enemies who has given birth to her first child. . It is upon her that we shall cut this skin. . When we do our cutting upon that woman, . It shall be easy for us to do our cutting, as we travel the path of life, O, younger brothers, they said to one another. . Upon what shall we perforate this skin? they said, it has been said, in this house. . Toward the setting of the sun . There is an adolescent youth of our enemies. . It is upon that youth we shall perforate this skin. . When we perforate this skin upon that youth, . It shall be easy for us to do our perforating, as we travel the path of life, O, younger brothers, they said to one another. . Upon what shall we perforate this skin? they said, it has been said, in this house. It is the adolescent maiden Upon whom we shall perforate this skin. 3594°— 257 5 66 THE OSAGE TRIBE. [ETH. ANN, 39 61. When we perforate this skin upon that maiden, 62. It shall be easy for us to do our perforating, as we travel the path of life, O, younger brothers, they said to one another. 63. Verily, at that time and place, they said, it has been said, in this house, 64. Upon what shall we perforate this skin? they said, it has been said, in this house. 65. It is the man of our enemies who is honored for his valor 66. Upon whom we shall perforate this skin. 67. When we perforate this skin upon the valorous man, 68. It shall be easy for us to do our perforating, as we travel the path of life, O, younger brothers, they said to one another. 69. Upon what shall we perforate this skin? they said, it has been said, in this house. 70. It is the woman of our enemies who has given birth to her first child 71. Upon whom we shall perforate this skin. 72. When we perforate this skin upon that woman, 73. It shall be easy for us to do our perforating, as we travel the path of life, O, younger brothers, they said to one another. After the recital of the wi’-gi-e the Sho’-ka, without any further ceremony, fashions the moccasins (Fig. 1) and roughly sews together the edges of the skin. Three pairs of moccasins are made, two pairs for the Xo’-ka and one pair for the Sho’-ka. One of the pairs to be worn by the Xo’-ka when he ceremonially approaches the place where the ceremony is to be given represents the approach of the dawn. This pair he slips off when about to enter the House of Mystery and slips on the other pair which represents the newly risen sun that is to go forth as the day in its full strength and maturity. This pair he wears throughout the rest of the ceremony. (Fig. 1.) The dual form of the tribal organization, one part representing the sky and the other the earth, is not only expressive of the duality of nature as observed by the ancient No®’-ho®-zhit-ga, but it is also expressive of their faith that the Life-giving Power which abides within these two great cosmic bodies and gives form and life to all things therein will also give to the peoples of the two symbolic divi- sions the natural increase necessary for the continuity of the tribal life. While the No"’-ho®-zhit-ga continued to give much thought to the mysteries of life and to the dependence of the people upon Wa- ko"’-da for their existence, they also dwelt upon the efforts that must be made by the people themselves in order to fully attain the desired end, that is, the continuity of the tribal life. The belief became LA FLESCHE] RITE OF VIGIL-—FREE TRANSLATION. 67 firmly fixed in the minds of the people that Wa-ko"’-da would give the desired natural increase, and also that the defense of the life thus granted must be made by the people themselves. In order to meet and successfully overcome the enemies that beset life’s pathway there must be a complete unity of purpose and of action between the men of the two great tribal divisions, and all the people must share alike in the fortunes and misfortunes of the common defense. Having thus determined upon a principle by which the people must govern themselves in order to guard and protect their tribal life by the strong arm of valor, the No®’-ho®-zhi"-ga, to give vital force to that principle, added a symbolic figure to the complex life symbol for which the two tribal divisions stand. The symbol was the figure of a man perfect in all his physical structure, well prepared to take life’s long journey, and confident in his ability to combat the perils that might arise to impede his progress. It is this figure or principle that the Xo’-ka is to impersonate in the initiatory rite which is dramatic inform. Symbolically the two pairs of moceasins ceremonially prepared for him as a part of his sacerdotal attire represent the long and hazardous journey contemplated; the nights and days that mark the division of time; the strength, the courage, and the ability of the people as an organized body to crush the “harmful grasses’ (figuratively, enemies), as they step forth upon life’s perilous journey. When the symbolic moccasins have been finished another distri- bution of provisions is made to the No*’-ho®-zhi*-ga from the stores of the candidate. Tue Wa’-po*-BE. At the close of the ceremonies relating to the making of the sym- bolic moccasins for the Xo’-ka and the Sho’-ka, the No"’-ho®-zhi"-ga await with interest the choice to be made by the candidate of a man to act as Wa’-do™-be. The literal translation of the title of this office is, Wa, over; do®-be, to see or to guard. When used in connec- tion with the tribal war rites the word is understood to mean, a protector of the tribal life. If the candidate happens to be a young man who is not familiar with the details of the ceremony he may be prompted by the Xo’-ka or by the A’-ki-ho™ Xo’ka as to the proper man to nominate for the office of Wa’-do"-be. The man to be nominated must be one who has won certain prescribed military honors. He must have won thirteen military honors, seven to be counted for the Ho®’-ga division and six for the Tsi’-zhu. One of the thirteen military honors to be counted must be of those classed as U-¢ko"’-cka I Ga-ca-gi, a term which, freely translated, means a blow given to the enemy who comes within the limits of the 68 THE OSAGE TRIBE. (ETH. ANN, 39 land actually occupied by the tribe. The particular act of this class of military honors may be either a blow given with some weapon or the cutting of the head of an enemy, but this act must be one that had not been put into doubt by controversy. The honors of this class are ranked as higher than the others because the acts were performed when defending the village or the women who were work- ing in the cornfields, for it is at such times that the courage of the warrior was often put to the severest test. The chances of winning military honors of the class above referred to were very rare, not only because the village and the fields were always well guarded but also because the occasion for the defense of the village and the fields must arise within a year of a decree issued by the No"’-ho"-zhi"-ga of the Wa-ca’-be (Black Bear) gens. The decree was issued when a member of that gens was initiated into the No®’-zhi"-zho" or the Wa-xo’-be degree of the war rites. At the close of the initiation the head of the gens would say: ‘‘If the village or the fields are invaded and attacked within a year from this time, the honors won in the defense shall be counted as U-cko"/-cka I Ga-ca-gi.”’ In the early days initiations into the war rites were infrequent, therefore the chances were rare for a warrior to win an honor of this class. O-do”’ is the name of all classes of the prescribed military honors which can be counted by a warrior chosen for the office of Wa’-do"-be at the initiatory ceremonies of the tribal war rites. The name may be freely translated as: a valorous act by which a warrior can win rank and become honored by the people. If the candidate belongs to the Ho®’-ga division he must nominate for the office of Wa’-do®-be a warrior of the Tsi-’zhu division, but if to the Tsi’-zhu division he must name for the office a warrior of the Ho?’-ga division. When the candidate has chosen his Wa’-do™-be the No"’-ho?- zhi"-ga adjourn to meet again at sundown for the Ho® Wa-tho", or Night-singing. Tue NIGHT-SINGING. : At sunset the No®’-ho"-zhi"-ga who are members of the gens to which the candidate belongs gather, informally, at his house, where the A’-ki-ho™ Xo’-ka, assisted by the Xo’-ka, and together with certain chosen singers, rehearse the songs of the ceremony which actually begins on the following morning. The No®’-ho™-zhi"-ga members occupy the back part of the eastern end of the house while, in a row in front of them, sit the A’-ki-ho" Xo’-ka, the Xo’-ka, the candidate, and the chosen singers. Members of other gentes also attend, but more as a matter of courtesy to the initiating gens and for social pleasure than to form a formal assemblage. The A’-ki-ho® Xo/-ka has at his side a bundle of consecrated tally sticks (Pl. 2, C) LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 69 for keeping a correct count of the songs as he sings them. The A’-ki-ho" Xo’-ka and his three assistant singers each has at his side a gourd rattle to be ceremonially taken up and used to accentuate the rhythm of the music of the Rattle-songs and those to be sung throughout the rest of the ceremony. This rehearsal lasts until about 2 or 3 o'clock in the morning. The members of the candidate’s gens are obliged to sit through the entire rehearsal, but the members of the other gentes are allowed to go to their homes when they become tired. TITLE OF THE CANDIDATE. Up to this stage of the ceremony the candidate has no definite title, but when he takes his seat at the eastern end of the lodge together with his Xo’-ka, A’-ki-ho™ Xo’-ka, and the members of his gens for the Night-singing, he thenceforth is spoken of as Wa-tho™ A-ka, the Singer. He may not know any of the songs to be sung, may not even know how to sing, but he thus becomes the Singer, and bears that title throughout the ceremony. At the close of the ceremony, when the Wa-xo’-be of his gens is given over to him, he will then have the right to say: “I sang the songs of the No"’-zhit- zho®,”’ and be entitled to act as Xo’-ka at the initiation of a candidate for the degree. THE K1’-noy. The ceremonies next in order are called Ki’-no™, Painting, and relate to the symbolic painting of the Sho’-ka and the Xo’ska, as well as to the putting upon them of their sacerdotal attire, preparatory to the processional approach to the place prepared for the ceremony. Before sunrise on the morning following the Night-singing the A’-ki-ho" Xo’-ka, the Sho’-ka, the Singer, and the No"’-ho®-zhi"-ga members of their gens assemble for the Ki’-no® ceremony at the house of the Singer. At this time each man puts upon his forehead moist- ened earth’as a token that he is now a supplicant in the presence of the Life-giving Power. When the gathering has placed upon them- selves this sacred sign the Singer, following the instructions of the A’-ki-ho™ Xo’-ka, blackens with charcoal the face of the Sho’-ka, fastens to the base of the braided lock on the crown of his head a deer-tail headdress (Pl. 3), puts upon his feet the symbolic moc- casins ceremonially prepared for him, and ties to each of his arms, just above the elbow, a yard or two of calico. The moccasins are symbolic of life’s long and perilous journey and the strips of calico represent the thongs to be used by the warrior in tying such captives as he may take on his journey. In early days skins of snakes were used as symbols for the captive thongs. The Sho’-ka wraps around his body a buffalo robe which is fastened at the waist with a girdle. Having thus painted his Sho’-ka, the Singer places in his hand a pipe filled with tobacco, to be taken by him as a supplicatory offering 70 THE OSAGE TRIBE. (HTH. ANN. 39 to the Xo’-ka, who is to impersonate throughout the ceremony not only the symbolic man, but also the sun. Four times the Sho’-ka must proceed to the house of the Xo’-ka and quietly present to him the filled pipe, touching the tobacco with a live brand taken from the fireplace as the Xo’-ka smokes. At the fourth time the Singer, the A’-ki-ho™ Xo’-ka, and the No®’-ho*-zhi"-ga members of their gens follow the Sho’-ka to the house of the Xo’-ka, where the Sho’-ka carries the symbolic articles to be worn by the Xo’-ka as his sacerdotal attire. When all four men have entered and taken their seats at the eastern end of the house, and the Xo’-ka has concluded his fourth ceremonial smoke, the A’-ki-ho" Xo’-ka sings the following song. Each one of the four stanzas is followed by a section of a wi’-gi-e. Both the song and the wi’-gi-e refer to the story of the descent of the people from the sky to the earth, as given in the genesis wi’-gi-e of the Puma gens; to their dismay at finding the earth covered with water, and to their appeals to the water-spider, to the water-beetle, to the white leech, and to the black leech. (See lines 204 to 273, 36th Ann. Rept. B. A. E., pp. 163-165.) In the free translation no attempt is made to give the words of the song the metrical form used in the original. Ki’-nox Sona AND W1’-GIE. (Osage version, p. 387; literal translation, p. 527.) Transcribed by Alice C.Fletcher M.M. é = 104 ‘Time beats r r r f f iF Mo"-thin-ka gia bi the, Mo®-thit-ka gia bi th he the he _ the, Tse - xo-be’go" e-wo" thi® a-do", io antl Heo gi r Wi-tsi-go gia bithe he the, Mon-thir-ka gi a bi the he the. FREE TRANSLATION, ite The earth shall appear, it was said, The earth shall appear, it was said, Through the powers of the spider-like (water-spider), My grandfather, it shall appear, it was said, The earth shall appear, it was said. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION, 71 ile 2. 3. 4. 5. aa WI’-GI-E. Ha! it was to the spider-like, They spake, saying: The little ones have nothing of which to make their bodies, O, my grandfather. Verily, at that time and place, it has been said, in this house, The spider-like replied: The little ones shall make of me their bodies. Behold the parting of the waters as I push forth, Verily, it is the movement of the gods to make a way for me as I go forth. When the little ones make of me their bodies, The gods shall make way for them also, as they go forth upon life’s journey. 2. The earth shall appear, it was said, The earth shall appear, it was said, Through the powers of the black-bean-like (water-beetle) , My grandfather, it shall appear, it was said, The earth shall appear, it was said. WI’-GI-E. Ha! it was to the one that is like a black bean, . They spake, saying: The little ones have nothing of which to make their bodies, O, my grandfather. 1. Verily, at that time and place, it has been said, in this house, 2. The black-bean-like replied: The little ones have nothing of which to make their bodies, you say. . The little ones shall make of me their bodies. . Behold the parting of the waters as I push forth, . Verily it is the movement of the gods to make way for me as I go forth. . When the little ones make of me their bodies, . The gods shall make way for them also as they go forth upon life’s journey. 3. The earth shall appear, it was said, The earth shall appear, it was said, Through the powers of the whitleather-like (white leech), My grandfather, it shall appear, it was said, The earth shall appear, it was said. 72 bo wb bo bo bo He CO bo — bo bo SH 27. 28. 29 Bi. Bo 33) 34. 35. THE OSAGE TRIBE. [BTH. ANN. 39 WI'-GI-E. . Ha! it was to the one that is like whitleather, 19. They spake, saying: The little ones have nothing of which to make their bodies, O, my grandfather. . Verily, at that time and place, it has been said, in this house, . The whitleather-like replied: The little ones have nothing of which to make their bodies, you say. 2. The little ones shall make of me their bodies. Behold the parting of the waters as I push forth, Verily it is the movement of the gods to make way for me as I go forth. When the little ones make of me their bodies, The gods shall make way for them also, as they go forth upon life’s journey. 4. The earth shall appear, it was said, The earth shall appear, it was said, Through the powers of the leech (black leech), My grandfather, it shall appear, it was said, The earth shall appear, it was said. WI’-GI-E. Ha! it was to the black leech They spake, saying: The little ones have nothing of which to make their bodies, O, my grandfather. . Verily, at that time and place, it has been said, in this house, 30. The black leech replied: The little ones have nothing of which to make their bodies, you say. The little ones shall make of me their bodies. Behold the parting of the waters as I push forth. Verily, it is the movement of the gods to make way for me as I go forth. When the little ones make of me their bodies, The gods shall make way for them also, as they go forth upon life’s journey. PAINTING OF THE XO’-KA. At the close of the recital of the wi’-gi-e relating to the four water insects, the Singer, prompted by the A’-ki-ho" Xo’-ka, rubs red paint upon the palms of his hands in readiness to put the symbolic color upon the face of the Xo’-ka. As the approaching sun reddens the eastern horizon the A’-ki-ho" Xo’-ka begins to recite the first section of the wi’-gi-e relating to the painting and the dressing of the Xo’-ka, BUREAU OF AMERICAN ETHNOLOGY THIRTY-NINTH ANNUAL REPORT PLATE 2 f ll tT i & COUNTING STICKS FOR SONGS A, Front; B, back; C, consecrated tally sticks BUREAU OF AMERICAN ETHNOLOGY THIRTY-NINTH ANNUAL REPORT PLATE 3 DEER'S TAIL HEADDRESS BUREAU OF AMERICAN ETHNOLOGY THIRTY-NINTH ANNUAL REPORT PLATE 4 PAINTING OF XO’-KA THIRTY-NINTH ANNUAL REPORT PLATE 5 BUREAU OF AMERICAN ETHNOLOGY 3 Sin aE ee ee PORTABLE SHRINE, UNFOLDED LA FLESCHE ] RITE OF VIGIL—FREE TRANSLATION. 73 and the Singer lifts his outspread hands toward the sun, as though to receive from the God of Day the sacred color and its life-giving power. At the end of the last (seventh) line the A’-ki-ho® Xo’-ka pauses and the Singer passes his hands over the face and body of the Xo’-ka, who sits partly nude awaiting the painting, without touching him. This done, the Singer paints the face and body of his Xo’-ka with the sacred red paint. This ceremonial act is supplicatory. By it the Singer expresses his craving that through the sun his life may be made fruitful and that he may be blessed with a long line of descendants. The putting of the symbolic paint upon the face and body of the Xo’-ka is like putting it upon himself, for the Xo’-ka represents, among other things, the Singer. When all of the body of the Xo’-ka has been painted red, a dark line is drawn on his face running upward from one cheek to the forehead, then across to the opposite side and downward to the middle of the other cheek. This line represents the dark horizon line of the earth and is called ho’-e-ga, a snare, or an inclosure into which all life is drawn and held captive. From the line as it runs across the forehead, four black lines are drawn downward to the eye- brows. These four lines represent the four winds that symbolize the breath of life. Upon the right side of the Xo’-ka the Singer makes the picture of a man, that represents his soul or spirit. When a man who has taken the No®’-zhit-zho™ or the Wa-xo’-be degree of the tribal rites dies his face and body are painted in this manner in prepa- ration for burial (Pl. 4). Puttine SyMBoLtic ARTICLES ON THE XO/-KA. The A’-ki-ho™ Xo’-ka proceeds to the next section of the wi’-gi-e while the Singer picks up from the pile of sacred articles a white, downy plume taken from under the wing of an eagle and holds it in his hand as the A’-ki-ho” Xo’-ka recites. The downy feather repre- sents one of the two shafts of light that are sometimes seen on either side of the sun as it rises above the eastern horizon. In this instance the shaft of ight at the right of the sun is mentioned in the wi'-gi-e for the reason that the ceremony is being performed by a gens belong- ing to the Ho®’-ga division. If the ceremony was given by a gens of the Tsi’-zhu division the shaft of light on the left side of the sun would be mentioned. The shaft represented by the downy plume symbolizes the strong active life of a warrior. At the end of line 14 the A’-ki-ho™ Xo’-ka pauses while the Singer fastens to the base of the braided lock of the Xo’-ka that hangs from the crown of his head, the downy plume, whichis so adjusted that it stands in its place upright and firm. The Singer next picks up from the sacred articles a shell gorget which is fastened to the ends of a woven neckband and as the A’-ki-ho® Xo’-ka goes on with the third section of the wi’-gi-e, holds it in readi- 7A THE OSAGE TRIBE. (HTH. ANN. 39 ness. At the end of line 21 the Singer slips the neckband over the head and around the neck of the Xo’-ka so that the gorget hangs at his chest. The gorget typifies the God of Day, the sun. This act of the Singer is also supplicatory and expressive of a desire for a long and fruitful life, not only for himself but for all his descendants. As the A’-ki-ho® Xo’-ka begins to recite the fourth section of the wi’-gi-e the Singer takes up two narrow woven bands and holds them in readiness. At the end of line 29 he quickly ties on the Xo’-ka’s wrists the woven bands. In early times these woven bands were made of buffalo hair, but in modern days various colored yarn is used. Lines 24 and 25 of this section declare that the bonds to be put upon the wrists of the Xo’-ka are captive bonds, but lines 26 to 29 say that in truth it is not the bond of a captive that is tied to each wrist of the Xo’-ka, but a spirit. It would appear that these lines refer to the likening of the earth to a snare into which all life is drawn and held captive, not only in body but also in spirit. The symbolic gorget haying been put upon the chest of the Xo’-ka the A’-ki-ho® Xo/’-ka continues to the fifth section and the Singer takes up a woven girdle, in early days of buffalo hair but now of yarn, which he holds in readiness. In the wi’-gi-e the girdle is spoken of as acaptive’s girdle and asa spirit. At the close of the section the Singer wraps around the body of his Xo’-ka a puma skin robe and fas- tens it at the waist with the woven girdle. (For symbolism of puma skin robe see lines 31 to 44 of the First Smoking Wi’-gi-e, pp. 55-56.) The A’-ki-ho" Xo’-ka continues to the sixth section and the Singer picks up a pair of the symbolic moccasins ceremonially made for the Xo’-ka and holds them in readiness. (See Ho"-be’-cu Wi’-gi-e, p. 63, and lines 1 to 52 of the wi’-gi-e.) In this section the Xo’-ka is referred to as a captive (line 38) and as a spirit (line 41) upon whose feet will be put the sacred moccasins. Wi/-GI-E OF THE SYMBOLIC PAINTING. (Osage version, p. 388; literal translation, p. 529.) 1. With what shall they (the little ones) adorn their bodies, as they tread the path of life? it has been said, in this house. 2. The crimson color of the God of Day who sitteth in the heavens, 3. They shall make to be their sacred color, as they go forth upon life’s journey. 4. Verily, the God who reddens the heavens as he approaches, 5. They shall make to be their sacred color, as they go forth upon life’s journey. 6. When they adorn their bodies with the crimson hue shed by that God of Day, LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION, 15 le Then shall the little ones make themselves to be free from all causes of death, as they go forth upon life’s journey. . What shall the people use for a symbolic plume ? they said to one another, it has been said, in this house. . Verily, the God who always comes out at the beginning of day, . Has at his right side . A beam of light that stands upright like a plume. . That beam of light shall the people make to be their sacred plume. . When they make of that beam of light their sacred plume, . Then their sacred plume shall never droop for want of strength, as they go forth upon life’s journey. . What shall they place as a pendant upon his (the Xo’-ka’s) breast ? they said to one another. . The shell of the mussel who sitteth upon the earth, . They shall place as a pendant upon his breast. . It is as the God of Day who sitteth in the heavens, . Close to his breast they shall verily press this god, . As a pendant upon his breast they shall place this god, . Then shall the little ones become free from all causes of death, as they go forth upon life’s journey. 2. Verily, at that time and place, it has been said, in this house, They said to one another: What shall the pecple place upon his wrists ? . It is a bond spoken of as the captive’s bond, . That they shall place upon his wrists. . Verily, it is not a captive’s bond. . That is spoken of, . But, it is a soul, ° . That they shall place upon his wrists. . Verily, at that time and place, it has been said, in this house, . They said to one another: What is he upon whom a girdle is to be placed ? . It is a captive, they said, . Upon whom a girdle is to be placed. . Verily, it is not a captive that is spoken of, 5. It is a spirit upon whom they will place a girdle, they said, it has been said, in this house. . Verily, at that time and place, it has been said, in this house, . They said to one another: What is he upon whose feet these moccasins are to be placed ? 76 THE OSAGE TRIBE. [prH. ANN. 39 38. It is a captive, 39. Upon whose feet these moccasins are to be placed. 40. Verily, it is not a captive that is spoken of, 41. It is a spirit, 42. Upon whose feet these moccasins are to be placed, they said, it has been said, in this house. Tue Nov-zuiy’ Wa-THON (Risinc SONG). When the symbolic moccasins have been securely fastened to his feet the Xo’-ka sings the first stanza of the No®-zhi"’ Wa-tho”, the Rising Song. At the close of this stanza the Sho’-ka takes the Xo’-ka by the right arm and assists him to rise. When he has risen to his feet the Xo’-ka sings the second stanza. At its close the A’-ki-ho™ Xo’-ka, the Xo’-ka, the Singer, and the Sho’-ka walk out of the house, the Singer carrying in his arms the Wa-xo’-be (Fig. 3) to be used in the ceremony. THE RISING SONG. (Osage version, p. 389; literal translation, p. 530.) M.M. ’ - 80 Transcribed by Alice C. Fletcher Time beats f Sho-ka, a-no”-zhi"tse the, A - no®.-zhin tse the, Ha, f Bae et Se Sho-ka a-non-zhintse the, Ha, Sho-ka a-no"-zhi" tse the. FREE TRANSLATION. 1. Ha! Sho’-ka, let us now arise, Ha! Sho’-ka, let us now arise, Let us now arise, Ha! Sho/-ka, let us now arise, Ha! Sho’-ka, let us now arise. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. a 2. Ha! Sho’-ka, let us now go forth, Ha! Sho’-ka, let us now go forth, Let us now go forth, Ha! Sho’-ka, let us now go forth, Ha! Sho’-ka, let us now go forth. The preliminary ceremonies of this degree, as given by the I®-gtho"’-ga and Wa-¢a’-be gentes, which include the smoking of the sacred animal skins, the making of the symbolic moccasins, and the painting and dressing of the Sho’-ka and the Xo’-ka, are closed with the singing of the No®-zhi"’ Wa-tho", Rising Song. Tue Zyon’-xa Wa-zHu (CONSECRATED TALLY STICKs). The principal part of the ceremony, which is spoken of by the No®’-ho?-zhi"-ga as Zho®’-xa Wa-zhu, begins with the Tsi Ta’-pe Wa-tho", which, freely translated, means Song of the Processional Approach to the House, that is, the house or place prepared for the ceremony. The songs and wi’-gi-es of the rite without any dis- tinction bear the title of ‘‘songs.’”’ From this point the counting begins. These songs are divided into two Classes: the first is called Wa-tho®’ Pe-tho"-ba tse, The Seven Songs, and the second class is called Wa-tho"’ Sha-pe tse, The Six Songs. The Seven Songs belong to the Ho*’-ga tribal division and the Six Songs to the Tsi’-zhu tribal division. The songs of the ceremony proper, as stated above, are called Zho"’-xa Wa-zhu, which, freely translated, means the Songs upon which Sticks are Placed, a title that takes its name from the custom of the No®’-ho"-zhi"-ga or the novitiates using tally sticks for keeping a correct count when memorizing the titles and the number of the songs coming under each group (Pl. 2, B,C). The tally sticks may be used at a ceremony by a No®’-ho*-zhi*-ga while acting as A’-ki-ho" Xo’-ka or when instructing a novitiate, but the counting stick (Pl. 2, A, B) he invariably uses at a ceremony is the one always kept with a wa-xo’-be. This stick is about 1 inch wide and as long as the lower arm of aman. Across the width of the stick are cut small grooyes in groups to represent the number of songsinaclass. These groups of marks cover both sides of the stick and a man in keeping count as he sings begins to count from the lower end of the stick and proceeds upward toward the top. When he reaches the top he turns the stick over endwise and continues his upward count from the end nearest to him. The bundle of tally sticks and the marked counting stick are both called Zho"’-xa Wa-zhu, and as both are used in con- nection with the ceremonies they are regarded as sacred. 78 THE OSAGE TRIBE. [ETH. ANN, 39 SacRED ORDER OF THE Soncs UsED By THE WaA-GA’-BE AND THE 19. 20. 21. 23. Iy-@THoN’-GA GENTES. THE SEVEN SONGS. . Tsi Ta’-pe Wa-tho", Song of the Procession to the Sacred House. One song and wi’-gi-e. Wa-k’o"’-ci-ha Op-she Wa-tho", The Walk on the Animal Skins. One song. Wa-xo’-be Thu-shke Wa-tho", Opening the Wa-xo’-be. Seven songs. Wa-no"’-xe Wa-tho", Spirit Songs. Four songs. No®’-zhit-zho® Wa-tho", Songs of the Rite of Vigil. Two songs. Wa-da’ Wa-tho", Supplication Songs. our songs. Pe’-xe Thu-¢a-bi Wa-tho", Songs of Taking up the Rattle. Two songs and wi'-gi-e. Mi Wa-tho® or No®-ni’-o?-ba Ba-ha Wa-tho", Songs to the Sun or Songs of Pipe Offering to the Sun. Three songs. Sho"’-ge Wa-tho", Wolf Songs. Three songs. . Ka’-xe Wa-tho", Crow Songs. Two songs. . fo) f—) . Ta Wa’-tho", Deer Songs. Six songs. . Wa’-i" Xa-ge Wa-tho", Weeping Songs. Three songs. . Wa-thu’-ce Wa-tho", Songs of Taking the Wa’-do"-be. Six songs. . Ka’-xe Wa-tho" or Ni’-ka Xo-be Ni Tha-to®-bi, Crow Songs or = x 5 5] D Drinking of Water by the Holy Men. Two songs. . Wa-ca’-be Wa-tho", Black Bear Songs. Four songs. . Tse Wa-tho", Buffalo Songs. Six songs. THE SIX SONGS. . Tse-do’-a Ni-ka [-no®-zhit Wa-tho", Songs of the Rising of the Buffalo Bull Men. Five songs. . No®-xthe’ I-kit-dse Wa-tho", Songs of the Rush for the Charcoal. One song with wi’-gi-e. Ni-i’-tse Wa-tho", Songs for the Crossing of a River. Wa-xthi’- zhi could not remember these. Wa-tse’-mo®-i" gives the number as seven. Tsi Gi’-ka-xe Wa-tho", Songs of Erecting the Sacred House. Three songs. Ki-ta’-ni-ga Wa-tho, Jay-bird Songs. Wa-xthi’-zhi could not remember these. Wa-tse’-mo?-i" gives the number as two. . Wa-da’ Wa-tho", or Pa’-¢e Wa-tho" Zhi"-ga, Supplication Songs or Little Evening Songs. Wa-xthi’-zhi could not remember these. Wa-tse’-mo"-i" gives the number as four. Zho® Thi/-xo® Wa-tho", Songs of Gathering Wood. Two songs with wi’-gi-e. LA FLESCHE ] RITE OF VIGIL—FREE TRANSLATION. 79 24. Zho" Thi’-mo" Wa-tho", Song of the Twirling of Sticks to make Fire. One song. : 25. Dse’-the Wa-tho", Song of ‘Kindling the Fire. One song. 26. Wa-ba’-cno® Ba-¢e Wa-tho", Songs of the Ceremonial Feast of Carving the Roast. Wa-xthi’-zhi could not remember these. Wa-tse’-mo"-i" gives the number as two. 27. Wa-po’-ga Wa-tho", Songs of the Gray Owl. Three songs. 28. Wa-tsi’ A-dsi Wa-tho®. Wa-xthi’-zhi could not remember these. Wa-tse’-mo?-i" gives the number as four. 29. I’-tsi? Ba-xo™ Wa-tho", Songs of Painting the War-club. Wa- xthi’-zhi could not remember these. Wa-tse’-mo"-i gives the number as two. 30. Ni-zhiu’ Wa-tho", Rain Songs. Wa-xthi’-zhi could not remem- ber these. Wa-tse’-mo®-i" gives the number as three with wi -gi-e. 31. Mo-i"’-ka I-ga-xthi Wa-tho", Songs of the Striking of the Earth. Wa-xthi’-zhi could not remember these. Wa-tse’-mo"-i" gives the number as two. 32. Ki-ka’-xe I-ki-tsi Wa-tho", Songs of the Hawk and the War- club. Three songs. 33. Wa-tse’ Wa-tho", Victory Songs. One song. 34. U’-thu-cge I-no™-zhit Wa-tho, Song of the Rising of the Assem- blage to Depart. One song. Sone or PRocESSIONAL APPROACH TO THE House. When the Xo’-ka, the Singer, the A’-ki-ho® Xo/-ka, and the Sho’-ka come out of the house of the Xo’-ka the Sho’-ka leads the way toward the Sacred House and the three men follow. After taking a few paces from the house all four stop, the Xo’-ka himself (if he has memorized them) sings the Song of Processional Approach to the House and recites the first section of the wi’-gi-e, called Wa’-ci-thu-ce Wi’-gi-e or Footsteps Wi’-gi-e. At the close of the last line of the wi’-gi-e he takes from the bowl of a little pipe he carries a pinch of tobacco and drops it upon his right foot, which he is to put forward first as the procession moves. He also tosses a pinch over his right shoulder and one over his left shoulder. Then the procession moves forward. At the second stop he repeats the song, recites the second section of the wi’-gi-e, drops a pinch of tobacco on his left foot, which he first puts forward as the procession again moves. These ceremonial acts are repeated for the third and fourth stops. The fourth movement brings the men to the entrance of the Sacred House. Throughout this processional approach to the Sacred House the Singer carries in his arms his wa-xo’-be and it is to this act of the Singer that the last line in each section of the wi’-gi-e refers. 80 THE OSAGE TRIBE. [BTH. ANN..39 It appears that the Footsteps Wi1’-gi-e is an epitome of the story of the finding of the foe, given in lines 1447 to 1542 of the Ni’-ki Wi’-gi-e of the I-gtho®’-ga gens. (See 36th Ann. Rept. B. A. E., p. 208.) The No®’-ho®-zhi"-ga of this gens leave the story unfinished because the right to recite it with all its details belongs to another gens. The Wi’-gi-e of the Finding of the Foe is given in full in the Thirty-sixth Annual Report of the Bureau of American Ethnology, pages 212 to 219. The Footsteps Wi’-gi-e as given by the various gentes is sub- stantially the same, but some refer to four bends of a river as the objects of approach while others refer to four valleys as well as four bends of a river. All, however, refer to the ‘‘ Little House” as the real object of approach, the place where all must go to make their warlike movements authoritative. SONG OF APPROACH TO THE HOUSE. ( Osage version, p. 390; literal translation, p. 561.) M.M. | - 72 Transcribed by Alice C.Fletcher Time beats f if if f f f Tsiwit e-dsi tse don dsithe hi" da - - a, Tsi wire- =e Se rm Z — Se ie Piel ean SSeS PSS Ss re a- a, Tsi wit edsi aka don dsi the hi" da. —s edsi akadondsithe hit. FREE TRANSLATION. It is to a Sacred House that I am going, It is to a Sacred House that I am going, It is to a Sacred House that I am going, It is there that I am going. It is to the House of the Ho®’-ga that I am going, To the House where they dwell I am going, To the House where they dwell I am going. LA FLESCH®] RITE OF VIGIL—-FREE TRANSLATION, 81 me wh SE! en eae an par (=) 12. 13. 14. 15. 16. ltée 18. OE 20. 22. Wi'-GL-E. Osage version, p. 390; literal translation, p. 531.) i . Toward what shall they direct their footsteps, they said to one another, it has been said, in this house. Toward the setting of the sun, There is a bend in a river, Toward which they shall direct their footsteps, Verily, it is not the bend of a river that is meant. It is a Little House, Toward which they shall always direct their footsteps. When they direct their footsteps toward that Little House, Then shall they take their footsteps with ease, . When they direct their footsteps toward that Little House Then shall you all come there, carrying your little wa-xo’-be, it has been said, in this house. SONG. It is to a Sacred House that I am going, ete. WI -GI-E. 2. Toward what shall they direct their footsteps, they said to one another, it has been said, in this house. Toward the setting of the sun, There is a second bend of the river, toward which they shall direct their footsteps, Verily, it is not two bends of a river that is meant, There is a second Little House toward which they shall direct their footsteps. When they direct their footsteps toward that Little House, Then shall the little ones always take with ease their footsteps. When they direct their footsteps toward that Little House, Then shall you all come there, carrying your little wa-xo’-be, it has been said, in this house. SONG. It is to a Sacred House that I am going, ete. W1'-GI-E. 3. . Toward what shall they direct their footsteps, they said to one another, it has been said, in this house. Toward the setting of the sun, 3594°—25;——6 82 ji THE OSAGE TRIBE. [BTH. ANN. 39 23. There is a third bend of the river, 24. Toward which they shall direct their footsteps. 25. Verily, it is not three bends of a river that is meant, 26. There is a third Little House toward which they shall direct their footsteps. 27. When they direct their footsteps toward that Little House, 28. Then shall the little ones always take with ease their footsteps. 29. When they direct their footsteps toward that Little House, 30. Then shall you all come there, carrying your little wa-xo’-be, it has been said, in this house. SONG. It is to the Sacred House that I am going, etc. WI'-GI-k. 4. 31. Toward what shall they direct their footsteps, they said to one another, it has been said, in this house. 32. Toward the setting of the sun, 33. There is a fourth bend of the river, toward which they shall direct their footsteps. 34. Verily, it is not four bends of a river that is meant, 35. There is a fourth Little House toward which they shall direct their footsteps. 36. When they direct their footsteps toward that Little House, 37. Then shall the little ones always take with ease their footsteps. 38. When they direct their footsteps toward that Little House, 39. Then shall you all come there, carrying your little wa-xo’-be, it has been said, in this house. The division of the wi’-gi-e into four sections, each of which men- tions a ‘little house” as the real object of the processional approach, has reference to the original organization of the four great tribal divisions established for the government of war movements. To each one of these great divisions was given an eagle symbol. While four ‘little houses” are severally mentioned in the wi’-gi-e, there is but one house that must be ceremonially approached when about to organize a war party or at an initiation of a member into the mys- teries of the war rites, that of the Ho®’-ga U-ta-no®-dsi. ' In the year 1898 Miss Alice C. Fletcher, who had begun a study of the Osage tribe, obtained from To™-wo’-i-hi, of the Tsi’-zhu Wa-shta’-ge gens, the names of these four tribal divisions as follows: 1. Wa-zha’-zhe, 2. Ho®’-ga Wa’-tse-ga-wa. 3. Cin’-dse-a-gthe. 4. Ho®’-ga U-ta-no™-dsi. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 83 About fourteen years later the names were obtained by the writer from Wa-xthi’-zhi and Tse-zhi"’-ga-wa-da-i"-ga, severally. The names as given by these two men agree in every respect excepting in their sequential order. The order as given by Wa-xthi’-zhi will be given here: 1. Wa-ca’-be. 2. Wa-zha’-zhe. 3. Tsi’-zhu. 4. Ho®’-ga U-ta-no®-dsi. The name Wa’-tse-ga-wa (Star Radiant), No. 2 in the order given by To®-wo®’-1-hi, is the ancient name of the Wa-ca’-be, No. 1 in the order given by Wa-xthi’-zhi. Both the names (i"’-dse-a-gthe, No. 3 in the first order, and Tsi’-zhu, No. 3 in the second, refer to the principal war gentes of the Tsi’-zhu division. According to tradi- tion, it would appear that the order given by To®-wo*/-i-hi is the correct one. (See 36th Ann. Rept. B. A. E., p. 61.) The initial line in each section of the wi’-gi-e: ‘‘Toward what shall they direct their footsteps, they said to one another,” refers to the discussions of the ancient No®’-ho®-zhi"-ga when formulating the war rites. The second line of each section: ‘‘ Toward the setting sun,” is a cryptic reference to the life journey of the people as an organized body, a journey which is likened to that of the sun (the great life symbol), taken daily and always westward. The line: ‘Then shall the little ones always take with ease their footsteps,” means that only by following the established rules can a war leader conscientiously proceed, without fear of giving offense to any of the gentes composing the tribe or to any individual member of a gens. Whatever steps he may contemplate taking toward the attacking of another tribe, either as an individual enterprise or on behalf of all the people, he must first approach the ‘‘little house” and obtain therein the sanction of the people. The last line in each section was always recited by the Xo’-ka in a low tone close to the ear of the initiate and to impress upon his mind that the warrior, in order to ‘‘take with ease his footsteps,” must always make the tribe a party to his enterprise. Tue Sona or WALKING UPON THE SACRED ANIMAL SKINS. The fourth movement of the Tsi Ta’-pe brings the men to the southwest end of the ground chosen for the ceremony, which is out of doors, in the open air, but is referred to in the Song of Approach as the ‘‘ House of the Ho®’-ga” (see p. 80). Arrived at this point, the solemn procession of the four men pauses. The Xo’-ka stands directly behind the second pair of the symbolic moccasins (Fig. 2, @) which had been placed in readiness for him and so arranged that the toes 84 THE OSAGE TRIBE. [ELH ANN. 39 pointed eastward, for he is to wear them in place of the first pair at the next movement and throughout the principal part of the ceremony that follows. The Xo’-ka at once begins to recite a wi’-gi-e having two titles: Wa’-no™-sdo-dse and Wa/-no"-shki-ge Wi’-gi-e. Freely translated, the words of the first title signify The Act of Shpping off (the first pair of moccasins); the second title, The Tread- ing Upon Certain Objects (so that they shall be crushed into the : NORTH dk TSI-ZHU DIVISION ‘ / fi TSI'ZHU SEVEN FIREPLACES ~ f e@ e e e e e@ e ‘ ~ ito) ve) + (a9) N i= ! pige se SE I oe al Be ete x} ' Orr qa Pi H , 40 Hie =5 / Se SSeS <i ia iy. Y WEST \ is a) 1 i \ i 1 eon +m Nha Dt a ! i \a-73 (i ' eee } ] PRARY eek ot hp ea eae Oe eel he TO ys saws ; : U 5 i) ~ oO wW st aon Le © ie} wt ~” N _- e ee @© @© @ e eo eeee it WA-ZHA-ZHE SEVEN FIREPLACES HOGA SEVEN FIREPLACES Y HONGA DIVISION A, Wa-xo’-be, shrine. B, Pe’-xe, rattle. C, Ho’-e-ga, house E, We’-tha-wa, willow saplings for counting war F, Mi’-to®-a or Ha-xi®’, buffalo robe or blanket. G, Ceremonial moccasins. H, Horse, fee forthe Wa’-do=-be. K, Lightning strokes, symbols oflifeand death. L, Smoldering fire. O, Wa-tho»’. P, Xo’-ka. Q, A’-ki-hon Xo’-ka. R, Man chosen by the A’-ki-ho" Xo’-ka to assist in the singing. T, Wa’-do»-be. The three lines in center of figure represent racks on which gifts and sacred skins are hung. ‘Tsi’-zhu Seven Fireplaces. 1, Tsi’-zhu Wa-no®, or Wa-ko»’-da No®-pa-bi. 2, Tse-do’-ga-in-dse. 3, Mi-k’i= Wa-no®. 4, Tsi’-zhu Wa-shta’-ge. 5, Hox’ I-ni-ka-shi-ga. 6, Ni’-ka Wa-ko»-da-gi or Tsi Ha-shi. 7, Tho’-xe, sometimes spoken ofas Tho’-xe Pa Thi-ho®. Ho»’-ga Seven Fireplaces. A-hiu-to». 2, Wa-¢a’-be. 3, Is-gtho»’-ga. 4, O’-pxo». 5, Mo»’-shko, or Hon’-ga Zhis-ga. 6, I’-ba-tse. 7, Hon’-ga U-ta-no»-dsi. Wa-zha’-zhe Seven Fireplaces. 1, Ke’-k’in. 2, Wa’-tse-tsi. 3, No®’-pos-da. 4, E-no»’ Mis-dse-ton. 5, Ho’ I-ni-ka-shi-ga. 6, Ta’ I-ni-ka-shi-ga. 7, Ba’-tsu. Fic. 2.—Ground plan of place of initiation. of the beaver. D, Wa-¢a’-be ha, black bear skin. honors. earth). The objects to be trodden upon and crushed (figuratively) are certain classes of persons upon whom an enemy tribe depends for its potential power. THE WI’-GI-E. (Osage version, p. 391; literal translation, p. 532.) 1. Upon what shall we slip off our moccasins? they said to one another, it has been said, in this house. 2. Toward the setting of the sun, 1, Hor’-ga LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 85 There is an adolescent youth, Upon whom we shall always slip off our moccasins, they said to one another, it has been said, in this house. When we slip off our moccasins upon the adolescent youth, We shall make it possible to slip off with ease our moccasins, my younger brothers, they said to one another. Upon what shall we slip off our moccasins? they said to one another, it has been said, in this house. . Toward the setting of the sun, There is an adolescent maiden, . Upon whom we shall always slip off our moccasins, they said to one another, it has been said, in this house. . When we slip off our moccasins upon the adolescent maiden, . We shall make it possible to slip off with ease our moccasins, my younger brothers, they said to one another. . Upon what shall we slip off our moccasins? they said to one another, it has been said, in this house. . Toward the setting of the sun, . There is a man who is honored for his military prowess, . Upon whom we shall always slip off our moccasins, they said to one another, it has been said, in this house. . When we slip off our moccasins upon the man honored for his military prowess, . We shall make it possible to slip off with ease our moccasins, my younger brothers, they said to one another. . Upon what shall we slip off our moccasins? they said to one another, it has been said, in this house. . Toward the setting of the sun, . There is a woman who has given birth to her first child, Upon whom we shall always slip off our moccasins, they said to one another, it has been said, in this house. 23. When we slip off our moccasins upon the woman who has given birth to her first child, . We shall make it possible to slip off with ease our moccasins, my younger brothers, they said to one another. At the close of the wi’-gi-e the Sho’-ka removes from the head of the Xo’-ka the white downy plume he had been wearing and replaces it with a red one which he takes from within the right foot of the second pair of symbolic moccasins. When the red plume has been fastened to the base of the braided lock on the crown of his head, the Xo’-ka, with a backward sliding movement of his right foot, slips off the moccasin, and in the same manner removes the moccasin 86 THE OSAGE TRIBE. [PTH. ANN. 39 from the left foot. He then slips on the second pair, beginning with the right foot, and the Sho’-ka fastens them at the ankles. The Sho’-ka then places the white plume in the right foot of the pair of moccasins that had been slipped off by the Xo’-ka and leaves it in that spot, where it remains throughout the rest of the ceremony. When the white symbolic plume of the Xo’-ka has been exchanged for the red one, and the first pair of moccasins for the second pair, the Xo’-ka sings the first stanza of the Song of the Walking Upon the Animal Skins, which is more like a call than a song. The title of this song should not be taken literally, for the procession does not walk upon the skins, but only passes by the symbolic articles which are hung upon racks about the middle of the ground (Fig. 2). The open space running from the east to the west on the ground arranged for the ceremony symbolizes the earth, and the animal skins hung upon racks along a part of this open space represent all living crea- tures of the earth. The sun, in passing over the earth, touches with its light all these creatures and gives them life. It is, therefore, the sun which is represented by the Xo’-ka, who travels (figuratively) upon or over the symbolic animal skins. The words of the song picture the Xo’-ka and his attendants as approaching and entering the village and finally the House of Mys- tery, by a succession of pauses, at each of which the Xo’-ka sings a stanza descriptive of some conspicuous object along the line of march to the eastern end of the ‘‘ House of Mystery.” This song, the music of which is of the nature of a call, has twelve stanzas. The same processional form is used, with some modifica- tions, by a successful war leader as he triumphantly marches with his warriors into the village, and into the ‘“‘ House of Mystery.”’ SONG. (Osage version, p. 392; literal translation, p. 533.) Call Transcribed by Alice C. Fletcher Tsi u-hon-ge dsia-tsi-e tha, Tsiu-hon-ge dsi a-tsi-e tha. FREE TRANSLATION. iG To the borders of the village I have come. 2. To the footworn grounds of the village I have come. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION, 87 3. To the frequented parts of the village I have come. 4. To the back side of the House of Mystery I have come. 5. To the door of the House of Mystery I have come. 6. To the whitened skins of the sacred animals I have come. Me To the sacred animal skins, swaying in the winds, I have come. 8. To the inner side of the House of Mystery I have come. 9. To the middle of the east end of the House I have come. 10. To the sacred fireplace of the House I have come. ile Beneath the smoke vent of the House I have come. 12. Into the light of the days I have come. The expression used in the final stanza of this song, “‘Into the light of the days I have come,” and expressions of like import used in other songs of these symbolic rites, appear to be employed to mark the completion of important ceremonial acts. [For instance, the acts of the Xo’-ka, in this ritual, from the time of his symbolic painting and dressing to this stage of the ceremony, is a dramatization of the com- ing of the God of Day (the Sun). As the God of Day emerges from the darkness of night to take his journey he first heralds his coming by the pale dawn that stretches along the eastern horizon. Then, as he comes near, the pale light fades away and he casts upon the eastern edge of the earth a crimson color that takes the place of the white dawn. It is this crimson color, the color of day, that is put upon the face and body of the Xo’-ka. As the Xo/-ka and his attendants take their places at the eastern end of the House of Mystery the act of the coming of the God of Day is completed, as the sun is about to pursue his westward journey over the earth and across the sky. The final stanzas of the maize planting and harvesting songs may also be 88 THE OSAGE TRIBE. [ETID. ANN.39 referred to as examples of the manner in which some ceremonial acts are closed (see pp. 198, 199, 201, 203), as well as the songs of the triumphal entry of a victorious war leader into the village and the House of Mystery, that close with these words: “Tnto the light of the days I have come home, I have come home.”’ The songs of triumph will appear in a later volume. The Singer, the Xo’-ka, and the A’-ki-ho™ Xo’-ka stand at the eastern end of the house, facing the west, as the Xo’-ka sings the ninth, tenth, eleventh, and twelfth stanzas of the song, ‘‘ Walking Upon the Animal Skins” (Fig. 2). At the close of the last stanza the three men sit down upon blankets or robes that have been spread on Fic. 3.—Portable shrine, folded the ground for their comfort. The Sho’-ka, who is still standing, takes the wa-xo’-be, portable shrine (Pl. 5; Fig. 3), and places it on the ground in front of the Xo’-ka, being careful to see that the sacred hawk, enshrined therein, lies with its head toward the Tsi/-zhu side of the house. He at the same time places in front of the A’-lki-ho™ Xo’-ka a gourd rattle (Fig. 2, B). Having performed this duty, the Sho’-ka takes his seat at the left, toward the Ho*’-ga side of the house (Fig. 2). Sones or UNTYING THE SHRINE. The next movement, which is the actual opening of the ceremony proper, begins with the singing of a series of eight songs having in common the title, Wa-xo’-be Thu-shke Wa-tho", Songs of Untying LA FLESCHE | RITE OF VIGIL—-FREE TRANSLATION, 89 the Shrine. These songs are accompanied by certain ceremonial acts which must be performed by the Xo’-ka himself. The title of the first of these songs is Wa-xo’-be Ga-xi Wa-tho®, Songs of Awakening the Wa-xo’-be. The name Wa-xo’-be in the title of this song refers directly to the Sacred Hawk kept within the portable shrine. All the words of the six stanzas of this song, being archaic, are untranslatable except one word, which occurs in the third line of each stanza. These words are as follows: first stanza, ¢i, feet; second stanza, hi, legs; third stanza, zhu, body; fourth stanza, a, arms; fifth stanza, pa, head; sixth stanza, 1, mouth. These words refer to the parts of the body of a man, a man perfect in his physical structure, and in complete control of all its various parts. This imaginary symbolic man not only personifies the military organ- ization of the people for defensive or offensive warfare, but he rep- resents the warrior of the tribe, strongly endowed physically, gifted with courage and power of decisive action, qualities necessary for the valiant man who must be ever ready to meet the foe. To the Hawk, the emblem of these qualities, is given the name Wa-xo’-be, A Thing Sacred, now to be awakened with song and ceremonial acts and to be brought forth from the recesses of its inner shrine, that symbolizes the starry heavens and the verdant earth. As the A’-ki-ho® Xo’-ka begins to sing the song the Xo’-ka places his hands upon the shrine, one hand at each end, and in this attitude he waits. At the closing line of the first stanza he raises his right hand and lets it fall gently on the shrine. The singing continues without pause and at the last line of the second stanza the Xo’-ka raises his left hand and lets it drop on the shrine. This alternate lifting of the hands by the Xo’-ka and letting them fall softly upon the shrine to awaken the Wa-xo’-be continues to the close of the song. 90 THE OSAGE TRIBE. [BTH. ANN. 39 Sone 1. (Osage version, p. 393; literal translation, p. 534.) M.M BY) - 168 Transcribed by Alice C. Fletcher © she; ki-ta ha-we he. No tie for the other stanzas The title of the second song is Ki-thi’-to™ Wa-tho", The Song of Reversal. The song is sung four times, at each of which the position of the shrine is reversed so that the head of the sacred hawk within the shrine may point toward the Tsi’-zhu or toward the Ho"’-ga side of the house. These ceremonial acts of the Xo’-ka emphasize the idea of the ancient No®’-ho®-zhit-ga who formulated the rites, that in all war movements there must be unity of purpose and of action by the people of the two great tribal divisions, and that all must share alike in the fortunes and misfortunes of the tribal enterprises. The close of song 1 is followed by a slight pause, after which the A’-ki-ho® Xo’-ka begins to sing song 2. At the fourth line the Xo’-ka, who has kept his hands quietly on the shrine, at once reverses the position of the shrine so that the head of the Sacred Bird is turned from the Tsi’-zhu toward the Ho®’-ga side of the house. This act of reversing is done four times. The word Ki-thi’-to", meaning reverse, is the only word that can be interpreted. All the others are untranslatable, being archaic and obsolete. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 91 Sone 2. (Osage version, p. 393; literal translation, p. 534.) Transcribed by Alice C. Fletcher Time beats f f f f r pray if h Cart e— gikon-dahahe,ahe he,— (i-komdahahawe, A he—. ci-kon-dahahawe A he ki-thi-tom tsehe, a he + . “j = — fenie fid sobprbkolirasi a plas aul rhs serp Ou it coh he, Vi-kon-da hahawe, A he _— gi-ko"-da ha ha we. From all that has been gathered during several years of close study of the religious conceptions of the Osage people there is reason for the belief that the ancient No®’-ho®-zhi"-ga who formulated these intricate rites, and many of the men of the succeeding generations through whom these rites were transmitted, knew that the various articles dedicated for ceremonial use, together with their prescribed forms, were intended to be employed as aids in conveying certain fundamental ideas that could not be adequately expressed by words alone. They also knew that there resided in the articles thus dedi- cated no mystical power to excite fear or to be adored. There were, however, men and women, initiated as well as uninitiated, who drifted hopelessly into a literal belief that articles declared by the “Holy Men” to be sacred and to be treated with reverent regard had thereby become possessed of a mystical power which the articles themselves could exercise for good or for evil. The Song of Reversal, with its prescribed ceremonial acts, is an example of the foregoing. It was learned from some of the No®’-ho"- zhit-ga themselves that the men who were mentally alert when receiving their initiatory instructions thoughtfully discerned that this song with its attendant ceremonies teaches that in all important tribal matters the two great tribal divisions must act as a single body and be animated by one mind. On the other hand, there were men of the tribe less gifted mentally, to whom the symbolic movements that accompany the song meant simply that the dead bird within the shrine had actually been awakened and had of its own volition inclined its head with favor toward one division and then toward the other. 92 THE OSAGE TRIBE. [BTH. ANN. 39 In former days when the Osage people were often forced to retaliate upon their enemies to insure self-protection, a war leader, at a critical moment, as when about to order his men to attack a village, would, among other songs, sing the Song of Reversal.. On such an occasion six stanzas were given to the song, and the words of the fourth line of each stanza were modified so as to give the song a supplicatory char- acter. Treely translated, these words were as follows: Make their feet to be cramped. Make their legs to be cramped. Make their bodies to be cramped. Make their arms to be cramped. Make their heads to be cramped. 6. Make their mouths to be cramped. IT COURS t= The third song has five stanzas. The singing of the song is accom- panied with a series of ceremonial acts performed by the Xo’-ka. He unties the hanging strap of the shrine and unfolds one by one the suc- cession of symbolic cases in order to remove therefrom the sacred hawk for use in the ceremonies to follow. In order that the meaning of the song with its accompanying cere- monial acts may be better understood, it may be well, before proceed- ing with the song, to give a brief description of the various articles that compose the portable shrine (Fig. 3) and their symbolic signifi- cance, and also to indicate the gentes whose office it is to furnish these articles as well as to recite the wi’-gi-es relating to them. 1. The wide strap wound around the middle of the shrine (Pl. 5, A), and by which it is hung in its place, either at the right or at the left of the door of the house of the owner, is made of buffalo skin. The office of furnishing the skin for this strap when renewing an old shrine or mak- ing a new one, as well as the reciting of the wi’-gi-e relating to the strap, belongs to the Tsi’-zhu Wa-no" and the (i"’-dse-a-gthe, two gentes of the Tsi’-zhu great division. (For origin of the sacred straps, see Ni’-ki Ritual of the Tsi’-zhu Wa-no” gens, 36th Ann. Rept. B. A. E., pp. 262-268.) 2. A scalp is attached to the hanging strap of the shrine (Pl. 5, A). The office of contributing this scalp belongs to the Wa-¢a’-be and I*- gtho"’-ga gentes of the Ho®’-ga subdivision of the Ho*’-ga great division. (The mythical story of the contribution of the scalp by these two gentes is to be found in lines 98 to 103 of the Wi’-gi-e of the Birth of the Bird, to be given in a later volume.) 3. The leg of an eagle is also attached to the hanging strap of the shrine (Pl. 5, A). The office of furnishing the eagle’s leg belongs to the Ho®’-ga A-hiu-to", Winged Ho*’-ga (eagle) gens of the Ho®’-ga subdivision of the Ho"’-ga great division. (The story of the act which the eagle’s leg commemorates is recorded in the wi’-gi-e belonging to this gens, 36th Ann. Rept. B. A. E., pp. 212-219.) LA FLESCHE] RITE: OF VIGIL—FREE TRANSLATION, 93 4. A case made of woven buffalo hair (PI. 5, B) forms the outer coy- ering of the shrine. The office of furnishing the material for the weay- ing of the case belongs to the Tho’-xe (Buffalo Bull) gens of the Tsi’-zhu great division. In the manner of procuring this requisite material the people are again reminded of the importance of a unity of pur- pose and of action by the people of the two great divisions in all tribal matters, for when performing the duty of gathering the mate- rial the hair must be plucked from the right shoulder of the buffalo when the shrine is to be made for a gens of the Ho®’-ga great division and from the left shoulder when the shrine is to be made for a gens of the Tsi’-zhu great division. This prescribed rule for gathering the material for the case also teaches that when hunting the buffalo, a food animal, the people must arrive at their decisions as with one mind and act as with a single body in order that each member of the tribe may have a chance of securing his share in the common herd. 5. A bag made of deer skin (PI. 5, C). The office of furnishing the material for this bag belongs to the Ta’ [-ni-ka-shi-ga, Deer People, gens of the Wa-zha’-zhe subdivision of the Ho®’-ga great division. 6. A buffalo skin rope is wound around the woven rush case within which lies the sacred hawk (P1.5, D). Ropes and straps consecrated for ceremonial use are said to be types of those the warriors carry with them when going on the warpath to be used in tying captives. The office of furnishing the material for this article belongs to the Tse- do’-ga I"-dse (Buffalo Face) gens of the Tsi’-zhu great division. 7. The inner shrine, within which lies the sacred hawk, is made of woven rush (Pl. 5, D); Ga zhi"-ga, little rush (Hleocharis interstincta), for the woof, and the Ha’-do-ga, nettle weed ( Urtica gracilis), for the warp. These two plants are regarded as sacred and are gathered cere- monially when required for use in making the inner shrine. The office of furnishing these materials and of reciting the wi’-gi-es relating to them belongs to two gentes of the Wa-zha’-zhe sub- division of the Ho®’-ga great division, namely, the Ke’-k’it, Turtle Carrier, and the Wa-ke’-the-stse-dse, Cat-tail gentes. As the A’-ki-ho" Xo’-ka sings the first stanza of the third song the Xo’-ka places the tips of his fingers upon the knot which holds together the ends of the wide strap that forms a loop by which the shrine is hung in its prescribed place in the house of the owner. While the second stanza is being sung he hurriedly removes from the shrine the hanging strap, the buffalo hair case, the deerskin case, and the long buffalo-skin rope wound around the woven rush case and lays them aside. At the third stanza he unfolds the flap of the woven rush case. As the fourth stanza is sung he opens wide the mouth of the case, and at the fifth stanza he removes from the rush case the hawk, still in its deerskin pouch. 94 THE OSAGE TRIBE. - [BrH, ANN. 39 The word tsi-the’, in the fifth stanza, which is descriptive of the act of the Xo’-ka in bringing the sacred hawk out of the symbolic rush case, is the same word as that used whem speaking of the birth of a child. All the words of this song, excepting the first word of every line of each stanza, are archaic or obsolete and cannot be translated. The five translatable words that are descriptive of the acts of the Xo’-ka and that belong to each of the five stanzas are as follows: . Thi-to’, he touches (the knot of the hanging strap). . Thu-shke’, he unties (the knot). Gtha-tha’, he unfolds (the flap of the rush case). . Ga-wa’, he opens wide (the mouth of the rush case). . Tsi-the’, it passes (the bird passes as in birth). il 2 Sona 3. (Osage version, p. 394; literal translation, p. 534.) Transcribed by Alice C, Fletcher Time beats r [ r f Thi-tom mon-ki sho the - tho wa ha, Sabian ti eines Thi-to mon-ki sho the - tho wa ha tse he, Thi-to™ mon-ki sho the - tho wa ha, f f Thi-to" mo"-ki sho 'the-tho wa ha, Thi-tot mo™.ki fd the-tho wa ha. The Wa-xo’-be, the Sacred Hawk (PI. 6), symbol of the courage of the warrior, is kept in a deerskin pouch (PI. 6) made to fit closely to the body of the bird. This pouch is open at both ends, but to the end at which the head of the bird lies there is attached a gathering thong in order to close that opening. A carrying strap is tied to the middle of the pouch. This strap is made just long enough to go around the neck of the commander, who must carry the bird on his back as he goes forth to make an attack. The lower end of the pouch is always left open and cut into slits, in the midst of which can be seen the hair of the bits of scalp attached to the base of the bird’s tail. BUREAU OF AMERICAN ETHNOLOGY THIRTY-NINTH ANNUAL REPORT PLATE 6 WA-X0O’-BE AND POUCH THIRTY-NINTH ANNUAL REPORT PLATE 7 BUREAU OF AMERICAN ETHNOLOGY B, KU’-ZHI-WA-TSE (PO"'’-KA WA-SHTA’-GE GENS) A, WA-TSE’-MOv-1% LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION, 95 During a short pause, after singing the last stanza of the third song, the Xo’-ka removes from the pouch its carrying strap. Then as the A’-ki-ho™ Xo’-ka sings the first stanza of the fourth song the Xo’-ka places his fingers upon the knot of the thong that gathers together and closes the top or mouth of the pouch. During the singing of the second stanza he unties the knot. At the third stanza he loosens the fastening. The fourth stanza is sung while he opens wide the mouth of the pouch. As the fifth stanza is being sung he grasps with his left hand the body of the pouch and with a forward movement of the right hand gently draws from the mouth of the pouch the bird by its head. The use of archaic words in the song makes it difficult to give a free translation, but it may suffice to give the interpretation of the words descriptive of the acts of the Xo’-ka throughout the song. These words are as follows: 1. Thi-to’, he touches (the knot of the thong holding closed the mouth of the pouch). Thu-shke’, he unties (the knot of the thong). . Gtha-tha’, it loosens (the mouth of the pouch, as though of its own volition). . Ga-wa’, it opens wide (the mouth of the pouch, as though of its own accord). . Tsi-the’, it passes (the hawk, as in the act of birth). or ye oo to Sone 4. (Osage version, p. 395; literal translation, p. 534.) M.M. | ~ 4120 Transcribed by Alice C. Fletcher: : Sage ae ee Thi-ton ne ki - we is be the ie kon Be) SSS Time beats Thi-to" mot-ki-sho ho ae the wt kon ne te eo ——— eriionel af Pre aif ce Ki-a ha wa ha tsi-the ta-kon tha, Ki-aha wa ha r r Eopst r r ial tsi-the ta-ko" tha ha, Thi-to® mon-ki-sho ho Peep ae sili Tiel aivhel woe Pivehe of tsi-the ta-ko" tha, Thi-to"mo®-ki-sho ho tsi-the ta-ko" tha. 96 THE OSAGE TRIBE. [ETH. ANN. 39 In response to a remark relating to the perfunctory manner in which the Xo’-ka removed the buffalo hair case and the deerskin case from the shrine, Wa-xthi’-zhi said: ‘‘O’-ga-xe thi®-ge,” they are of no account. From a conversation that followed it was gathered that he did not intend the words to be accepted in their ordinary sense, but what he meant to convey was, that the two symbolic articles had no special part to play in this particular ceremony as had the other articles of the shrine. The upper part of the rush case with its woven conventional designs symbolically represented the sky, the father; the under part, the earth, the mother of all life. The ceremonial acts of the Xo’-ka accompanying the final stanza of the third song referred to the birth of all living forms. The words of the third and fourth songs are alike, but the meaning of the two songs is not the same. The third song refers to the birth of all forms of life from the power which abides in the sky and the earth. The fourth song relates to the birth of the Sacred Hawk, which symbolizes the warrior, the man himself, who is endowed with the attribute of courage. The mythical story of the Hawk, the child of the Sun and the Moon, will appear in its wi’-gi-e form in a later volume. In the ceremonial acts of the Xo’-ka when taking the Hawk, still within its pouch, from the woven rush case, and when removing the Hawk from its deerskin pouch, particular care must be observed by him to make his movements forward, that is, the motion must be away from and not toward himself, for the reason that each of these movements of the Xo’-ka refers to birth into life. After the Sacred Hawk has thus been brought forth from its shrine the Xo’-ka blesses himself with it. This he does by touching with it the crown of his head, his arms, body, and legs. The fifth song has but one stanza. In it the Hawk is addressed as aman and given the greeting of welcome. He wears the insignia of a warrior and bears to the people the attribute of courage. As the A’-ki-ho® Xo’-ka sings the song the Xo’-ka, grasping with both hands the body, dances the bird to the rhythm of the music. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION, 97 Sone 5. (Osage version, p. 396; literal translation, p. 535.) Transcribed by Alice C. Fletcher Aa 9, oS ALD GEcRESTERLS ae ee EE TI ee ese) Se Ni-kae tho, shon ni da,ha-we, Ni-ka wa ha, kon-ha tha-tsin da, ha- (cont og fy tout we, Ni-kae tho,wihin da da, Ki-no" tho-ton tha, tho-to™-a, Pie 5) ers ei Ki-non tho-to® tha, tho-to™a ha,Ki-nomtho wi hit da da. FREE TRANSLATION. Thou man, who art perfect, Ha-we! (a greeting of welcome). Thou man, who art perfect, Ha-we ! Thou man, who art perfect, Ha-we ! Thou man, near to us hast thou come, Ha-we! (Behold, here is a man.) (Behold, the straight line of adornment.) (Behold, the straight line of adornment.) (It is the straight line of adornment.) In the sixth song the Sacred Hawk is spoken of as ‘“‘Grandfather.” This kinship term is not employed in its ordinary meaning but as denoting reverence. The term is applied to things mysterious, or of a mysterious nature, such as the sun, the moon, to single stars or groups of stars that are particularly conspicuous, and to certain forms of animal or plant life. While the term ‘Grandfather,’ as used in this song, appears to refer directly to the Hawk, the symbol of the valiant warrior, yet in reality the term reflects back to the ancient No®’-ho™-zhi"-ga who, long ago, sat around the fireplace of their House of Mystery pondering over the means by which the life of their people as an organized body might best be prolonged. Reverence was therefore due to these men of the olden times, for the thought they put into the rites 98 THE OSAGE TRIBE. [BTH. ANN. 39 by which the people could in an orderly manner organize their military forces for defensive or offensive warfare. Their gatherings, their councils religiously held, partook of a mysterious nature and were therefore regarded by the people as something higher than the ordinary practices of life, consequently the term “Grandfather” could fittingly be applied. As the A’-ki-ho® Xo/-ka sings the sixth song the following cere- monial movements are performed by the Xo’-ka, who sits facing the west. With his right hand he grasps the bird around its body and makes it dance to the rhythm of the music. At the fourth line of the first stanza the Xo’-ka lifts aloft the bird to the full length of his arm and then with a quick downward stroke describes an undu- lating line. This undulating line from the zenith to the earth is for the winds that come from the north with violence and destructive force. The singing and the dancing of the bird continues without pause until the fourth line of the second stanza, when the Xo’-ka again lifts aloft the bird to the full length of his arm and with a quick movement from the zenith to the earth makes a straight line. This straight line is for the winds that come from the east, following the straight path of the sun to the zenith with gentleness and life- giving influence. The song and the dancing of the bird go on until the fourth line of the third stanza, when the Xo’-ka again lifts the bird to the zenith and brings it down to the earth with an undulating line. This movement is for the south, whence come the hot winds that are destructive to plants. The dancing and the singing con- tinue without pause until the fourth line of the last stanza, when the Xo’-ka once more lifts the bird to the zenith and brings it down in a straight line. This movement is the straight path from the zenith to the west whence come the refreshing winds and rain. This song with its ceremonial acts also indicates that the symbolic bird stands at the middle of the earth over which the sun passes on its westward journey, shedding as it goes its life-giving influence toward the north and toward the south. It is not possible to give a full translation of the words of the song, for the reason that all but a few of them are archaic or obso- lete. The words that are translatable are as follows: Tsi-go tsi, my grandfather has come; in the first and third stanza, Ba-xo" tse, the undulating; in the second and fourth stanzas, Tho-to" tse, the straight. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 99 Sona 6. (Osage version, p. 396; literal translation, p. 535.) Transcribed by Alice C, Fletcher Time Renta! r Dyed r f fis Fi r r é fr P Tsi-gotsihe koi thano™te, Tsi-gotsi he koi thano"te, Tsi-go thi he ko i thano® te, Ba-xo™tse he koi thano" te, SSS SSS READ Ghes LAME ASE Pa txcsilerd dod alia lewd Tsi-go tsi he koi thano® te, Tsi-gotsi he koi thanor te. PREPARING TO ENTER THE HovusE or MystTrERY. At the beginning of the singing of the series of songs during which the shrine is ceremonially opened by the Xo’-ka, the No"’-ho"-zhi"-ga of the Ho®’-ga great division assemble at the house of a prominent man belonging to that division and the No*’-ho®-zhi"-ga of the Tsi/-zhu great division gather at the house of a man of that division for the purpose of dressing and symbolically painting their faces, preparatory to their ceremonial approach and entrance into the House of Mystery where sit the Xo’-ka, the Singer, and the A’-ki-ho® Xo’-ka. As the sixth song is being sung the No"’-ho®-zhi"-ga of the two great divisions come out of their respective houses and stand outside to wait for the close of the song, which will be the signal for them to approach in a prescribed order the place of the ceremony. While thus waiting, the men of the two great tribal divisions take part in a drama that commemorates the introduction by the two gentes, the Ni’-ka Wa-ko®-da-gi and the Tho’-xe, of the Hawk to be used as an emblem of courage in the war rite by which war parties were to be organized in smaller bodies than by the hundreds, and also to indicate the great lapse of time before the rite belonging to this modified form was formulated and perfected. (See 36th Ann. Rept. B. A. E., pp. 64-65.) In preparation for their part in this drama the two gentes, the Ni’-ka Wa-ko®-da-gi and the Tho’-xe, occupy a separate house wherein to make their preparation for the ceremonial approach to the House of Mystery. Suddenly the No®’-ho®-zhit-ga of the two great divisions, as they stand waiting, exhibit, by their manner and speech, impatience at the delay of the two gentes in coming out of 100 THE OSAGE TRIBE. [BTH. ANN. 39 their house. After many calls a Sho’-ka is sent by the impatient men to urge the tardy ones to make haste. Finally the two gentes come out of their house, only to stop in front of the door and engage in a noisy debate over some question. The men of the two great divisions continue to call to the tarrying gentes who, after a while, come slowly forward to join the waiting men. The singing of the sixth song comes to a close and the procession moves foward the place of ceremony in the following order: The Wa-zha’-zhe subdivision of the great Ho®’-ga tribal Teeeton leading, followed by the Ho’-ga subdivision; next come the men of the Tsi/-zhu division, and then the two tardy gentes, the Tho’-xe first -and the Ni’-ka Wa-ko"-da-gi last of all. In this order all the No*’- ho®-zhit-ga approach the place of the ceremony. The drama enacted before this processional approach to the House began, refers to the mythical story of the order in which the people marched over the earth when they first descended from above until they came to the village of a strange people (now represented by the Ho*’-ga U-ta-no"-dsi gens in the gentile organization), whom they persuaded to become a part of the tribe. (See 36th Ann. Rept. B. A. E., pp. 59-61.) When the two divisions have entered the House and it becomes the turn of the two gentes to enter, the Tho’-xe who are in advance and close to the door stand still and permit the Ni’-ka Wa-ko®-da-gi to pass into the House first, then the Tho’-xe follow and so become the last to enter. No definite explanation could be obtained as to the meaning of this final act of the two gentes, the Ni’-ka Wa-ko"-da-gi and Tho’-xe, but from certain intimations in the tribal rituals it would seem that the exchange of positions between the two related gentes has reference to a question of official precedence which the ancient No®’-ho"-zhi"-ga appear to have had some difficulty in settling definitely. The mythical story of the coming of these two gentes from above to join the people bears directly upon this point. The following is a para- phrase of the story: LEGEND OF THE Hawk Wa-xX0’-BE. The No®’-ho®-zhi"-ga, having determined upon the Hawk as suitable for use in the new war ritual as an emblem of courage, proceeded to make a Hawk emblem (called Wa-xo’-be) for each of the Seven Fire- places of the Ho’-ga, the Wa-zha’-zhe and the Tsi’-zhu. As they sat busily at work within their House of Mystery they were suddenly startled by a loud clap of thunder. The Sho’-ka was quickly sent out to see who it was that made such a startling noise. He soon returned and reported that it was Ni’-ka Wa-ko"-da-gi who made the noise. The No®’-ho®-zhi"-ga all agreed that he was a desirable person to have LA FLBSCHE] RITE OF VIGIL—-FREE TRANSLATION. 101 and upon their invitation, together with a promise that all the Wa-xo’-be would be given to him, that person descended. Almost as soon as he descended and alighted upon the ridgepole of the House another terrifying noise was heard just outside of the door. The Sho’-ka was again sent to see what person it was who could make such a terrible noise. As the Sho’-ka threw aside the doorflap there stood a huge buffalo bull who, as he pawed the earth, angrily bel- lowed forth: “I am Tho’-xe, Lift ye your heads!” Struck with terror, the No®’-ho*-zhi"-ga hastily gathered up the sacred emblems and threw them toward the angry bull, whereupon he became quiet and friendly. From this story it would appear that originally the Ni’/-ka Wa-ko"- da-gi was given the custody of the sacred emblems, but to settle a dispute that arose between the two gentes concerning the office the No®’-ho®-zhi*-ga made the two gentes joint custodians of the Wa- xo’-be. The matter of precedence, however, remained vague and undetermined. At an initiatory ceremony the Ni’-ka Wa-ko®-da-gi must perform the service of renewing the decoration of the Hawk, but if he happens to be absent then the Tho’-xe must act in his place. The permanent office of the Tho’-xe was to officiate at the ceremonial planting of the maize and also to furnish the material for making the outside covering of the portable shrine. Tue SympBoric Man. The seventh of this series of songs has a subtitle, Ni’-ka Xo-be U-gthit U-tha-ge, freely translated, Assigning the Holy Men Their Seats. It is said that only a few of the No®’-ho®-zhi"-ga realy know to whom the greeting expressed in this song is addressed. Those who have persistently striven to learn the meaning of this song have found out that the greeting is addressed to the Symbolic Man, who stands as a symbol of the unity of the people of the two great tribal divisions, the Ho®’-ga and the Tsi’-zhu. In their conception of the unity of life the ancient No"’-ho®-zhi"-ga included not only human life but also all forms of life that issue from the combined influences of the celestial and terrestrial worlds. The Symbolic Man is reverently addressed as Tsi-go, Grandfather because he is of a mysterious nature and also stands for the con- tinuity of the tribal life. The song is an expression of gladness at the coming of this mysterious person into existence as a man com- plete in bodily form. To each part of his body that empowers him to move and act is given a stanza in the song: (1) ¢i, his feet by which he has the power of standing; (2) hi, his legs by which he moves from place to place; (3) zhu, his body which contains his vital parts; (4) a, his arms by which he defends himself and procures the means 102 THE OSAGE TRIBE. [BTH. ANN. 39 ‘of living; (5) pa, his head which empowers him to formulate his thoughts; (6) i, his mouth which enables him to give expression to his thoughts. All these powers in turn were greeted with gladness. The words that are translatable are: Tsi-go, Grandfather; tha-tsi e, O, you have come; Ha-we, a word of greeting, also the names for the various parts of the body mentioned above. Ta-ko’i"da is an archaic expression which could not be interpreted by the men consulted. When the A’-ki-ho™ Xo’-ka starts to sing the seventh song the No®’-ho"-zhi*-ga of the two great divisions and the two gentes, the Ni’-ka Wa-ko"-da-gi and Tho’-xe, enter the House of Mystery in the order as given on page 100. Sona 7. (Osage version, p. 397; literal translation, p. 535.) M.M. 5 - 40 Transcribed by Alice C. Fletcher Time beats Tsi-go tha, tsi-go tha-tsi-e, Ta-ko i” da, ha-we, ha-we he, [ae SSS eer Sa Sarees P Pa if F r r r Cinon tha, gi no® tha-tsite, Ta-ko im da, ha-we, ha-we he, EES = o— = Frc) slit asboakeoacil tale Wales) ative eiikaal Tsi-go tha, tsi-go tha-tsi-e, Ta-ko in da, ha-we, ha-we he, Tsi-go tha, tsi-go tha-tsi-e, Ta-ko in da, ha-we, ha-we he. The words of the eighth song are practically the same as those of the seventh, but the intent of the two songs is different. It is said that in the eighth song the greeting of welcome is extended to each No®’-ho?-zhi"-ga in person and the No®’-ho®-zhit-ga collectively in their priestly capacity in which they are designated as Ni’-ka Xo-be, Holy Men. During the singing of the eighth song the No®’-ho®-zhi®-ga take their seats, those of the Wa-zha’-zhe and the Ho®’-ga subdivisions of the Ho®’-ga great division at the south side of the House and those of the Tsi/-zhu great division at the north side, each gens of both divisions having its own permanent place in the House. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 103 At the close of the last stanza the Xo’-ka puts down in front of him the Wa-xo’-be. Sone 8. (Osage version, p. 398; literal translation, p. 536.) MM By =e Transcribed by Alice C. Fletcher . — Time beats r r P P Ir r fp f ae if if Tsi- go thatsi-e sho"nida we, Tsi- ie tha tsi-e sho" nida we, Ci go tha tsi-e sho"nida we, Tsi - go tha tsi-e sho" ni da we. Spirit SoNnGs. At the close of the series of songs relating to the opening of the shrine, the A’-ki-ho" Xo’-ka, after a short pause, begins to sing the first of the group of Wa-no®’-xe Wa-tho®, Spirit Songs, next in order. These songs teach the initiate that even as he lives and moves about in the midst of earthly life he also lives in the midst of the realm of death; that there is continuity of life not only in this world but in the spirit world as well. These songs refer to the spirits of his ancestors, of the men who have fallen in battle, who belonged to his own tribe, and also to the spirits of the men of the foe, for all travel upon the same well-trodden path to the spirit land. 104 THE OSAGE TRIBE. [BTH. ANN. 39 Sone 1. (Osage version, p. 399; litera Itranslation, p. 537.) Music of 1st and 3rd Stanzas M.M A - 404 Transcribed by Alice C. Fletcher Time beats f F IF r fe f r r r Wa-no™ - xe ia- do" a-no?-k’o" mi" - kshe no®, Wa-no®- ae a aus Ent Ee i—ae xe ia - dona-non-k’o" mi®- kshe tho ho, Wa -no® - hit of Jory FattScodait ita allt Rese FREE TRANSLATION. I, I hear the coming of spirits, I hear the coming of spirits, To the smoke-vent I hear the spirits come. I hear the coming of spirits, I hear the coming of spirits, I hear the coming of spirits. 2. To the rear of the house I hear the spirits come. 3. To the ends of the house I hear the spirits come. 4. Within the house I hear the spirits come. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION, 105 Sone 2. (Osage version, p 400; literal translation, p. 537.) M.M. # - 108 Transcribed by Alice C. Fletcher Time beats Wa-no"-xe a-dsibthe taton he the, E_ wi- tsi-go f aang f Ff f bthe ta tom he the Wa-no™-xe dsibthe ta ton he the, fe Wi-tsi-gobthe taton he the Wa-no’-xe dsibthe tatom | fae he the, Wi tsi-go bthe ta tom he the. FREE TRANSLATION. Ws For my journey to the spirit land I stand ready, To the land where my fathers have gone. For my journey to the spirit land I stand ready, To the land where my fathers have gone. For my journey to the spirit land I stand ready, To the land where my fathers have gone. 106 THE OSAGE TRIBE. [BTH. ANN. 39 Sone 3. (Osage version, p. 400; literal translation, p. 538.) First Stanza _M.M. i = 132 Transcribed by Alice C.Fletcher iain -nom - xe a-tha bi the the, U- zho™ - ge a-tha bi the the, U-zho™- ge u-wa-pa thi" he, Wa-no"- f r , xo aitha’ bi: o tho,” )U -xhot=0 ge, c-wai- fea thi" he. FREE TRANSLATION. 1. All have gone to the land of spirits, Leaving a well-trodden path, Already upon that path I am traveling. All have gone to the land of spirits, Upon their path I am traveling. All have gone to the land of spirits, Upon their path I am traveling. 2. All have gone to the land of spirits, Leaving a well-trodden path. Already upon that path I am traveling. My grandfathers have gone to the land of spirits, Upon their path I am traveling. All have gone to the land of spirits, Leaving a well-trodden path. SoNnGS OF THE VIGILS. Following the Spirit Songs is a group of two songs called No?’- zhi®-zho" Wa-tho®. The title of this group of songs may be literally translated as follows: No®-zhi7, stand; zho", asleep; Wa-tho", songs. LA FLESCHP] RITE OF VIGIL—FREE TRANSLATION. 107 These songs refer to the vigils of a man who is chosen for the office of leader of a war party. His office is one of great hardship, because he must act as intermediary between the people and Wa-ko"’-da and offer to that power the prayers of the people for aid in an enterprise that is serious and uncertain in its future consequences. The chosen leader is required, for the time, to abandon all thoughts of human affairs, even to disregard his physical comforts or discomforts, to keep his mind fixed only upon the supplications of the people and upon the divine power to whom he offers them. He must keep awake while he offers the prayers so as not to lose any sign of approval that might be revealed to him in answer to the prayers. To insure wakefulness the supplicant must stand or he must move about, or if forced by exhaustion to rest he must sit in an upright position, although he may lean against a rock or against the trunk of a tree. He must, however, remain awake whether he stands or sits and keep his mind fixed upon the divine power to whom he must cry con- tinually for a period of four days, or seven if his strength holds out for that length of time. Thus it will be understood that the title of this group of songs is figurative and means that when the chosen war leader takes this rite he is to be as it were asleep to all human affairs but stand awake as he offers the appeals of his people to Wa-ko®’-da. In his seven days vigil this chosen leader represents all of the people, and at the end of the four or seven days his duty as repre- sentative of all the people has been performed. When he returns to his home then begin the rites pertaining to the organization of the war party and the leader’s responsibility as intermediary shifts from the people to the warriors who are to risk their lives for the tribe. Throughout the expedition the leader must maintain his vigil and his appeals to the divine power for aid to the warriors. During the march he must walk apart and at night must camp alone with no one for companion, for he must be alone when in the presence of Wa-ko"’-da. When he lies down for required sleep he must always lie on his side, never on his back, in order that the vigil might remain unbroken, in spirit at least, until the expedition comes to an end. This is what No*’-zhit-zho", the native title of the Rite of Vigil, means. By some authors on Indian customs the term ‘‘fast”’ is applied to this rite; while the term is correctly used it, nevertheless, is very partial, as it covers only one phase of this complex rite. A man may take the rite of No®’-zhi"-zho® on his own behalf when overcome with grief at the loss of wife, child, or some close relative, by death, or when he desires to appeal to Wa-ko®’-da for aid in his struggles for life. 108 THE OSAGE TRIBE. [ETH. ANN. 39 Two songs belong to this section of the rite. The first song has seven stanzas and it may suffice to translate one line of each stanza, as that gives the theme of the stanza, all the rest of the lines | being repetitions. Sone 1. (Osage version, p. 400; literal translation, p. 538.) M.M mt - 400 Transcribed by Alice C. Fletcher r r Ha-zho? a-ki-the tha ha, ha-zhona-kithe, Ha-zhona-ki the tha, = 22 See is oth titan be oe ae r Paha ha-zho® a-ki-thetha ha, Ha-zhon a-ki-the, ha-zho" a-ki-the tha, f eles at pas 7p Ha-zho" a-ki-the tha ha, ha-zohna-kithe, Ha-zhona-kithe tha, , Vous \laarecelieoHl cat, oir f eal ha-zhon a-ki-the tha ha, Ha-zhona-ki-the, ha-zhona-ki-thetha, Ha-zhona-ki-the tha ha, ha - zhon a-ki-the tha. FREE TRANSLATION. 1. I cause myself to sleep. I cause myself to sleep. 2. I cause myself to dream. TI cause myself to dream. 3. Come hither ye dreams. Come hither ve dreams. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION, 109 4. Teach me ye dreams. ‘Teach me ye dreams. 5. In the light of the house I stand with browned hands. (Browned with the soil of the earth, the symbol of No»®/-zhi*-zho*.) 6. ’ In the light of the house I stand with darkened face. (Darkened with the sacred soil of the earth.) 7. In the light of the house I see the down of the eagle. The first four stanzas of the song picture the leader as causing himself, in his vigil, to sleep—that is, to forget all human affairs while he seeks for dreams that will give the signs by which he can read the future. In the fifth, sixth, and seventh stanzas he beholds him- self as in a vision standing amidst the evening firelight within the House of Mystery, his hands browned with the soil of the earth, the sacred sign of this rite, and as looking upon the assembled No®’- hot-zhi"-ga, within the Sacred House in priestly attire, the crown of their heads covered with the white down of the eagle. In the first four stanzas of the second song the supplicant speaks of his hands and face as browned and blackened by the sacred soil of the earth, a symbol of one of the abiding places of Wa-ko"/-da, to whom the Do-do"’-ho"-ga had offered the supplications of the people. In referring to this ancient prescribed manner of approaching the divine power with supplications, the leader uses the expression, “a-wa-ni-ka-e,”’ which, freely translated, means, I abide in it as a person. The expression applies not only to the representative of the people but also to the people themselves who make as a part of their daily life this prescribed manner of appealing to Wa-ko®’/-da. It has been stated elsewhere (36th Ann. Rept. B. A. E., pp. 49-50) that from ancient time it was the custom of the people to cry to Wa-ko®’/-da morning, noon, and night. When about to make their cry they touched the earth with their fingers and the soil that clung to them they placed upon their foreheads, then standing in the open air, in front of the doors of their houses, they made their daily appeals to Wa-ko"’-da. The song, in the last stanza, closes with the mention of the light of day touching the face of the supplicant. This has reference to the close of the seven days’ No®’-zhi"-zho" (vigil) and the awakening from that supplicatory sleep into the ordinary day of life. Many of the sacred songs close with a reference to the return to the light of day which marks the conclusion of some particular ceremonial act. 110 THE OSAGE TRIBE. [BTH. ANN..39 Sone 2. (Osage version, p. 402; literal translation, p. 539.) M.M. d = 412 Transcribed by Alice C. Fletcher Time beats . c Non-be o” -xo-dse u-wa-ni - ke non ta- koi" daha, as No -beo2- xo-dse u-wa-ni - ke nonta- koin da ha, tho wa-da- da Uys easisubilqgqua alla borstig best het RtomaKht No2-be 02 - xo-dse u-wa-ni - ke no® to-ko im da ha. FREE TRANSLATION. le Sacred is the act by which my hands are browned, It is the act by which I offer my prayer. Pa Sacred is the act by which my hands are blackened, It is the act by which I offer my prayer. 3. Sacred is the act by which my face is browned, It is the act by which I offer my prayer. 4. Sacred is the act by which my face is blackened, It is the act by which I offer my prayer. Sacred is the light of day that falls upon my face, The day on which my prayers are finished. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. aL SUPPLICATION SONGS. The next group of songs, four in number, bears the common title, Wa-da Wa-tho", which, freely translated, means Supplication Songs. These songs refer to the continuance of the supplicatory rite in which the chosen Do-do®’-ho*-ga mediates between his warriors and Wa- ko®’-da. This mediation continues during the ceremonies attending the organization of the war party which take place soon after the return of the Do-do®’-ho®-ga from his seven days’ vigil. While on the journey, and throughout the entire expedition, the Do-do®’-ho®-ga walks and camps alone, quite apart from his men, in order that his meditations may not be disturbed by the activities in the camps of his warriors. Only at dusk, when the evening meal has been prepared, is he conducted into camp by one of his men for the necessary length of time in which to refresh himself with a little water and a bit of food. The song has but one stanza and only two translatable words: Wa-da, e-tha, My petitions, these are. The song is sung four times in succession. Sone 1. (Osage version, p. 403; literal translation, p. 540.) Transcribed by Alice C. Fletcher da e tha,wa dada, Wada da e tha,wa dada, Wa da da e tha. A free translation is not necessary, the purport of the song being given above. The second song refers to the leave taking of relatives by the Do-do"’-ho®-ga and his men when they start on their perilous journey. The song has one stanza and but two words: Bthe hi da, I go, or I am going. The relatives to whom these words are addressed give to them a meaning more significant than that which they ordinarily convey. To the relatives the words mean: I am going, perhaps never to return, send to me your will power while | am gone. (The transference of will power resorted to by the Osage in times of danger was also practiced by the Omaha, a cognate tribe. See 27th Ann. Rept. B. A. E., p. 5838.) 119 THE OSAGE TRIBE. [BTH. ANN. 39 Beginning with the morning following the departure of the warriors, the relatives take upon themselves the rite of No®’-zhi"-zho" for a period of four successive days. As the dawn begins to redden the eastern horizon the relative takes a bit of the sacred soil of the earth, puts it upon his forehead, and going to a secluded spot cries to Wa- ko"’-da imploring that power to bring home the warrior in safety. Sone 2. (Osage version, p. 403; literal translation, p. 540.) Transcribed by Alice C. Fletcher oe r -' oe ao Time beats f i | P Bthe hi" da ha da, bthe hitda da, Bthehi da ha da, r IF f ae bthe hi" da da, Bthe hin da ha da, bthe him da da. A free translation is not necessary, the purport of the song being given above. The third song refers to the leave taking by the Do-do"’-ho"-ga of the No*’-ho"-zhi"-ga. In speaking to the No*’-ho"-zhi"-ga the Do-do”’-ho"-ga addresses them as Tsi’-go, Grandfather, using the term ceremonially and as one of veneration. The song has one stanza of eight lines. The translation of one line will suffice, as the other seven are repetitions Tsi’-go, Grandfather; k’o", to perform an important act; bthe hi" da, I go. In this song there is an implied entreaty made by the Do-do®’-ho"-ga to the No"’-ho?-zhi"-ga that they give their aid by making appeals to Wa-ko"’-da for the success of the expedition and for the safe return - of all the warriors. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 113 Sone 3. (Osage version, p. 403; literal translation, p. 540.) Transcribed by Alice C. Fletcher ieee eT da d a, Tsi-go ko bthehinda da, Tsi- Tsi-go k’ombthe hin da_ da, K’on bthe hin da da, Tsi-go k’onbthehinda da, Tsi - go ko"bthehi"da da. A free translation is not necessary, the purport of the song being given above. The fourth song refers to the final act of the Do-do®’/-ho®-ga before going forth with his warriors when he formally tells the No®/-ho®- zhi"-ga that all the preparations for the expedition have been com- pleted. These preparations he speaks of as ‘‘ things gathered.” The word “things” not only includes the rite of the seven days’ vigil and the vigil during the ceremonies connected with the organization of the war party, but the bringing together of symbolic objects; the stand- ards, the sacred thongs for the tying of captives, the sacred charcoal, symbol of merciless fire, the paint for the warriors when about to make an attack, and the assembling of the armed men with their command- ers. He has gathered all these ‘‘things’’ necessary for the success of the expedition, he reports to the No®’-ho®-zhi®-ga, whom he continues to address as Tsi’-go, and now is ready to go forth and to perform the important act to which he has been consecrated. 3594°—25;——_8 114 THE OSAGE TRIBE. (ETH. ANN. 39 Sone 4. (Osage version, p. 403; literal translation, p. 540.) M d- 152 Transcribed by Alice C. Fletcher r Forint Btho a-gi-gtoida ha, bthoa-gi-gtoimda ha, f f forrifien Bul fey, Btho a-gi- cto im as ha da, btho i hi® da. FREE TRANSLATION. i I have gathered all, I have gathered all, I have gathered all. All the things I have gathered. It is all, It is all. Grandfather, I now go to perform an act. I have gathered all. I have gathered all. Sones or TAKING Up THE Sympotic RATTLE. The group next in order is composed of one wi’-gi-e with two songs, and called Pe’-xe Thu-ca bi Wa-tho®, freely translated, Songs of Taking up the Rattle. From the beginning of the ceremony the A’-ki-ho" Xo’-ka had been accentuating the time of the songs by striking his thigh with his hand, but he now takes up the rattle cere- monially and uses it throughout the rest of the ceremony for beating the time of the songs that are to follow. The office of custodian of the Pe’-xe, the rattle consecrated for use in the ceremonies of the tribal rites, belongs to the Ho?’-ga U-ta-no®- dsi gens. The use of a rattle in the tribal rites evidently dates back LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 115 to the time when these rites were under the control of the Ho®’-ga U-ta-no"-dsi gens, before the reorganization mentioned in the first volume of the Osage work took place. (See 36th Ann. Rept. B. A. E., pp. 59-61, 66.) When used at the initiation of a candidate belonging to the Ho®’-ga great division in the No®’-zhi"-zho" degree of the rites, the rattle sym- bolizes the head of the male puma. The “‘seeds”’ (or sound-producing gravel placed within the gourd) symbolize the teeth of the right jaws of the animal, but when the initiation into this degree is given to a member of the Tsi’-zhu great division the “‘seeds”’ symbolize the teeth of the left jaws of the puma, thus indicating that the right to use the symbolic rattle belongs in common to the great tribal divisions. The handle of the rattle symbolizes the lower right front leg of the animal when the initiate belongs to the Ho®’-ga division and the lower left front leg when the man belongs to the Tsi’-zhu division. Thus the quality and the unity of the two great divisions of the tribe might be symbolized as a man or an animal, but the Ho®’-ga great division must always represent the right side of the man or animal and the Tsi’-zhu great division the left. This idea of the duality and unity of nature was not only reflected in the tribal organi- zation but, in former times, instilled in the minds of the people by certain personal habits, as for instance, members of the Ho®’-ga great division when putting on their moccasins put the moccasin on the right foot first, while members of the Tsi’-zhu great division put the moccasin on the left foot first. RATTLE WI’-GI-E. (Osage version, p. 403; literal translation, p. 541.) 1. What shall they use for a rattle, they said, it has been said, in this house. It is a head that they shall use as a rattle. Verily, it is not a head that is spoken of. The male puma that lies outstretched upon the earth, It is his head That they shall use as a rattle. When they use the head of the male puma as a rattle, as they travel the path of life, And go toward the setting sun, against their enemies, They shall, by its use, easily overcome their foes, O, younger brothers, they said to one another. pl Se ee nage) 10. What shall they use for seeds (gravel put into the gourd) for the rattle, as they travel the path of life. 11. The male puma that lies outstretched upon the earth, 116 THE OSAGE TRIBE. [ETH. ANN, 39 12. It is the teeth of his right jaws, they said, it has been said, in this house, 13. That they shall use as seeds for their rattle. 14. When they use the teeth of the male puma as seeds for their rattle, 15. Then, indeed, the sound of their rattle shall be clear, O, younger brothers, they said to one another. 16. What shall they use as a handle for their rattle, they said, it has been said, in this house. 17. The male puma that lies outstretched upon the earth, 18. It is his lower right foreleg 19. That they shall use as a handle for their rattle. 20. When they use the lower right leg of the male puma as a handle for their rattle, 21. They shall make themselves to be free from all causes of death, O, younger brothers, they said to one another. 22. Behold the fine dust within the rattle, 23. That fine dust also 24. Is not without a purpose. 25. Toward the setting of the sun, 26. There are people who possess things that are numerous, 27. Verily I have made this dust to represent all those things, they said, it has been said, in this house. 28. Behold the opening at the top of the rattle, they said, it has been said, in this house. 29. That opening also 30. Is not made without a purpose, 31. The little insects (all living creatures), 32. It matters not whose little ones they may be, 33. We shall cause them to fall into this opening, as though into a snare, O, younger brothers, they said to one another. 34. Verily, at that time and place, it has been said, in this house, 35. They gave a menacing stroke with the rattle. 36. Toward the setting of the sun, 37. Toward the adolescent youth who dwells in that direction, 38. They gave a menacing stroke, 39. And said: When they give a menacing stroke such as this, 40. They shall strike with ease their enemies, O, younger brothers, they said to one another. 41. When they conjure their enemies with the rattle, as they travel the path of life, 42. They shall conjure them with ease, O, younger brothers, they said to one another. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. EU? 43. For a second time they gave a menacing stroke with the rattle. 44. Toward the setting of the sun, 45. Toward the adolescent maiden who dwells in that direction, 46. They gave a menacing stroke, 47. And said: When they give a menacing stroke such as this, 48. They shall strike with ease their enemies, as they travel the path of life, O, younger brothers, they said to one another, 49. When they conjure their enemies with the rattle, as they travel the path-of life, 50. They shall conjure them with ease, O, younger brothers, they said to one another. 51. For the third time they gave a menacing stroke with the rattle. 52. Toward the setting of the sun, 53. Toward the man who is honored for his military prowess, who dwells in that direction, 54. They gave a menacing stroke, 55. And said: When they give a menacing stroke such as this, 56. They shall strike with ease their enemies, O, younger brothers, they said to one another, 57. When they conjure their enemies with the rattle, as they travel the path of life, 58. They shall conjure them with ease, O, younger brothers, they said to one another. 59. For the fourth time they gave a menacing stroke with the rattle. 60. Toward the setting of the sun, 61. Toward the woman who has given birth to her first child, who dwells in that direction, 62. They gave a menacing stroke, 63. And said: When they give a menacing stroke such as this, 64. They shall strike with ease their enemies, O, younger brothers, they said to one another, 65. When they conjure their enemies with the rattle, as they travel the path of life, 66. They shall conjure them with ease, O, younger brothers, they said to one another. The first song of this series refers to the actual going forth of the Do-do"’-ho"-ga with his warriors. The song has one stanza which is sung four times by the A’-ki-ho" Xo’-ka. The translation of the first line will suffice, as all the others are repetitions. 118 THE OSAGE TRIBE. [BTH. ANN. 39 Sone 1. (Osage version, p. 405; literal translation, p. 543.) M.M. d - 444 Transcribed by Alice C. Fletcher Time beats ' f f f K’on bthei® da he, k’o® bthe im da he, ae UR Cor ia et a, K’o" bthe it da he,k’o" bthe it da he, K’o" bthei@ da ha we he ? bo ae ee | , =) r r P r fF Pints fh K’o" b the i" da he, k’on b the in da he, K’o" bthe i da he, k’on b the i" da he. me |i u FREE TRANSLATION. it I go to perform an important act, I go to perform an important act. The theme of the second song is the Symbolic Man which personifies the unity of the tribe, both in purpose and in action. In the song this Symbolic Man is represented as speaking of the value of his gifts which enable him to act: Of his feet; of his legs by which he can move freely and swiftly from place to place; of his body, within which is maintained the vigor of his physical structure; of his arms, by which he defends himself; of his head, that contains his mental powers; of his mouth, through which he expresses his thoughts. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 119 Sone 2. (Osage version, p. 406; literal translation, p. 543.) M.M. o - 152 Transcribed by Alice C. Fletcher f Da - do" wi-tae tho k’o™no™ wi-ta do™ ha, Time beats Da - do" wi - tae tho ko" nom wi-ta do? ha, Da- do" wi tae tho co" no" wi-ta do? a f Ci wi - tae tho k’o0 no? ~wi-ta do™ ha, So er ko"notwi-tado"ha, Da-do"wi-taetho k’o™no" wi-ta dot ha. FREE TRANSLATION, dl. Of all my gifts I value most my power to act, My feet, upon which I go forth, I value. 2 My legs, by which I move swiftly, I value. 3. My body, that sustains my strength, I value. 4, My arms, with which I defend myself, I value. 120 THE OSAGE TRIBE, [BTH. ANN, 39 5. My head, that contains my thoughts, I value. 6. My mouth, by which I express my thoughts, I value. Sun or Pree OFFerine Soncs. The group of three songs next in order is entitled Mi Wa-tho", Sun Songs, or No®-ni’-o"-ba Ba-ha Wa-tho", Pipe Offering Songs. The songs refer to the supplications of the Do-do*’-ho®-ga to the God of Day, theSun. The first song of the group pictures the Do-do®’-ho"-ga standing alone in the darkness of early dawn in silent contemplation upon the approach of the sun, to whom he is to make his appeal with the hope that the power abiding therein will look with favor upon the little pipe with which he is to offer his petition; upon the weapons of the warrior, the knife, the war club, the bow, and the arrow with which he hopes to destroy his enemies; upon the trophies, the spoils which he wishes to gain without loss to himself, and finally upon the time when he shall return successfully to his people as from the dark- ness of uncertainty into the reality of the day of life and joy. There are eight stanzas of six lines each to this song. It will be sufficient to translate the first, third, and fourth lines of each stanza, as the second, fifth, and sixth are repetitions of the first line. Sone 1. (Osage version, p. 407; literal translation, p. 544.) M.M. d = 160 Transcribed by Alice C. Fletcher ee aoe sue ea ii Wa - dsi- hi-tho" - be he tha, Wa - dsi_ hi-tho"- —______ ritard—~ — __rilard 3 SS SS — as a et Time beats f i he tha, The - tho hi-thom - be he tha, I - ba hi-tho" - be .he tha, Wa - dsi hi - thon - a pe Tiga eS be he tha, Wa - dsi hi-tho™ - be he tha. LA FLESCHB] RITE OF VIGIL—FREE TRANSLATION. “121 FREE TRANSLATION. dic Whither shall he (the God of Day) appear, Here, at this place, he shall appear, Unto the sacred pipe he shall appear. 2: Whither shall he appear, Here, at this place, he shall appear, Unto the sacred knife he shall appear. 3. Whither shall he appear, Here, at this place, he shall appear, Unto the sacred war club he shall appear. 4. Whither shall he appear, Here, at this place, he shall appear, Unto the bow he shall appear. 5. Whither shall he appear, Here, at this place, he shall appear, Unto the arrow he shall appear. 6. Whither shall he appear, Here, at this place, he shall appear, Unto the scalp (to be taken) he shail appear. 7. Whither shall he appear, Here, at this place, he shall appear, Unto the spoils (to be taken) he shall appear. 8. Whither shall he appear, Here, at this place, he shall appear, Unto the day (of my return) he shall appear. The second song pictures the Do-do®’-ho®-ga still standing with eyes intently fixed upon the sun as it slowly rises from behind the eastern horizon. When the sun has fully risen he sees within it, one after the other, his little pipe and all the things that had been con- stantly upon his mind. This vision he takes as an answer to his petitions. This song has eight stanzas each with seven lines. The translation of the first and third lines of each stanza will be sufficient for the understanding of the song, as the other lines are repetitions of those given. 19" THE OSAGE TRIBE. [BTH, ANN. 39 Sone 2. (Osage version, p. 408; literal translation, p. 545.) Transcribed by Alice C.Fletcher M.M. d = 4138 Pe ae Tene Gis eg ; r Timebeatsm.i go hi-thot-be tha, | Tsi-go hi-thot-be tha, rototh r ricustaph r i san at snl I- ba thin a-do" hi-tho™be tha, Tsi-go hi-thon-be tha, —e— Tis at ee fi earn I-ba thi a-do hi-tho"-be tha, Tsi-go hi-tho"-be tha, = = S=— Zs r r r r I - ba thim a-don hi - tho"- be tha, FREE TRANSLATION. Us My grandfather appears, Lo! he appears, holding in his hand a pipe. 9 My grandfather appears, Lo! he appears, holding in his hand a knife. 3. My grandfather appears, Lo! he appears, holding in his hand a club. 4. My grandfather appears, Lo! he appears, holding in his hand a bow. 5. My grandfather appears, Lo! he appears, holding in his hand an arrow. 6. My grandfather appears, Lo! he appears, holding in his hand a scalp. de My grandfather appears, Lo! he appears, holding in his hands spoils. 8. My grandfather appears, Lo! he appears, holding in his hand the day. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 123 The third of the series of Sun Songs has two stanzas of six lines each. The war party having been on the march is now near its destination, and the Do-do"’-ho-ga is pictured as standing alone in the darkness of early dawn silently contemplating the attack to be made upon the enemy that morning. The first stanza speaks of his determination to make the attack at sunrise. The second dwells upon the appeal of the Do-do®’-ho®-ga to Wa-ko"’-da for pity in the moment of attack. The cry is for himself and for his men whom he desires to lead home without hurt or loss. The first and third lines of each stanza are translated in full; all the others are repetitions of those given. Sone 3. (Osage version, p. 409; literal translation, p. 545.) M. d -~160 Transcribed by Alice C. Fletcher Mi ’tho® - be do™ ha-wa - tsea-to" - he, it Sapa ae = Fort oft f nef g Mi ’tho"-be do” ha-wa-tsea-to" he no", Ga xtsi to” wa-ki-tha, idoryas aisleailtmnd’t sql vbwote tr ne vid tse a-to2 he, Mi’tho®-be don ha-wa-tsea-ton he no, Ga xtsi to" wa - ki-tha, ga xtsi to® wa - ki- tha. FREE TRANSLATION. af I stand ready to strike at rise of sun, At that moment we fight the foe. At that moment we fight the foe. 9 I stand ready to strike at rise of sun, At that moment pity thou me. At that moment pity thou me. 124 THE OSAGE TRIBE. [BTH. ANN. 39 Wo tr Sones. The next group of three songs is called Sho"’-ge Wa-tho", Wolf Songs. These songs not only refer to but they belong to the Xthe’- ts’a-ge, the commanding officers chosen at the ceremonial organiza- tion of a war party. These commanding officers are always eight in number, four chosen from the Ho*’-ga division and four from the Tsi’-zhu. The word Sho"’-ge includes the gray wolf, the coyote, and the domestic dog, but the gray wolf is particularly referred to in these songs. The distinctive quality of the animal so aptly chosen to be the symbol of these officers is alertness which partakes of a divining nature, a quality that has for its aid an extraordinary sense of hearing and of smell. As an example of this peculiarity the following story is often told among the Omaha, a cognate tribe: About the middle of the last century a large war party of Pawnee Indians raided the Cheyennes who happened to be camped upon one of the branches of the Arkansas River toward its head. In the flight and pursuit that followed the capture of Cheyenne horses an Omaha warrior who had joined the Pawnees became sick from an old wound in his leg and was obliged to steal away from his fleeing companions and take another route toward his home. One morning as the Omaha was riding along at a slow pace he noticed a coyote trotting ahead of him, looking back now and then to see if he was still moving. At night when the man hobbled his horse and camped the coyote sat near by watching every movement of the sick warrior. When in the morning the Omaha continued his travel the coyote trotted ahead as before. Suddenly, in the afternoon, the coyote drew his tail between his legs and fled mto a deep ravine. The man hur- riedly looked around but saw nothing. However, he also fled to the ravine, hid his horse, and then from a safe vantage point he carefully scanned the country and saw in the distance a large war party going by on a steady lope. Three times the coyote who con- tinued to accompany the Omaha on his homeward journey gave like warning of danger and in each instance the warning proved timely. The wolf is also esteemed by warriors for his power of endurance; he can travel long distances and resist hunger for many days. When a buffalo is taken sick or is wounded, the wolf will wait a long time without feeding for the animal to die in order to feast upon him. This was the case of the coyote in the Omaha story, only the sick animal happened to be a wounded warricr instead of a buffalo. The wolf is envied by the warrior for another quality, that is, his contentment to be alone and far away from his native habitat for long periods of time. A Do-do®’-ho"-ga of a war party often had difficulty in keeping his men from deserting when suffering from attacks of homesickness. In some of the war songs of the Siouan LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 125 groups this quality of the wolf is referred to by expressions such as this, “Like the wolf I fear not to venture into strange lands.” (27th Ann. Rept. B. A. E., pp. 417, 419.) The first of the Sho"/-ge Wa-tho” has two stanzas. In this song the Xthe’-ts’a-ge are likened: as they go forth over the land, to noisy wolves, because their scouts as they come and go call to each other by imitating the cries of the wolf in order to al detection by the enemy. Only the first and second lines of each stanza will be translated, as all the other lines are repetitions of these. Sone 1. (Osage version, p. 410; literal translation, p. 546.) Transcribed by Alice C. Fletcher M.M. aS 160 Shot-ge hi® to ho - _ ho a-tsia-tha be, Fe P Ho-ho a-tsia-tha be, ho -ho a-tsia-tha be Ir ho.a-tsi a-tha be, Ho-ho a-tsia-tha be, ho-ho a-tsia-thabe. FREE TRANSLATION. il, The gray wolf passes by with noisy cries, Passes by with noisy cries, passes by with noisy cries. 9 I am the.gray wolf who passes by with noisy cries, Who passes by with noisy cries, who passes by with noisy cries. 126 THE OSAGE TRIBE. (PTH. ANN. 39 The second song has one stanza of eight lines. The song refers to the eight commanders of a ceremonially organized war party. Al- though each commander has a voice in the council as to the route to be taken, yet when the decision is made it is spoken as though with one voice. Sone 2. (Osage version, p. 410; literal translation, p. 546.) M.M d - 460 Transcribed by Alice C. Fletcher Shon - ge wi no™a-thin he no®, Motzho" tho-e ae f a-thin he, Shon - ge wino"a-thi"he non, Mon-zho" tho-e a es foot tt a-thim he, Sho?-ge hi" to, Mot-zho® tho-e a-thit he no®, Shor. r seas aa at =e Seperate re ep ge _ winota-thi™ he not, Mo®-zho" tho-e a-thi® he. FREE TRANSLATION. 1. I, the wolf, alone must give command, Upon what land the warriors shall pass, I, the wolf, alone must give command, Upon what land the warriors shall pass, I, the gray-haired wolf, Upon what land the warriors shall pass, I, the wolf, alone, must give command, Upon what land the warriors shall pass. The third song refers to the success of the Xthe’-ts’a-ge in over- coming the enemy and to the feasting of the wolves upon the fallen foe. This song has but one stanza of seven lines. The translation of the first and second lines is given, all the other lines being repetitions of the two lines. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION, air Sone 3. (Osage version, p. 410; literal translation, p. 546.) M.M. d - 468 Transcribed by Alice C.Fletcher Time beats r Sho" ge wa-tha-pa a-thin he, e, Shot-ge hi® to wa-tha-pa a-thi® he, Shot.ge wa-tha-pa a-thin he, f he Shor-ge hin to wa-tha -pa a-thi2 he, r r ; r -thin he, Silom pe fea ial FREE TRANSLATION. 1. It is I, the wolf, who feasts upon the fallen foe, It is I, the gray wolf, who feasts upon the fallen foe. Crow Sonas. The group next in order is the Ka’-xe Wa-tho", Crow Songs. This group of two songs pictures the crow as flying by couples toward the battle field to feast upon the bodies of the slain warriors. The crow songs fittingly follow the wolf songs, as both refer to the same rapa- cious acts that take place soon after a battle has been fought. At the dances of the He-thu’-shka societies among the Omaha, the Sioux, and the Osage, some of the warriors, upon whom the honor and the right had been ceremonially conferred, wear upon their hips a decorative badge called Ka’-xe, Crow. To this badge are attached the skin of a crow and the tail of a wolf, as well as two long pendants covered with eagle feathers. (See 27th Ann. Rept. B. A. E., p. 441.) The badge symbolizes the battle scenes of which these wolf and crow 128 THE OSAGE TRIBE. [ETH. ANN. 39 songs are descriptive. The signification of the crow skin and the wolf tail is easily understood and the pendants covered with eagle plumage picture the fluttering feathers of the birds as they tear at each other in the air when fighting over the dead bodies. The first song has one stanza with six lines. The first and second lines only are translated, as all the other lines are repetitions. In the first and second of these songs the crows are made to speak of them- selves as ‘‘men.” Sone 1. (Osage version, p. 411; literal translation, p. 546.) M.M A - 168 Transcribed by Alice C. Fletcher <p stp al Ni-kathon-ba Time beats pasa ae eee: pa ha-dsi bthe hi no, Ni-ka tho"-ba — bthe a-da wa he, Wa-tha-pa - pa ha-dsibthe hi no", Ni-katho"-ba = PD =e fee eatin f r r f a bthea-dawa - he,Wa-tha-pa - pa ha-dsibthe hi-no2, FREE TRANSLATION. 1. Side by side two men go forth To feast voraciously upon the slain. The second song is the same as the first in words and purport, but the two songs are not alike in music or in rhythm. In the first song the time is slow; in the second the time is faster and the music gleeful in expression. No translation of the words is necessary. LA FLESCHD] RITE OF VIGIL—FREE TRANSLATION, 129 Sone 2. (Osage version, p. 411; literal translation, p. 547.) M.M. | - 41716 Transcribed by Alice C. Fletcher Ni - kathon-ba bthe a-do" he no, A he the ni-ka thon- r ; P r Sali f A he the wa-tha-pa - pa bthea-dom he no, DEER Sones. Following the Crow Songs are the Ta Wa-tho", Deer Songs, which are sometimes spoken of as Ta Gi’-bo" Wa-tho", Songs of Calling the Deer. These Deer Songs are said to be the first of all the songs composed for the war rites, as their place in the Ni’-ki Wi’-gi-e is next to the sections relating to the search for and the finding of the roots of four plants which were consecrated for the use of the people as sacred foods. (See 36th Ann. Rept. B. A. E., pp. 182-185.) These four plants, namely, Nelumbo lutea, Apios apios, Sagittaria latifolia, and Faleata comosa, as well as the deer, afforded the people a steady supply of food and were, for that reason, particularly men- tioned in the rituals of the great war rites. The people regarded these food plants and the deer not merely as natural food products but also as necessary to the very existence of the tribe itself, there- 3594°—25;+——_9 130 THE OSAGE TRIBE. [BTH. ANN. 39 fore the warriors were depended upon to hold with all their strength and valor against invasion by unfriendly tribes the land that yields such products. The Deer Songs are six in number. The first song has two stanzas. Only the first and third lines are translated, as all the other lines are repetitions. Sone 1. (Osage version, p. 411; literal translation, p. 547.) M. M.e = 152 Transcribed by Alice C. Fletcher EE RS RE ae ei Time beats ¢<in_donon she-tho to® no®, Wi-tsi"-do non she-tho to no”, . q . - n ts in. Dsi no™no™ge he, dsi no™no®-e, Dsino?-no”-ge he,Wi-tsi do no" she-tho to™ no", Wi-tsin-do no® she-tho to" no?, : ; oe ae Dsi not-no" - ge he, Dsi nom -no"-e f Dsi no®-no2-ge he, Wi-tsi®-do no” she-tho tom no". FREE TRANSLATION. ie My elder brother stands in yonder place, Upon thy feet run thou there, upon thy feet run thou. 2. My elder brother stands in yonder place, Run thou there with thy horns, with thy horns run thou. In the second song the sister continues to call to the male deer with white horns. In a sense these calls to the deer are supposed to be magical, but in reality they are supplicatory and ask for the LA PLESCHE] RITE OF VIGIL—-FREE TRANSLATION. Sil continuity of that form of animal life upon which the people are dependent for their existence. The legs, body, and forelegs of the deer should be mentioned in these two songs, as well as the feet and head, but Wa-xthi’-zhi availed himself of the A’-ki-ho" Xo/-ka’s standing privilege of omitting the stanzas between the initial and closing stanzas where the songs enumerate the various vital parts of a body. The first and third lines of each stanza only are translated, as the other lines are repetitions. Sone 2. (Osage version, p. 412; literal translation, p. 547.) M.M. a = 152 Transcribed by Alice C. Fletcher Time beats r if f ee Tsi"-do he cka ‘gthe he, Tsi?-do he gka ’gthe-he, Tsit-do he cka’gthehe, (Qi no™-not-e, gi non-no"- ge he, f r wilt Tsi"- do he cka’gthe he, Tsi"-do he g¢ka gthe he. FREE TRANSLATION. il. To my elder brother, thou with white horns, Go running upon thy feet, running upon thy feet. 2: To my elder brother, thou with white horns, Go running with thy white horns, running with thy white horns. Among the Omaha, a cognate tribe, there is a hi’-go" (myth) that tells of a sister who had the power of calling the animals to her brothers who shot them with their arrows as they ran past. This hi’-go", it is probable, is the vestige of a rite similar to that of the Osage in practice to-day. 132 THE OSAGE TRIBE. [ETH. ANN. 39 The following is the song with which she called the animals: Sona. M.M.o -66 Trangcribed by Alice C.Fletcher Pho win food Lally carr 449 orcas & f Time beatspy ida i ba, du-da i ba, FREE TRANSLATION. 1. Come ye hither, come ye hither, That my elder brothers may shoot you, Come ye hither. In the third Deer Song belonging to the ritual the sister continues her calling, but in this song the calling is with a divining spirit by which she sees her elder brother in the act of shooting as he stands in wait amidst the haunts of the deer. His shot wounds the animal, which flees for its life. ‘The song has but one stanza. The translation of the first and third lines give the import of the song. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION, 133 Sone 3. (Osage version, p. 412; literal translation, p. 548.) M.M. d = 152 Trenscribed by Alice C. Fletcher Wi-tsi®-do no" ku-dse to"™'no", O-e no"-no™-gehe, O-e no®-no-e, e not-not- ge he, Wi-tsi" - do no" ku-dse to no?, Wi-tsi"-do no" ku-dseto"no2, O-e non-not-gehe, O-e no?-no"-e, O-e no"-no"-ge he, Wi-tsi®-do non ku-dse to" non. FREE TRANSLATION, 1s My elder brother shoots where he stands in wait, He wounds the deer, it runs, he wounds the deer, it runs! In the fourth song the scene shifts from the rush-covered house wherein sits the sister to the woods where the brother swiftly follows the fleeing deer he has wounded. The song has two stanzas. The brother is represented as speaking. The first and third lines of each stanza are translated, as all the other lines are repetitions. 134 THE OSAGE TRIBE. [BTH. ANN. 39 Sone 4. (Osage version, p. 412; literal translation, p. 548.) M.M. d = 160 Transcribed by Alice C. Fletcher da the, o da ni-wa, O da the ha,o da ni wa, Wi -dsithathe ho-wa-dse, | Wa-dsithathe ho-wa-dse wa to, Py) aes fea ee r r r O da the, o da niwa, O da the ha O daniwa to. FREE TRANSLATION. ils It is stricken, still lives and flees, I shaJl pursue and find it, wherever it goes. 2. It is stricken, still lives and flees, Though it has gone far I have found it. The fifth song has the subtitle Wa-pa’-dse Wa-tho", Butchering Song. This song represents the brother as having found the wounded deer, which he proceeds to butcher. The song relates particularly to the form in which the skin must be cut so that there may be no waste in preparing it for use. The duty of the warrior to protect the deer from destruction by unfriendly tribes is clearly set forth in the cere- mony called Wa-do’-ka We-ko, Scalp Ceremony, in which this song is used. In that rite the man conducting the ceremony of cutting the scalp, for distribution, of a slain enemy, simulates the cutting of the deer skin by the hunter. The Scalp Ceremony will be described in a later volume. This song has four stanzas. The first and third lines of each stanza only are translated, as all the other lines are repetitions. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 135 Sone 5. (Osage version, p. 413; literal translation, p. 548.) M. d - 160 Transcribed by Alice C. Fletcher Time beats r r r r r [ r r E-gi-o" ba ha gu wa, E-gi-o" ba ha gawa, Zhe- ga ba ha. cu wa, E-gi-o" ba ha gu wa, E - as a ee r on Tar gi-o" ba ha cu wa,Zhe- ga ba ha guwa, E - gi-o" bahacguwaa. “ts FREE TRANSLATION. il I cut the skin by the rule, That of the leg I cut by the rule. 2. I cut the skin by the rule, That of the breast I cut by the rule. oe I cut the skin by the rule, That of the arms (forelegs) I cut by the rule. 4. I cut the skin by the rule, That of the head I cut by the rule. The sixth song also has a subtitle, Wa-k’i"’ Wa-tho", Carrying Song. The song is descriptive of the various scenes in which the successful hunter finds the fallen deer, of his throwing the animal upon his back and carrying it joyfully homeward to the wife and the little ones dependent upon him for food and clothing. The song also closes the little drama of the sister, the brother, and the deer. 136 THE OSAGE TRIBE. [BTH. ANN. 39 Wa-xthi’-zhi gave nine stanzas to the song and then said with a smile that there is no end to the stanzas that could be given to this song, for a wounded deer might fall close to a thorn-apple tree, amidst the hazel brushes, or amidst the rushes of the marsh, as well as close to an oak or amidst the bunch grasses. Knowing that the deer songs are of a supplicatory character, a hunter who desires success through the hunting season would take a deer to a No®’-ho*-zhi"-ga, who alone has authority to sing them, and present it to him ceremonially. In response to this recognition of his office, for which he feels honored, the No®’-ho®-zhi"-ga invites some of his intimate No”’-ho®-zhi"-ga friends to feast with him upon the deer and in their presence sings for the hunter the deer songs that will insure his further success. When singing the closing song the old man adds to it an extra stanza descriptive of the scene where the deer presented to him had fallen. At such times the old No®’- ho®-zhi"-ga would confer upon the hunter the right to wear a wreath made of the vines of the wild bean, as he goes to stalk the deer. Sone 6. (Osage version, p. 413; literal translation, p. 549.) M al - 160 Transcribed by Alice C.Fletcher ° - Ta-xtsi-e,wa-dsu tazhi" - ga, Pi-gi ¢a-be hi dsi ta - xtsi-a,_ ta-xtsi-e. Note.—In singing the fourth line of the second and third stanzas the fourth and fifth notesin the seventh bar are omitted, thus changing the time from 4 to = LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION, rit FREE TRANSLATION. i Ta-xtsi-e,‘ ta-xtsi-e, O, little creature, I have found thee, ta-xtsi-e, ta-xtsi-e. Ta-xtsi-e, O, little creature, Close to a black oak, I have found thee, ta-xtsi-e, ta-xtsi-e. 2. Close to a red oak, I have found thee, ta-xtsi-e, ta-xtsi-e. 3. Between two trees, I have found thee, ta-xtsi-e, ta-xtsi-e. 4. Close to a dark oak, I have found thee, ta-xtsi-e, ta-xtsi-e. 5. Close to a gray oak, I have found thee, ta-xtsi-e, ta-xtsi-e. 6. Amidst the stunted oaks, I have found thee, ta-xtsi-e, ta-xtsi-e. 7 Amidst the bunch grasses, I have found thee, ta-xtsi-e, ta-xtsi-e. 8. Close to the little brook, I have found thee, ta-xtsi-e, ta-xtsi-e. 9. Upon the summit of a hill, I have found thee, ta-xtsi-e, ta-xtsi-e. Sones oF THE ACT OF WEEPING. The group following the Deer Songs is called Wa’-it Xa-ge Wa-tho", which, freely translated, means Songs of the Act of Weeping. A similar act took place at the ceremony of smoking the sacred animal 4Ta’-xtsiis the archaic name for the deer. It appears only in these ceremonials. The modern name isTa. The Omaha, a closely related tribe, still use the old name Ta’-xtsi. The words for brook, wa-tsi’- shka,in the eighth stanza, and pa-he’, hill, in the ninth stanza, are archaic words in the Osage language but are yet used among the Omaha. 138: THE OSAGE TRIBE. [BTH. ANN. 39 skins which has been described in detail (see pp. 53-54). In the present instance the Singer not only carries the symbolic pipe but also the sacred hawk, emblem of the warriors’ courage, as he passes along the line of No®’-ho®-zhi"-ga, touching the head of each person with these twosacred articles. The wailing of the Singer hasreference to the wailing of the man chosen to be Do-do®’-ho®-ga for a war party to be ceremonially organized. At sucha time the Do-do"’-ho®-ga chosen is required to take the rite of No®’-zhi?-zho", during which, pipe in hand, he wails as he makes his appeals to Wa-ko"’-da. In the little pipe which he carries throughout his vigils are placed, figuratively, the supplications of all the people for the safety and success of the war- riors who are to go against the enemies of the tribe. This group of three songs also includes a wi’-gi-e entitled A’-ho®- btha-bi Wi’-gi-e, freely translated, Wi’-gi-e of the Dreams. The A’-ki-ho" Xo’-ka and his assistants sing the songs and the No®’-ho- zhit-ga recite the wi’-gi-e, all at the same time as the Singer goes wailing along the line of No®’-ho®-zhi"-ga, touching their heads, two at a time, with the little pipe and the sacred hawk. The women, honorary members, join the Singer in his wailing. Wi’-GI-E oF THE DREAMS. No explanation could be obtained as to whether the story of the dream was from the actual experience of a man who had taken the rite of No®’-zhi"-zho® (vigil) when chosen for the office of Do-do®’- ho®-ga, or whether it is an allegorical myth designed to aid the man taking the rite to limit the range of his thoughts only to objects of a sacred character. It is clear from the wi’-gi-e, however, that the man chosen to perform the rite is required, when in his vigils, to fix his thoughts only upon the objects that are sacred to the people and used by them as symbols when appealing for divine aid. It also follows that any vision that may come to him from the suggestion of these objects may be taken by him as a sign that his appeal has been heard and accepted by Wa-ko®’-da. The sacred objects specially mentioned in the wi’-gi-e are as follows: Wa-ko*’-da and his abiding places, the waters, trees, and hills; the observance of certain sacred ceremonies, as when each morning a bit of the soil, a sacred symbol, must be put on the forehead, and while this sign is upon the suppliant’s face he must utter his cry of prayer. At night this symbol may be removed, and when he takes his rest he must lie with his face to the earth, never on his back. If he belongs to the Ho®’-ga tribal division he must lie with his head to the right side, if to the Tsi’-zhu his head must be toward the left. The ‘‘ willow that never dies” is a symbol of old age or of the long continued life craved for the people as a tribe; the battles in which men have risked their lives for the continued existence of the tribe; the earth in LA FLESCH] RITE OF VIGIL—FREE TRANSLATION. 139 which Wa-ko*’-da abides; the red dawn, a sacred symbol of life; the little pipe that bears the messages of the people to Wa-ko"’-da; the shrine containing the sacred hawk, symbol of the courage of the war- rior; the seven sacred animal skins; the face of the old man roughened and wrinkled by time; the aged man who in the councils sits clothed in ceremonial attire, his head covered with eagle down, a sacerdotal insignia; the four seasons of life through which all persons must strive to pass; finally the calm and peaceful days to which the tribe will at last arrive. THE WI'-GI-E. (Osage version, p. 415; literal translation, p. 550.) Verily, at that time and place, it has been said, in this house, The youngest of the brothers, Arose and stood in silent contemplation. Verily, it was at the time when the earth sat glorified amid her blossoms and ripening fruit, That the young brother stood in silent contemplation. It was in the evening of the day, When he stood at one end of the house, With his head inclined to the right, . He fell prone to the earth, where he lay outstretched. BOO te Bet ee eS Ler GH 10. Night passed. The god of day struck the heavens with a pale light, . 11. Then the young brother arose, took that which was made sacred (the soil of the earth), 12. Put it upon his brow and stood motionless. 13. The god of day ascended to a point midway between the eastern horizon and the zenith; 14. The god of day moved on to the. middle of heaven; 15. The god of day descended to a point midway between the zenith and the western horizon; 16. Then, in the evening of the day, 17. While yet the sacred soil remained upon the young brother’s brow, 18. He shed tears while he slowly moved 19. To the borders of the village where, 20. With head inclined to the right, 1. He fell prone to the earth and lay outstretched, 22. And Wa-ko"’-da made the eyes of the youth to close in sleep. 23. Night passed. The god of day struck the heavens with a pale light, 24. Then the young brother arose, took that which was made sacred, 140 THE OSAGE TRIBE. [BTA. ANN. 39 . Put it upon his brow and stood upright. . He wandered from place to place as the god of day ascended to a point between the eastern horizon and the zenith; . He wandered from place to place as the god of day ascended to the middle of heaven; . Still he wandered from place to place as the god of day descended to a point midway between the zenith and the western horizon. . Then, in the evening of the day, . He came to a great spring where he paused and spake, saying: . Even in this spot, within this spring itself, may be an abiding place of the god of mysteries. 2. He removed from his brow the sign of vigil, the consecrated soil of the earth. . Then, with head inclined to the right, He fell prone to the earth, where he lay outstretched, 5. And Wa-ko®’-da made the eyes of the youth to close in sleep. 3. Night passed. The god of day struck the heavens with a pale light, . The young brother arose and took that which was made sacred, 8. Put it upon his brow and stood upright. . He wandered from place to-place as the god of day ascended to a point midway between the eastern horizon and the zenith; . He wandered from place to place as the god of day ascended to the middle of heaven; . Still he wandered from place to place as the god of day descended to a point midway between the zenith and the western horizon; . Then, in the evening of the day, . He came to a great elm tree where he paused and spake, saying: 4. Even in this spot, within this tree itself, may be an abiding place of the god of mysteries. . He removed from his brow the sign of vigil, the sacred soil of the earth. 5. Then, with head inclined to the right, . He fell prone to the earth where he lay outstretched, And Wa-ko"’-da made the eyes of the youth to close in sleep. . Verily, at that time and place, it has been said, in this house, . At the beginning of the day, . The young brother arose and took that which was made sacred, . Put it upon his brow and stood upright. ° . He wandered from place to place as the god of day ascended to a point midway between the eastern horizon and the zenith; LA PLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 141 54 55 . He wandered from place to place as the god of day ascended to the middle of heaven; . Still he wandered from place to place as the god of day descended to a point midway between the zenith and the western horizon; . Then, in the evening of the day, . He came to a low hill that resembled the breast of a turkey. © . Close to the hill the young brother stood and spake, saying: . Even in this spot, within this hill itself, may be an abiding place of the god of mysteries. . Upon this very hill I shall recline and sleep, . Lo, I am weary in body and mind, . I feel ready to depart for the spirit land. . My elder brothers 4. May never find my body in this lonely spot. 5. After a pause he said: Toward the places where men . Are wont to pass to and fro I must arise and go; . He arose and wearily strode forth. . In time he came to a little brook, )9. Whose banks were covered here and there with groves of trees. . Close to the brook he paused to rest. . Near by stood a willow, a tree that never dies. . To that tree he slowly moved and sat down, . Then, clinging to the trunk of the tree, he tried to rise for a further effort. . He spake as to a responsive being, saying to the willow: 75. Ha! my grandfather, 76. It seems impossible for me to go on, O, grandfather. . The tree replied, saying: O, little one! 8. The little ones shall always cling to me for support, as they travel the path of life. . Behold the base of my trunk which sends forth its supporting roots. . I have made them to be the sign of old age, O, little one. . When the little ones make of me their symbol of old age, . They shall not fail to live to see old age, as they travel the path of life. . Behold my bark that is roughened with age, . That also, . I have made to be the sign of old age. . When the little ones make of me their symbol of old age, . They shall not fail to live to see their faces roughened with age, as they travel the path of life. 142 THE OSAGE TRIBE. [HTH. ANN. 39 . These lower outspreading limbs, . [have made to be my arms, as I stand here. . When the little ones make of my lower limbs the symbols of their arms, . They shall not fail to live to see their arms strengthened with age, as they travel the path of life. 2. These curved limbs, bent with their weight, . I have made to be the sign of old age. . When the little ones make of me their symbol of old age, . They shall not fail to live to see old age, as they travel the path of life. . The white blossoms upon my topmost branches, . I have made to be the sign of old age. . Aged men . Are spoken of as having scant, yellowish hair. . The little ones shall not fail to live to see their hair grown scant and yellowish with age, as they travel the path of life. . The young brother wearily strode homeward, and in time . Came to the borders of the village, . Where he paused to rest. . Then, as in a passing vision, he saw men, . In deadly strife, their war clubs rising and falling in blows and parries. . The vision passed; the young brother thought: Lo, I suffer in body and mind, . Isit true, as has been said, that Wa-ko®’-da holds in favor young men of my age ? . Even in this spot, . Within this spot itself may be an abiding place of Wa-ko’-da. . Then, with head inclined to the right, . He fell prone upon the earth, where he lay outstretched. . Suddenly a man . He heard approaching, treading softly upon the earth as he came. . The young brother lifted his head to see, . But, verily, there came to him as he lay waiting no sign of a man. . After a moment’s pause, a man . He again heard approaching, the grass rustling at his every step. . The young brother lifted his head to see, . But, verily, there came to him no sign of a person as he lay waiting. After a moment’s pause, . The right foot of the young brother was touched 2. By the man with his foot, LA FLESCH] RITE OF VIGIL——-FREE TRANSLATION. 143 123. 124. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152. 153. 154. 155. 156. And the stranger spake, saying: It is said that a man is wandering over the earth, suffering in body and mind. . Isit you who is thus spoken of, my younger brother, the stranger asked. . Yes, my grandfather, it is I, . I who sit here, the young brother replied. . The stranger spake, saying: Ha! my younger brother, . Then it is you whose mind is steadfastly fixed upon the whole earth, with a longing desire. . Look upon me! . The young man replied: O, my grandfather, . LT look upon you . And see every part of your body covered with red (the red dawn). . The stranger spake: Your mind is steadfastly fixed upon the god whose every part is stained with red. . Look upon me again! . The young man replied: Little pipes (pipes used in ceremonies), . Seven in number, I see you holding in your hands, as you stand, . The odd one in number . Profusely adorned with the scalps of men, O, my grandfather. 140. The stranger spake: Even upon the sacred pipes your mind is steadfastly fixed, my younger brother. Look upon me again! The young man replied? I look upon you, O, my grandfather, A little (portable) shrine, Most pleasing to look upon, You hold under your arm, as you stand there, O, my grand- father. The stranger spake: Ha! my younger brother, Even upon the sacred shrines your mind is steadfastly fixed, my younger brother, Look upon me again. The young man replied: I look upon you, O, my grandfather, Animal skins (the seven symbolic animal skins used in cere- monies), Lie spread beneath your feet, Upon them you stand as they yield softly to the weight of your feet. The stranger spake: Ha! younger brother, Even upon the sacred animal skins your mind is steadfastly fixed. Look upon me again! The young man replied: As an aged man, 144 THE OSAGE TRIBE. [RTH. ANN. 39 157. Your face roughened with the wrinkles of age, I see you, O, my grandfather. 158. The stranger spake: Even upon the appearance of an aged man your mind is steadfastly fixed, my younger brother. 159. Look upon me again! 160. The young man replied: As an aged man (in sacerdotal attire), 161. With fluttering down of the eagle, 162. Adorning his head, I see you, O, my grandfather; 163. As an aged man, 164. With the stem of a pipe between his lips, I see you, O, my grandfather. 165. Again, I see you as amidst the four great divisions of the days, 166. Standing there as though in your personal abode, O, my grand- father. 167. The stranger spake: Ha! my young brother, 168. Even upon the four great divisions of the days your mind is steadfastly fixed, my younger brother. 169. The young man replied: Verily, amidst the days that are beautiful and peaceful, 170. I see you standing as though in your personal abode, O, my grandfather. 171. The stranger spake: Even upon the days that are beautiful and peaceful, your mind is steadfastly fixed, my younger brother. Duties or *rHe Do-poy’-HON-GA. The first song of this group refers to the honor conferred upon the man who is chosen as Do-do"’-ho®-ga for a ceremonially organized war party, and also to the difficulty of the task required of him, that of taking of the rite of No®’-zhit-zho", the ceremonial appeal to Wa- ko®/-da on behalf of all the people for success in the common enter- prise. The words of the song, which has one stanza, are few, but to the Osage who knows the war rites they tell the story of the choice of the Do-do®’-ho"-ga whose responsibility is placed even higher than that of an actual commander. A free translation of only the first two lines of the song are given, as the other lines are repetitions. LA PLESCHE] RITE OF VIGIL—FREE TRANSLATION. 145 Sone 1. (Osage version, p. 419; literal translation, p. 556.) M.M. d = 168 Transcribed by Alice C. Fletcher aa AS r r i f if r r r r Thewi-ta ha, the wi-ta, Wa-tse-xi-etha,thowi-ni da, the wi-ta ha, the wi-ta, | Wa-tse-xi-e tha, tho wi-ni, da. FREE TRANSLATION. ils This is what I have, what I have to give. A task most difficult to perform I give to thee. The second song refers to the call to the No®’-ho"-zhi"-ga to assem- ble. In this call the Men of Mystery are bidden to bring with them the pipe, the knife, and the war club, articles consecrated for use as symbols in the war ceremonies; the bows and arrows (metaphorically, warriors); wishes for success in the capture of trophies and spoils; and finally, the return of the war party from the night of uncertainty to the day of life and reality. Two lines only of each stanza, the first and fourth, are translated as the others are repetitions. 3594°—257 10 146 THE OSAGE TRIBE. [ETH, ANN. 39 Sone 2. (Osage version, p. 420; literal translation, p. 556.) M.M a - 99 Transcribed by Alice C.Fletcher f I-ba ’thima-don, I - ba ’thim a-dom, Ni-ka ane A A A A : eae pee Fh. = = r silahpeie. te f fonahol abr ko wi tha ha, Ni-ka xo-be ko wi _ thaha. FREE TRANSLATION. 1. Come hither, ye Men of Mystery, Bring ye the pipe, bring ye the pipe. 2. Come hither, ye Men of Mystery, Bring ye the knife, bring ve the knife. 3. Come hither, ye Men of Mystery, Bring ye the club, bring ye the club. 4. Come hither, ye Men of Mystery, Bring ye bows, bring ye bows. 5. Come hither, ye Men of Mystery, Bring ye arrows, bring ye arrows. 6. Come hither, ye Men of Mystery, Bring ye scalps, bring ye scalps. LA FLESCHD] RITE OF VIGIL—FREE TRANSLATION. 147 fe Come hither, ye Men of Mystery, Bring ye spoils, bring ye spoils. 8. Come hither, ye Men of Mystery, Bring ye the day, bring ye the day. The third song, of but one stanza, is composed wholly of vocables that are imitative of the cry of the Do-do®’-ho®-ga during his vigils. 9 Sone 3. (Osage version, p. 421; literal translation, p. 557. M.M. o - 168 Transcribed by Alice C. Fletcher A I thaha ha hehetha, I tha ha ha he he tha ha, tha ha, I tha ha ha _ he he tha. SonGs oF SEIZING THE WA’-DO*-BE. The next group, composed of six songs and three wi’-gi-es, bears the title Wa-thu’-¢e Wa-tho", which freely translated is Songs of Seizing the Wa’-do™-be. The Wa’-do"-be is the old warrior chosen by the Singer to recount the thirteen prescribed military honors won by him and called o-do®’ (see p. 67). The three wi’-gi-es relate to the military honor symbols of the Tsi’-zhu division and the Ho®’-ga and Wa-zha’-zhe subdivisions of the great Ho"’-ga division. The sym- bols of the Tsi’-zhu are thirteen of the sun’s rays; those of the Ho?’-ga subdivision thirteen footprints of the black bear; those of the Wa- zha’-zhe subdivision thirteen willow trees that grow near the water’s edge. When the reciting of the Wi’-gi-e of the Dream has come to a close and the wailing of the Singer and the women has ceased, the Singer puts back the pipe and the hawk in their places near the shrine and goes to his place by the side of the Xo’-ka. As soon as the Singer is seated the Sho’-ka rises, takes the ceremonial pipe, and again places it in the hands of the Singer. Then in low tones the Sho’-ka and the A’-ki-ho™ Xo’-ka prompt the Singer in his part of the next act. Following the instructions given him, the Singer, if he is a Ho®’-ga, approaches a man on the Tsi’-zhu side of the lodge and, 148 THE OSAGE TRIBE. [ETH. ANN. 39 grasping a corner of his blanket, leads him to a seat prepared for him back of the black bear skin spread upon the ground for symbolic purposes at the west end (fig. 2). There the Singer takes away from the man, who is the chosen Wa’-do®-be, his blanket and puts upon him a new one ornamented with a broad beaded blanket band and bids him sit down on the robes spread upon the ground for his comfort. When the Wa’-do"-be is seated the Singer fastens to his scalp lock a scarlet deer’s tail headdress badge which only a warrior who has won military honors is privileged to wear, and he also places upon the back of the Wa’-do®-be a rawhide shield painted with symbolic designs and ornamented with eagle feathers. Having performed this duty, the Singer returns to his seat, when the Sho’-ka brings to the A’-ki-ho™ Xo’-ka thirteen willow saplings. These the A’-ki-ho" Xo’-ka divides into two bunches, one having seven saplings and the other six. He grasps the two bunches about a span’s length from the butt ends, holding the bunch containing seven saplings in his left hand and the bunch having six in his right. He crosses the lower ends of the two bunches at right angles, the bunch containing seven saplings being uppermost, and, holding them in this manner he gives them to the Sho’-ka, who carries them to the Singer and places them in his hands without disturbing their order. The Singer then carries the two bunches of saplings to the Wa’-do"-be and places them before him on the ground exactly as they had been arranged by the A’-ki-ho" Xo’-ka, so that the bunch containing the seven saplings lies toward the Ho"’-ga side of the house and that containing the six saplings toward the Tsi-zhu side (fig. 2). When the Singer returns to his seat, after placing before the Wa’-do"-be the thirteen willow saplings, the A’-ki-ho® Xo’-ka and his assistants begin to sing the songs, at the same time the No®’-ho"-zhi"-ga of the Ho®’-ga and the Tsi’-zhu divisions begin the recitation of their wi’-gi-es. The singing of the songs and the reciting of the wi’-gi-es continue together to the end of the fourth song. The Wa’-do"-be then rises and begins to recount his o-do"’, his sonorous voice mingling with the din but rising above the confusion of sounds. The wi’-gi-es will be given first, as they refer directly to the pre- scribed number of o-do®’ to be won and ceremonially recounted by the successful warrior. THE WI'-GI-E. (Osage version, p. 421; literal translation, p. 557.) Unmoprriep Form As Recirrep By THE IN-GTHON’-Ga (Puma) GENS. . Verily, at that time and place, it has been said, in this house, . The black bear that is without a blemish . Fell suddenly to meditating upon himself; wn LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 149 4, (Sai Verily, at a time when the moon of the rutting of the deer was still young, He fell to meditating upon himself, Upon the period of time when he must rest his haunches (hiber- nate). Verily, he was seized with the longing desire, and he stood bewildered, motionless. Then, suddenly, he rushed hither and thither, always returning to the spot from which he started. . At last he took his footsteps . To the top of a hill, . Where he stood motionless. . Then again he rushed hither and thither, but always returned to the spot from which he started. . Then, as before, he took his footsteps To the side of a hill, 5. To a patch of bunch grass. . Close to the patch of grass he came and stood, motionless. . Then the patch of bunch grass He tore up and gathered in a pile, . Nevertheless he did not rest his haunches, it has been said, in this house. . As before, he then took his footsteps, it has been said, in this house, . Verily, to the side of a hill, To a bush of stunted oaks. Close to the bush he came and stood, motionless, . Then he tore up the bush and gathered it into a pile, Nevertheless he did not rest his haunches, it has been said, in this house. . Then, as before, he took his footsteps, it has been said, in this house, . Verily, to a brook whose banks were studded here and there with forests, . To a bush of redbud trees. . Verily, at that time and place, He tore up the redbud trees and gathered them into a pile, . Nevertheless he did not rest his haunches, it has been said, in this house. . Again, as before, he took his footsteps, it has been said, in this house, . Verily, to a brook whose banks were studded here and there with forests, 150 THE OSAGE TRIBE. [BTH. ANN. 39 34. To a bunch of grapevines the roots of which 35. He tore up and gathered into a twisted pile, 36. Nevertheless he did not rest his haunches, it has been said, in this house. 37. Then, as before, he took his footsteps, it has been said, in this house, 38. To a young cedar tree, 39. That stood on the side of a hill, 40. Then to a crevice in a rock, 41. Where, pressed with the desire to rest his haunches, 42. He came and stood, motionless, 43. Nevertheless he did not rest his haunches, it has been said, in this house. 44. Verily, at that time and place, it has been said, in this house, 45. He came to a young cedar tree. 46. Close to it he sat, 47. Where, within his reach lay some stones, 48. Which he gathered around him. 49. Verily, at that time and place, 50. He turned over the stones and arranged them about himself, 51. So that in their shelter he might rest his haunches. 52. One of these stones 53. He placed over his head, then he sat in the shelter, 54. To rest for a period of seven moons. 55. The close of the season drew near as he sat. 56. Verily, at that time and place 57. He awoke and thought: ‘I have, indeed, come to a division of time.”’ 58. The small insects swarmed about his hiding place. 59. He heard their humming as he sat in silent contemplation. 60. Again he thought: “I have now come to a division of time.” 61. Verily, it has been said, in this house, 62. He suddenly heard the calls and the songs of birds around his hiding place, 63. And as he sat he thought: ‘“‘I have, indeed, come to a division of time,’ it has been said, in this house. 64. Verily, at that time and place, it has been said, in this house, 65. As the god of day approached, 66. The black bear came to the door of his house, 67. Rubbing together the palms of his hands as though in gladness. 68. Then he lifted them to the sun in greeting. 69. Verily, at that time and place, it has been-said, in this house, LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. isp 70. gle He addressed the sun, saying: ‘‘ Ha! my grandfather,” Then, as though to himself, he spake, saying: ‘‘ Verily, my flesh has become shrunken as I lay asleep.” . The sun spake, saying: “Ha! thou person, . Thou hast indeed caused thyself to find the means by which to reach old age,’’ it has been said, in this house. . Verily, at that time and place, it has been said, in this house . At the right side of the door of his house . He placed on the ground the impress of a foot, . And spake, saying: ‘‘ This footprint . I have not made without a purpose. . The warriors of the Wa-zha/-zhe, . Together with those of the Tsi’-zhu, . Shall use this footprint, in their life’s journey, for counting their o-do®’. . When they use this footprint for counting their o-do"’, . They shall always count with accuracy their counting rods.” . At the left of the door . He placed upon the ground the impress of a foot, . And spake, saying: ‘‘The warriors of the Wa-zha’-zhe, . Together with those of the Tsi’-zhu, . Shall use this footprint, in their life’s journey, for counting their o-do®’. . When they use this footprint for counting their 0-do”’, . They shall always count with accuracy their counting rods,” it has been said, in this house. wi’-GI-E—continued. 1. Verily, at that time and place, it has been said, in this house, iw) . There dwelt upon the earth the Wa-zha’-zhe, a people having seven sacred fireplaces. . Verily, there were none among the people who were timid and craven. . Verily, at that time and place, it has been said, in this house, . One of the Wa-zha’-zhe (gens) Had made of a mysterious animal . His body and stood as a person. . Verily, of the male beaver . He had made his body, and stood as a person. . Verily, at that time and place, it has been said, in this house, . The beaver went forth, even against the current of the river, . Rippling the surface of the water as he lay outstretched, . And he spake, saying: ‘‘ Behold the ripples of the water, THE OSAGE TRIBE. [ETH. ANN. 39 . It is the parting of the gods of waters, as they make way for me. . When the little ones make of me their body, . The gods of the waters shall make way for them also, as they travel the path of life. . Behold the left side of the river. . The left side of the river . I have made to be the left side of my own body. . When the little ones also make of it the left side of their body, . That side of their body shall be free from all causes of death. . Behold the strong current of the river. 3. The strong current also . [ have made to be the cavity of my body. : . When the little ones also make it to be the cavity of their own body, . The cavity of their body shall be free from all causes of death. . Verily, at that time and place, it has been said, in this house, . He came to a bend of the river. . Close to the bend he lay outstretched, . The soft earth along the edges of the water he gathered together, . Into a pile and daubed it over the walls of his house, . And thus he became possessed of a dwelling. . The beaver spake, saying: ‘‘ When the little ones also cause them- selves to become possessed of dwellings, . They shall make themselves to be free from all causes of death,” it has been said, in this house. 5. Verily, at that time and place, it has been said, in this house, . The beaver came to a bend of the river. . Close to the bend he lay outstretched. . Upon the bank stood a willow sapling. . He cut the willow to the ground, . And spake, saying: ‘‘There are peoples who dwell toward the setting of the sun, . It is upon those peoples I have made this tree to fall.”’ . To the right side of the door of his house, . He dragged the willow sapling, . And spake, saying: ‘“‘ This willow sapling, . I have not brought to the door of my house without a purpose. . When the little ones go against their enemies, toward the setting of the sun, . They shall use this sapling to count those they slay. . Then shall the little ones count with accuracy their o-do’, as they travel the path of life,” it has been said, in this house. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 153 49. 50. ol. 52. 53. o4. 55. 56. 57. 08. 59. 60. 61. 62. 63. 64. 65. Verily, at that time and place, it has been said, in this house, The beaver came to the seventh bend of the river. Close to the bend he lay outstretched. Upon the bank stood the seventh willow sapling. He cut the sapling to the ground, And spake, saying: ‘‘ This sapling also, I have not cut down without a purpose. There are peoples who dwell toward the setting of the sun. It is upon those peoples I make this tree to fall. To the right side of the door of his house He dragged the willow sapling, And spake, saying: ‘‘ This willow sapling, I have not brought to the door of my house without a purpose. The warriors of the Tsi’-zhu, And those of the Ho®’-ga, Shall use these willow saplings for counting their o-do"’, When they use these saplings for counting their 0-do"’, as they travel the path of life, . The little ones shall always count with accuracy their o-do®’,” it has been said, in this house. . Verily, at that time and place, it has been said, in this house, . The beaver came to a bend of the river. . Close to the bend he lay outstretched. . Upon the bank stood a willow sapling. . He cut the sapling to the ground, . And spake, saying: ‘“‘There are peoples who dwell toward the setting of the sun. . It is upon those peoples I have made this tree to fall.” . To the left side of the door of his house, . He dragged the sapling, . And spake, saying: ‘‘ This willow sapling, . I have not brought to the door of my house without a purpose. . When the little ones go toward the setting of the sun against their enemies, . They shall use this sapling to count those they slay, . Then shall the little ones count with accuracy their o-do"’, as they travel the path of life,” it has been said, in this house. . Verily, at that time and place, it has been said, in this house, . He came to the sixth bend of the river. . Close to the bend he lay outstretched. . Upon the bank stood the sixth willow sapling. . He cut the sapling to the ground, 154 THE OSAGE TRIBE. [ETH. ANN. 33 86. And spake, saying: ‘This sapling 87. I have not cut down without a purpose. 88. There are peoples who dwell toward the setting of the sun. 89. It is upon those peoples I have made this tree to fall.” 90. To the left side of the door of his house 91. He dragged the willow sapling, 92. And spake, saying: ‘‘ This sapling also 93. I have not brought to the door of my house without a purpose. 94. The warriors of the Tsi’-zhu, 95. And those of the Ho®’-ga, 96. Shall use these saplings for counting their o-do?’. 97. When they use these saplings for counting their o-do*’, 98. They shall count with accuracy their o-do"’, as they trayel the path of life,” it has been said, in this house. The wi’-gi-e relating to the military honor symbols, namely, the seven and six imprints of the Black Bear’s feet, belongs to the Wa-ca’-be (Black Bear) gens. The members of this gens alone can recite it without modification. The other gentes belonging to the Ho®’-ga subdivision of the Ho"’-ga great division are privileged to recite the wi’-gi-e, but in modified form. The preceding wi’-gi-e recited by Wa-xthi’-zhi is the modified form used by his gens, the T*-etho"’-ga (Puma). Wa-xthi’-zhi was taught this wi’-gi-e by his father, Wa-thu’-ts’a-ga-zhi. With some hesitation Wa-xthi’-zhi also gave the Beaver and the Willow Wi’-gi-e of the Wa-zha’-zhe Wa-no" gens. The members of the Wa-zha’-zhe Wa-no® gens alone could recite the wi’-gi-e in full. Those of the other gentes composing the Wa-zha’-zhe subdivision of the Ho®’-ga great division are privileged to recite it, but in modified form. Wa-tse’-mo*-i", of the Black Bear gens (Pl. 7, A), who received his instructions from an older relative of the same name who was also a member of the Black Bear gens, said that the wi’-gi-e of the Black Bear and that of the Wa-zha’-zhe Wa-no"® gentes should both be recited as one wi’-gi-e; therefore Wa-tse’-mo"-i" gave them both as one continuous wi’-gi-e. The Black Bear and the Wa-zha’-zhe Wa-no" are the principal war gentes of the Ho®’-ga tribal division. Wi’-cI-E oF THE Brack BEAR AND Wa-ZHA’-ZHE WaA-NO™ GENTES. By Wa-tsp’-mMo%-1. (Osage version, p. 426; literal translation, p. 562.) 1. They said, it has been said, in this house, 2. The male black bear, he that is without blemish, 3. Fell to meditating upon himself. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 155 4, 5. 6. Verily, when the moon of the rutting of the deer was waning, He fell to meditating upon himself. Verily, it was at the time of the year when the earth was great in the ripeness of her fruits, . He fell to meditating upon himself. . To the four winds, . Even to each one of the winds, . He rushed and stood perplexed, with paws uplifted and claws outspread. . Moved suddenly by the desire to rest his haunches, 12. He stood perplexed, it has been said, in this house. . They said, it has been said, in this house, . The black bear went on with quickened footsteps, . To.a patch of bunch grass, . Where he paused and stood, . Then suddenly he plucked and gathered the bunches of grass into a pile, 8. Nevertheless he did not put down his haunches to rest. . Even as he moved about, . He spake, saying: “I have not gathered these grasses together without a purpose. . When the little ones go toward the setting of the sun against their enemies, 2. They shall make use of this act when they go forth to make their enemies to fall. . When they use this act as they go forth to make their enemies to fall, . It shall be easy for them to make their enemies to fall. . When they use this act in their supplications for success, . They shall never fail to win success, as they travel the path of life,’ it has been said, in this house. 7. They said, it has been said, in this house, 8. The black bear went on with quickened footsteps, . Verily, to the edge of a forest within the bend of a river where he paused and stood, . In silent meditation upon himself. . To this time he had not rested his haunches. . Seven moons he must sit and rest, he knew, . But stood perplexed, bewildered. . Near by there stood a bush, of redbud trees. . He tore down the bush and crushed to pieces the trees, . The pieces he gathered into a pile. . That he might rest his haunches thereon, 156 38. . Nevertheless he rested not his haunches, . And he spake, saying: “‘I have not performed this act without THE OSAGE TRIBE. [BTH. ANN. 39 He gathered the pieces into a pile. a purpose. . When the little ones go toward the setting of the sun against their enemies, 2. They shall use this act in their appeals for aid to overcome their enemies. . When they use this act in their appeals for aid to overcome their enemies, . They shall enable themselves to win with ease the divine favor, as they travel the path of life. . When they use this act in their supplications for aid to overcome their enemies, . They shall enable themselves to win with ease the divine favor, as they travel the path of life.” . They said, it has been said, in this house, . The bear went on with quickened footsteps 49. To the opposite edge of the forest, Where he paused and stood. . Close to a gray arrow-shaft tree, . He paused and stood. . Verily, in silent meditation upon himself, . Upon the resting of his haunches, 5. He contemplated as he moved about, . And upon the period of seven moons in which he must rest. . He tore down the arrow-shaft tree, broke trunk and limbs to pieces, . And gathered the pieces together into a pile. . Nevertheless he rested not his haunches. . Even as he went about, . He spake, saying: ‘‘I have not performed this act without a purpose. . When the little ones go toward the setting of the sun against their enemies, . They shall use this act in their appeals for aid to overcome their enemies. . When they use this act in their appeals for aid to overcome their enemies, 5. They shall enable themselves to win with ease the divine favor, as they travel the path of life. . When they use this act in their supplications for aid to over- come their enemies. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION, 157 67. They shall enable themselves to overcome their enemies with ease, as they travel the path of life,’ it has been said, in this house. . They said, it has been said, in this house, . The bear went on with quickened footsteps, . To a brook, the banks of which were bare of trees, . Where stood a single never-dying willow. . Close to the willow he paused and stood, . Even as the male black bear, . Paused to meditate upon himself, 5. Upon the period of seven moons in which he must sit, . And quietly rest his haunches, . Verily, he gave much thought to himself. . Then he suddenly seized the never-dying willow, . And broke into pieces its trunk and limbs, . Gathered the pieces into a pile. . That he might rest his haunches thereon, . He gathered the pieces together and arranged them in a pile. . Nevertheless he rested not his haunches. . Then, even as he moved away, . He spake, saying: “This act also, . I have not performed without a purpose. . When the little ones go toward the setting sun against their enemies, . They shall use this act in their appeals for aid to overcome their enemies. . When they use this act in their appeals for aid to overcome their enemies, . They shall enable themselves to win with ease the divine favor, as they travel the path of life. . They shall also use this act in their supplications to overcome their enemies with ease. 2. When they use this act in their supplications to overcome their enemies with ease, . They shall enable themselves to overcome their enemies with ease, aS they travel the path of life,” it has been said, in this house. : . They said, it has been said, in this house, . The bear moved on with quickened footsteps, . To a hummock, . Where he paused and stood. . Verily, in meditation upon himself, . He looked about him over the land, . In search for a place wherein to rest his haunches, 158 101. 102. 103. 104. 105. 106. 107. 108. 109. 110. Wilale 112. 113. 114. 115. 116. 117. 118. 119. 120. 121. 122. 123. 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. THE OSAGE TRIBE. [eTH. ANN. 39 And stood: perplexed and bewildered. For a period of seven moons he must rest, he knew, But he stood perplexed and bewildered. He quickly tore open the hummock To rest his haunches therein. Nevertheless he rested not his haunches. Then he spake, saying: “This act also, I have not performed without a purpose. When the little ones go toward the setting sun against their enemies, They shall use this act in their appeals for aid to overcome their enemies. When they use this act in their appeals for aid to overcome their enemies, They shall enable themselves to win with ease the divine favor, as they travel the path of life. They shall also use this act in their supplications for aid to over- come their enemies with ease. When they use this act in their supplications for aid to over- come their enemies with ease, They shall enable themselves to overcome their enemies with ease, as they travel the path of life,” it has been said, in this house. They said, it has been said, in this house, The bear moved on with quickened footsteps, To a valley where he paused and stood. To this time he had not found a place wherein to rest his haunches. He longed to sit down to rest, But moved about perplexed and bewildered. He knew he must rest for a period of seven moons, But knew not where or how and was perplexed. Verily, at that time and place, it has been said, in this house, He gathered together some small stones, And arranged them in a pile. Seven in number were the stones, He had gathered together, And arranged in a pile, Whereon to rest. Nevertheless he rested not his haunches. Then, even as he moved away, He spake, saying: ‘This act also, I have not performed without a purpose. SSNOH SHL HOS SAWVYS GNV HLVd YOdVA YOsA SANOLS 8 3LvV1id LYOd3yY IWANNV HLNIN-ALYIHL ADOIONHLS NVOIWSAWY 3O NvaYnd nI-nOW-3D-,OHS ‘az (SN3D 39-VLHS-VM WH nOd) WO-nOL-nIHZ-WM-V~1N ‘7 6 3LV1d 1LYOd3dY TIVANNVY HLNIN-ALYIHL ADOIONHLA NVOIYSAWY 430 NVAaYN| LA PLESCHE] RITE OF VIGIL—FREE TRANSLATION. 159 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. WoW... 152. 153. 154. 155. 156. 157. 158. 159. 160. 161. 162. 163. 164. 165. 166. 167. 168. 169. 170. When the little ones go toward the setting sun against their enemies, They shall make use of these stones, as they travel the path of life. The little ones of the Tsi/-zhu, And the little ones of the Wa-zha’-zhe, Shall use these stones to purify their bodies by heating them (the ceremonial vapor bath) (PI. 8). When they use these stones for purifying their bodies, They shall be free from all causes of death, as they travel the path of life. When they use them in their supplications for aid to overcome their enemies, They shall enable themselves to overcome their enemies with ease, as they travel the path of life,” it has been said, in this house. They said, it has been said, in this house, The bear moved on with quickened footsteps, To the top of a rocky cliff, To the entrance of a cave where he paused and stood. To this time he had not found a place wherein to rest. He knew that he must rest his haunches, But he moved about in perplexity. For a period of seven moons he must rest, But was perplexed, for he knew not where or how. Verily, at that time and place, it has been said, in this house, He moved close to the house (the cave) and paused. Then, into the door, at the right side, He partly entered and paused. Verily, at that time and place, it has been said, in this house, He beheld the interior of a house, mysterious in all its aspects. He moved farther into the house and sat down. When he had entered the house and sat down, He became conscious of having found for himself a house with a room most pleasing and satisfying, Of having come to a house that was mysterious in all its aspects, Verily, a house that excluded the light of day, he had found. He thought: “Lo, even the door of my dwelling Is mysterious. No one can look in and intrude upon me.” Verily, at that time and place, it has been said, in this house, He put down his haunches, To rest for a period of seven moons. He put down his haunches, 160° 171. 172. 173. 174. 175. 176. Witte 178. 179. 180. 181. 182. 183. 184. 185. ‘186. 187. 188. 189. 190. On: 192. 193. 194. 195. 196. 197. 198. 199. 200. 201. 202. 203. 204. THE OSAGE TRIBE. (ETH. ANN. 39 And sat undisturbed, Until six moons had passed, Then, following this lapse of time, He made a close examination of his body, Looking carefully over all its parts. Verily, at that time and place, it has been said, in this house, He thought: “Lo, my flesh has shrunken to nothing, in the time I have here sat.’’ Verily, at that time and place, it has been said, in this house, He thought: ‘‘ Verily, | am a person of whom the little ones should make their bodies, They should make of me an emblem of old age,’ said, in this house. ) it has been They said, it has been said, in this house, While he was yet in this contemplative mood, He thought: ‘The little ones shall make of me their bodies. When the little ones make of me their bodies, These my toes that are folded together, I have made to be the sign of old age. When the little ones make of me their bodies, They shall live to see their toes folded together with age, as they travel the path of life. When the little ones make of me their bodies, They shall be free from all causes of death, as they travel the path of life. When the little ones make of me their bodies, They shall cause themselves to be difficult to overcome by death,” it has been said, in this house. They said, it has been said, in this house, That he spake again, saying: ‘These words shall forever stand, Behold the wrinkles of my ankles, I have made them to be the sign of old age. When the little ones reach old age, They shall see their ankles wrinkled with age, as they travel the path of life, When the little ones make of me their bodies,” it has been said, in this house. They said, it has been said, in this house, That he spake again, saying: ‘‘ Behold the muscles of my thigh, loosened with age. Those loosened muscles also, I have made to be the sign of old age. When the little ones make of me their bodies, LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION, 161 205. 206. 207. 208. 209. 210. 211. 212. 213. 214. 215. 216. 217. 218. 219. 220. 221. 222. 223. 224. 225. 226. 227. 228. 229. 230. 231. 232. 233. 234. They shall live to see the muscles of their thighs become loosened with age. When the little ones make of me their bodies, They shall be free from all causes of death, as they travel the path of life. When the little ones make of me their bodies, They shall cause themselves to be difficult to overcome by death,” it has been said, in this house. They said, it has been said, in this house, That he spake again, saying: ‘‘Behold the muscles of my abdomen, loosened with age. Those loosened muscles also, I have made to be the sign of old age. When the little ones make of me their bodies, They shall live to see the muscles of their abdomen become loosened with age, as they travel the path of life. When the little ones make of me their bodies, They shall be ‘free from all causes of death, as they travel the path of life. When the little ones make of me their bodies, They shall cause themselves to be difficult to overcome by death,” it has been said, in this house. They said, it has been said, in this house, “Behold my ribs that lie in ridges along my side. The ridges of my ribs also, I have made to be the signs of old age. When the little ones make of me their bodies, They shall live to see the ridges of their ribs on their bodies, as they travel the path of life. When the little ones make of me their bodies, They shall be free from all causes of death, as they travel the path of life. When the little ones make of me their bodies, They shall cause themselves to be difficult to overcome by death,” it has been said, in this house. They said, it has been said, in this house, “Behold the loosened muscles of my arms. I have made them also to be the signs of old age. When the little ones make of me their bodies, They shall live to see the muscles of their arms become loosened with age, as they travel the path of life. . When the little ones make of me their bodies, 3594°—25+ 11 THE OSAGE TRIBE. [ETH. ANN. 39 . They shall cause themselves to be difficult to overcome by death,” it has been said, in this house. . They said, it has been said, in this house, . “Behold the loosened muscles of my chin. 239. Those loosened muscles also, 240. I have made to be the sign of old age. . When the little ones make of me their bodies, 2. They shall live to see the muscles of their chins become loosened with age, as they travel the path of life. . When the little ones make of me their bodies, . They shall be free from all causes of death, as they travel the path of life. . When the little ones make of me their bodies, . They shall cause themselves to be difficult to overcome by death,” it has been said, in this house. . They said, it has been said, in this house, . That he spake again, saying: “‘ Behold the wrinkles in the cor- ners of my mouth. . Those wrinkles also, . [have made to be the sign of old age. . When the little ones reach old age, . They shall see the corners of their mouths wrinkled with age, as they travel the path of life,” it has been said, in this house. 3. They said, it has been said, in this house, . “Behold the wrinkles in the corners of my eyelids. 5. Those wrinkles also, . [have made to be the signs of old age. . When the little ones reach old age, 8. They shall see the corners of their eyelids wrinkled with age, as they travel the path of life,” it has been said, in this house. . “Behold the bareness of my forehead. . Also, . When the little ones reach old age, . They shall see their foreheads grown bare with age,” it has been said, in this house. . ‘Behold the hair on the crown of my head grown scant with age. . The scantiness of my hair also, . L have made to be the sign of old age. . When the little ones make of me their bodies, . They shall live to see the hair on the crown of their heads grown scant with age. . When the little ones make of me their bodies, LA FLESCH] RITE. OF VIGIL—FREE TRANSLATION. 163 . They shall be free from all causes of death, as they travel the path of life, it has been said, in this house. . When the little ones make of me their bodies, . They shall cause themselves to be difficult to overcome by death, as they travel the path of life, it has been said, in this house. . When the little ones make of me their bodies, . When they reach old age, . They shall see the hairs of their heads whitened with age,”’ it has been said, in this house. . They said, it has been said, in this house, . That he spake again, saying: ‘‘The little ones shall reach old age. . The days that are calm and peaceful, . And the four successive seasons of life, . The little ones shall bring themselves to see, as they travel the path of.life,” it has been said, in this house. . They said, it has been said, in this house, . Again the bear examined himself. . Then to the right side of the door of his house, . He moved and he paused. . He stood gazing upon the land before him. . Verily, he saw the land overspread with a smoke-like mist. . He heard the sighing of the winds among the tops of the trees. . He moved farther out, where he paused and stood, . And the birds . All around him sang, . And he stood listening to the noise of their songs. . Verily, at that time and place, it has been said, in this house, . The bear moved forward and placed upon the ground six im- prints of his feet, . As symbols of certain deeds most difficult to accomplish. . He did not place the six footprints upon the ground without a purpose. . He spake, saying: “‘ Behold I have placed upon the ground six footprints. . Toward the setting of the sun, . The little ones shall win o-do®’ (military honors). . Verily, I have made these footprints to represent those deeds.” . Verily, at that time and place, it has been said, in this house, . He took one step forward, . Then from there he placed seven footprints upon the ground, . And he spoke, saying: ‘‘ These footprints also, . IL have not placed upon the ground without a purpose. . They are the footprints spoken of as the Seven Footprints. 164 THE OSAGE TRIBE. (ETH. ANN. 39 305. Verily, I have placed them here to remain for all time to come. 306. They are the valorous deeds spoken of as o-do?’. 307. Verily, I have placed them here to remain for all time to come, 308. The valorous deeds spoken of as the Seven O-do"’, 309. I have verily placed here to remain for all time,’ said, in this house. , it has been 310. They said, it has been said, in this house, 311. The bear went forth with quickened footsteps, 312. And came to a land upon which the air quivered with the warmth of the sun. 313. The grass rustled to the tread of his feet as he paused and stood. 314. He went forth with quickened footsteps, 315. And came to a little house (the beaver’s house), where he paused and stood. 316. He went forth with quickened footsteps, 317. And came to the edge of a river where he paused and stood. THE PART BELONGING TO THE WA-ZHA’-ZHE WA-NON GENS. 318. Verily, at that time and place, it has been said, in this house, 319. There stood the male beaver, 320. Gathering with his tail the soft mud, 321. Which he placed in a pile, 322. And spake, saying: ‘‘I have gathered this pile of mud not with- out a purpose. 323. When the little ones go toward the setting sun against their enemies, 324. They shall use the soft earth ® in their appeals for aid to over- come their enemies with ease. 325. When they use the soft earth in their appeals for aid to over- come their enemies with ease, 326. They shall enable themselves to overcome their enemies with ease, as they travel the path of life,” it has been said, in this house. 327. They said, it has been said, in this house, 328. The beaver moved to the strong current of the stream, 329. Slapping the water with his tail. 330. Verily, he went up the river against its current, 5 The mud of the bottom of the lakes or running streams is the supplicatory symbol of the gentes of the Wa-zha’-zhe subdivision that represents the water portion of the earth in the tribal organization. The members of this subdivision may use the soil of the dry land in their supplicatory rites, but such soil repre- sents the original type, i. e., the soft mud of the lakes or running waters. In lines 319 to 326 of this wi’-gi-e, the ancient Nos’-hos-zhis-ga have expressed, in mythic form, their conception that the great life-giving power resides within the waters as well asin the sky and the dryland. In accordance with this conception the supplications of the people are directed to the waters as well as to the sky and to the dry land. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION, 165 331. 332. 333. 334. 335. 336. 337. 338. 339. 340. 341. Rippling the surface as he pushed forward, To the first bend of the river. Upon the water’s edge stood a young willow, Which he quickly cut to the ground, And hastily dragged it toward his home. Within the right side of the door of his house He dragged the young willow, then laid it down, And he spake, saying: ‘‘It is not without a purpose that I have brought home this young willow. When the little ones go toward the setting sun against their enemies, They shall use this young willow for counting their o-do®’ (military honors). When the little ones use the young willow for counting their o-do"’, as they travel the path of life, . Then shall they count their o-do™’ with ease (accuracy),’’ it has been said, in this house. . They said, it has been said, in this house, . The male beaver, - Moved to the strong current of the stream, . Verily, against its current, . Rippling the surface of the water as he pushed forward, . To the second bend of the river, . Close to which he paused ands stood. . Upon the water’s edge stood a young willow, . Which he quickly cut to the ground, . And hastily dragged it toward his home. . Within the right side of the door of his house, . He dragged the young willow, then laid it down, . And he spake, saying: ‘It is not without a purpose that I have brought home this young willow. . I have brought it home for the little ones to use in counting their o-do"’. . When the little ones use the young willow for counting their o-do"’, as they travel the path of life, . They shall be free from all cause of death, as they travel the path of life,”’ it has been said, in this house. . They said, it has been said, in this house, . The male beaver . Moved to the strong current of the stream. . Verily, he went up the river against its current, . Rippling the surface of the water as he pushed forward, . To the third bend of the river. THE OSAGE TRIBE. [ETH. ANN, 39 . Upon the water’s edge stood a young willow, . Which he quickly cut to the ground, . And hastily dragged toward his home. . Within the right side of the door of his house . He dragged the young willow, then laid it down, . And he spake, saying: ‘“‘It is not without a purpose that I have brought home this young willow, . I have brought it home for the little ones to use in counting their .o-do®’, as they travel the path of life,’ it has been said, in this house. They said, it has been said, in this house, The male beaver Moved up the strong current of the stream, . To the fourth bend of the river, Where, by the water’s edge, stood a young willow, Which he quickly cut to the ground, And hastily dragged it toward his home. Within the right side of the door of his house He dragged the young willow, then laid it down, And he spake, saying: ‘‘It is not without a purpose that I have brought home this young willow. 2. When the little ones go toward the setting sun against their enemies, . They shall use the young willow to count their o-do"’, as they travel the path of life,” it has been said, in this house. . They said, it has been said, in this house, 5. The male beaver . Moved to the strong current of the stream. . Verily, he went up the river against its current, . Rippling the surface of the water as he pushed forward, . To the fifth bend of the river, . Where he lay close to the edge of the water. . Upon the water’s edge stood a young willow, 2. Which he quickly cut to the ground, 3. And hastily dragged it toward his home. . Within the right side of the door of his house 5. He dragged the young willow, then laid it down, . And he spake, saying: “It is not without a purpose that I have brought home this young willow. . I have brought it home for the little ones to use in counting their o-do®’, as they travel the path of life,” it has been said, in this house. LA FLESCH] RITE OF VIGIL—-FREE TRANSLATION. 167 398. 399. 400. 401. 402. 403. 404. 405. 406. 407. 408. 409. 410. They said, it has been said, in this house, The male beaver Moved to the strong current of the stream. Verily, he went up the river against its current, Rippling the surface of the water as he pushed forward, To the sixth bend of the river, Where, by the water’s edge stood a young willow, Which he quickly cut to the ground, And hastily dragged toward his home. Within the right side of the door of his house He dragged the young willow, then laid it down, And he. epakes saying: “‘It is not without a purpose that I have brought home this young willow. I have brought it home for the little ones to use in counting their o-do®’, as they travel the path of life,” it has been said, in this house. . They said, it has been said, in this house, 2. The male beaver 3. Moved up the strong current of the stream, . To the seventh bend of the river, . Where he lay close to the edge of the water. . Upon the water’s edge stood a young willow, . Which he quickly cut to the ground, . And hastily dragged toward his home. . Within the right side of the door of his house . He dragged the young walle, then laid it down, . And ina spake, saying: “‘It is not without a purpose that I have brought home this young willow. . I have brought it home for the little ones to use in counting their o-do®’, as they travel the path of life,’’ it has been said, in this house. . They said, it has been said, in this house, . The beaver moved to the strong current of the stream, 5. Slapping the water with his tail. . Verily, he went up the river against its current, . Rippling the surface of the water as he pushed forward, . To the first bend of the river, . Where, by the water’s edge stood a young willow, . Which he quickly cut to the ground, . And hastily dragged it toward his home. 2. Within the left side of the door of his house . He dragged the young willow, then laid it down, 4. And he spake, saying: ‘It is not without a purpose that I have brought home this young willow. THE OSAGE TRIBE. [BTH. ANN. 39 5. When the little ones go toward the setting sun against their enemies, . They shall use this young willow for counting their o-do"’. . When they use the young willow for counting their o-do”’, as they travel the path of life, . Then shall they count their o-do"’ with ease (accuracy),’’ it has been said, in this house. . They said, it has been said, in this house, . The male beaver . Moved to the strong current of the stream. 2. Verily, he went up the river against its current, . Rippling the surface of the water as he pushed forward, 4. To the second bend of the river, . Where he paused and stood. . By the water’s edge there stood a young willow, . Which he quickly cut to the ground, . And hastily dragged it toward his home. . Within the left side of the door of his house . He dragged the young willow, then laid it down, . And he spake, saying: “It is not without a purpose that I have brought home this young willow. . I have brought it home for the little ones to use in counting their o-do"’. . When the little ones use the young willow for counting their o-do"’, as they travel the path of life, . They shall be free from all causes of death,’’ it has been said, in this house. . They said, it has been said, in this house, . The male beaver . Moved to the strong current of the stream. . Verily, he went up the river against its current, . Rippling the surface of the water as he pushed forward, . To the third bend of the river, . Where, by the water’s edge stood a young willow, . Which he quickly cut to the ground, . And hastily dragged it toward his home. . Within the left side of the door of his house . He dragged the young willow, then laid it down, . And he spake, saying: ‘It is not without a purpose that I have brought home this young willow. 7. I have brought it home for the little ones to use in counting their o-do®’, as they travel the path of life,” it has been said, in this house. La FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 169 468. 469. 470. 471. 472. 473. 474. 475. 476. 477. 478. 479. 480. 481. 482. 483. 484. 485. 486. 487. 488. 489. 490. 491. 492. 493. 494. 495. 496. 497. 498. 499. 500. 501. 502. 503. 504. They said, it has been said, in this house, The male beaver Moved up the strong current of the stream, To the fourth bend of the river, Where, by the water’s edge stood a young willow, Which he quickly cut to the ground, And hastily dragged it toward his home. Within the left side of the door of his house He dragged the young willow, then laid it down, And he spake, saying: “‘It is not without a purpose that I have brought home this young willow. When the little ones go toward the setting sun against their enemies, They shall use the young willow to count their o-do"’, as they travel the path of life,” it has been said, in this house. They said, it has been said, in this house, The male beaver Moved to the strong current of the stream. Verily, he went up the river against the current, Rippling the surface of the water as he pushed forward, To the fifth bend of the river, Where he lay close to the edge of the water. Upon the water’s edge there stood a young willow, Which he quickly cut to the ground, And hastily dragged it toward his home. Within the left side of the door of his house He dragged the young willow, then laid it down, And he spake, saying: “It is not without a purpose that I have brought home this young willow. I have brought it home for the little ones to use in counting their o-do’, as they travel the path of life,” it has been said, in this house. They said, it has been said, in this house, The male beaver Moved to the strong current of the stream. Verily, he went up the river against the current, Rippling the surface of the water as he pushed forward, To the sixth bend of the river, Where, by the water’s edge stood a young willow, Which he quickly cut to the ground, And hastily dragged it toward his home. Within the left side of the door of his house He dragged the young willow, 170 THE OSAGE TRIBE. [BTH. ANN. 39 505. And he spake, saying: “It is not without a purpose that I have brought home this young willow. 506. I have brought it home for the little ones to use in counting their o-do®’, as they travel the path of life,” it has been said, in this house. Xu-tha’-wa-to"-i", from whom a number of the Tsi’-zhu Wa-no® wi’-gi-es were obtained, died before he could be questioned concerning the sun-ray (crepuscular rays) count-symbols, and upon his death it became doubtful as to whether any of the wi’-gi-es of his gens could be secured from another member. A member of his gens, in speaking of the death of Xu-tha’-wa-to"-i", said: ‘ All our rituals are now lost; this man was the only one who knew them.” It would have been preferable to secure from a member of the Tsi’-zhu Wa-no? himself the wi’-gi-e of the sun-ray count symbols, but the death of Xu-tha’- wa-to"-i" made its possibility questionable. In May, 1918, since the death of Xu-tha’-wa-to®-i", Wa-xthi’-zhi, who is versed in the rites, gave with some reluctance the wi’-gi-es of the sun-ray count symbols of both the Tsi’-zhu Wa-no"™ and the Mi-k’i"’ Wa-no" gentes. These two wi’-gi-es, as given by Wa-xthi’- zhi, are substantially the same. A paraphrase of the Tsi’-zhu Wa-no® wi’-gi-e is here given. At the ceremony of the counting of o-do”’ the members of these two Tsi/-zhu gentes recite, simultaneously, the wi’-gi-es of their gentes relating to the sun-ray count symbols. Sun-RAY Wt'-GI-k oF THE Tst’-zHU WaA-NO®. 1. Verily, at that time and place, it has been said, in this house, 2. The god that never fails to appear at the beginning of day 3. Has upon its left side 4. Six rays that are like stripes in appearance. 5. These six rays 6. I have made to be symbols, 7. Symbols of the valorous deeds spoken of as o-do?’. 8. When the little ones make of these six rays the symbols of their o-dor’, 9. They shall enable themselves to count with accuracy their o-do”’. 10. Upon the right side of that god there are seven rays that are in appearance like stripes. 11. These seven rays also, 12. I have made to be symbols, 13. Symbols of the valorous deeds spoken of as o-do’. 14. I have made all of these six and seven rays to be symbols of the valorous deeds spoken of as o-do?’. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 171 15. wo we as CRI CE bt bw b be ore Ww bh When the little ones use these rays for counting their 0-do™’, as they travel the path of life, . They shall enable themselves to count with accuracy their 0-do?’, . Verily, at that time and place, it has been said, in this house, . The people asked: “Of what shall the little ones make their bodies 2” . Verily, at that time and place, it has been said, in this house, . The Tsi’-zhu Wa-no® . Spake, saying: ‘‘ There is in existence a long-billed bird (pileated woodpecker). . Of that bird also, . I have verily made my body. . The god of day that sitteth in the heavens, . I have verily employed this bird to bring hither (symbolize), . The god of night that sitteth in the heavens, . [ have verily employed this bird to bring hither. . The male star (morning star) that sitteth in the heavens, . I have verily employed this bird to bring hither. . When the little ones make of that star their bodies, . They shall enable themselves to find spoils in profusion, as they travel the path of life. . When they go toward the setting sun against their enemies, . And use this bird in their appeals for aid, . They shall never fail to succeed in their undertakings, as they travel the path of life. 5. The female star (evening star) that sitteth in the heavens, . I have verily employed this bird to bring hither. . When the little ones go toward the setting sun against their enemies, . And use this bird in their appeals for aid, . They shall never fail to succeed in their undertakings, as they travel the path of life. . Verily, they shall enable themselves to find spoils in profusion. . When the little ones make of that star their bodies, . They shall always live to see old age. . The four successive days (four stages of life), . They shall enable themselves to reach with success. . When the people of the Wa-zha’-zhe, . And those of the Ho®’-ga, . Make of me their symbol, as they travel the path of life, 48. They shall never fail to succeed in their undertakings, as they travel the path of life.”’ alii THE OSAGE TRIBE. [BTH. ANN. 39 Sones oF CouNTING THE O-DO‘’ By THE WaA’-DON-BE. The first of this group of songs refers to the act of the Singer who conducts to his seat the Wa/’-do"-be, the valiant man, who is to recount his o-do"’ (valorous deeds), seven for the Ho*’-ga tribal division and six for the Tsi’-zhu. The number of o-do"’ to be counted by the Wa’-do?-be is definitely fixed by the preceding three wi’-gi-es, namely, the wi’-gi-e referring to the thirteen footprints of the black bear; the wi’-gi-e referring to the young willows cut by the beaver; and the wi’-gi-e referring to the thirteen sun-rays. A free translation is given in full of the three stanzas which the song contains. Sone 1. (Osage version, p. 439; literal translation, p. 571.) M.M. d = 168 Transcribed by Alice C. Fletcher } f f thin a-gi bi no”, ’Thi™ a-gibi no®, -’thi™ a-gibi no, FREE TRANSLATION. 1. A man he is bringing, He is bringing, he is bringing, A valorous man he is bringing, He is bringing, he is bringing, A man he is bringing. 2. A man he is bringing, He is bringing, he is bringing, A man who will speak he is bringing, He is bringing, he is bringing, A man he is bringing. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 173 3. A man he is bringing, He is bringing, he is bringing, One who is to speak great words, He is bringing, he is bringing, A man he is bringing. The second song of this group refers to the Wa/-do®-be as being a gift of the No®’-ho™-zhi"-ga order to the people, as a man whose valorous deeds are worthy of emulation. All of the lines excepting the sixth are the same, therefore a free translation of the fifth and sixth lines of the two stanzas will suffice to give the meaning of the song. Sone 2. (Osage version, p. 440; literal translation, p. 572.) Transcribed by Alice C. Fletcher fr The thin - kshe i-ta wi kshi - the, The thin-kshe i-tawi-kshi the, Thathi"-kshe i-ta wi-kshi the, =a SS = eer oon The thi-kshe i-tawikshi the, The thi"-kshe i-tawi kshi the P P : — the the he the, Wa-ho - shi-ge do® i-ta wi-kshi-the, ide The thit-kshe i-tawikshi-the, The thi™-kshe i-tawi kshi-the, r The thi-kshe i-tawi kshi the, The thin-kshe i-tawi kshi-the. 174 THE OSAGE TRIBE. [BTH. ANN. 39 FREE TRANSLATION. 1. The man who sits here I give to you, A valorous man I give to you. 2. The man who sits here I give to you, A man who can speak great words I give to you. The third song refers to two scenes that are enacted in the cere- mony of the leading of the Wa’-do"-be to the seat prepared for him at the west end of the lodge, one of which is the instructions received by the Singer to lead the Wa’-do"-be to his seat and to his carrying out those instructions; the other is the remarks made by individuals of the assembly to one another that the warrior who is to count his o-do”’ is being led to his ceremonial seat. A free translation of two of the lines in each stanza descriptive of these two scenes will suffice to give the meaning of the song, as all the other lines are iterative of one or the other of the two lines. Sone 3. (Osage version, p. 440; literal translation, p. 572.) M.M | - 168 Transcribed by Alice C. Fletcher Time beats E f f f a-thi®a-gi bi no", Dsi tsi-thathin, dsi tsi-tha thi®, [ Dsi tsi-tha thin, dsi tsi-tha thin, Dsi tsi-tha thi" he, —— r wae I-e do® a-thi" she-thu a-thi" a-gi bi no™, Dsi tsitha thir. FREE TRANSLATION. 1. Go and lead him thither, lead him thither. Look you, he who has good words is being led to his seat. LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION, 175 2. Go and lead him thither, lead him thither. Look you, he who is to speak is being led to his seat. The fourth song belongs to the final act of the great war ceremony called Wa-sha’-be A-thi", performed when a war party is being cere- monially organized. It is here used in this group of the No®’-zhi"-zho" songs for the purpose of teaching that all the men of a war party thus ceremonially organized, including the privates, the commanders, and the Do-do"’-ho®-ga, have an equal chance to win o-do"’ and be chosen to act as Wa’-do"-be in the initiatory rites. The final act of the Wa-sha’-be A-thit from which this song is borrowed was performed on the open prairie, a mile or so outside of the village. At this ceremony of the final act which is entitled Tsiu’-i-btho-thi-sho", Procession Around the Village, the warriors sit in two great divisions facing the west, those of the Ho®’-ga at the right and those of the Tsi’-zhu at the left. A space running from east to west forms the dividing line. The No®’-ho"-zhi®-ga stand around the two divisions of sitting war- riors in two great semicircles, those of the Ho®’/-ga at the right and those of the Tsi’-zhu at the left. At the close of a certain ceremony the Xo’-ka sings this borrowed song that belongs to the final act of the Wa-sha’-be A-thi" when the No®’-ho®-zhi"-ga march in solemn procession around the warriors, the Ho®’-ga making a sinistral circuit and the Tsi’-zhu a dextral circuit. There are sixteen stanzas to this song, fifteen of which are in three groups. The first group of stanzas refers to the simultaneous and collective movements of both the Ho®’-ga and the Tsi’-zhu No®’-ho?- zhi®-ga in a procession around the two divisions of the sitting war- riors. The second group of stanzas refer to the simultaneous proces- sional movement of the Ho®’-ga and the Tsi’-zhu severally, the Ho?’-ga passing from their side to the Tsi’-zhu side as they march and the Tsi’-zhu passing from their side to the Ho®’-ga side as they march. The third group of stanzas refers to the conclusion of the ceremony and to the readiness of the warriors to go forth and strike the enemy. The sixteenth stanza relates to the actual departure of the war party. In the first two lines of all the sixteen stanzas is mentioned the mystic clay used as a symbol by the Do-do®’-ho®-ga in his vigils. In the closing lines of the stanzas composing the three groups, the five symbolic articles used in the war ceremony are mentioned in the fol- lowing order: The pipe, the knife, the club, the charcoal, and the standards. In the last line of the sixteenth stanza is mentioned “the moccasins.’ These refer to the four ceremonial steps each warrior is required to take as he goes forth. These steps refer to the readiness of the symbolic man (typical of the unity of the tribe) to strike the enemy. 176 THE OSAGE TRIBE. [ETH. ANN. 39 Sone 4. (Osage version, p. 441; literaltranslation, p. 572. Transcribed by Alice C. Fletcher. Time beats ia f r if r ig Mon-thi"- ka u-thi - I-ba thi™ a-do" u-thi-sho® bthe hi® FREE TRANSLATION. ie Lo, around them I tread, bearing the mystie clay, Around them I tread, bearing the mystic clay, Around them I tread, bearing the mystic pipe. De Around them I tread, bearing the sacred knife. 3. Around them I tread, bearing the sacred club, 4. Around them I tread, bearing the sacred paint. 5. Around them I tread, bearing the sacred standard. 6. Lo, I pass from group to group, bearing the mystic clay, I pass from group to group, bearing the mystic clay, I pass from group to group, bearing the mystic pipe. de I pass from group to group, bearing the sacred knife. 8. I pass from group to group, bearing the sacred club. LA FLESCHE]) RITE OF VIGIL—-FREE TRANSLATION, a Leer 9. I pass from group to group, bearing the sacred paint. 10. I pass from group to group, bearing the sacred standard. 11. Lo, I go to strike, bearing the mystic clay, I go to strike, bearing the mystic clay, I go to strike, bearing the mystic pipe. 12. I go to strike, bearing the sacred knife, 13. I go to strike, bearing the sacred club. 14. I go to strike, bearing the sacred paint. 15. I go to strike, bearing the sacred standard. 16. Lo, I go to strike, bearing the mystic clay, I go to strike, bearing the mystic clay, I go to strike, bearing the moccasins. The fifth song is a call to the Wa’-do-be to begin to count his o-do®’. The seven stanzas of the song as here given are intended to include both the seven and six o-do"’, the prescribed number that must have been won by a warrior in order to entitle him to be chosen to act as Wa’-do"-be. The seven is for the Ho®’-ga great tribal division and the six for the Tsi’-zhu tribal division. In former times when an initiation ceremony was given by a gens of the Ho®’-ga subdivision the Singer (initiate) chose his Wa’-do®-be from the Mi-k’i"’ (Sun-carrier) gens of the Tsi’-zhu great tribal division, but since the death of all the warriors eligible for this office in both the Mi-k’i"’ and the Tsi’-zhu Wa-no" gentes there remained only one man in all the Tsi’-zhu division who could count the full thirteen o-do®’. Sho®’-ge-mo"-i" (Pl. 9, B), although the office of his gens (Peace-maker) would, in the ancient days, have precluded his appointment, yet at the present time he was called upon by both the Ho®’-ga and the Wa-zha’-zhe subdivisions to act as Wa’-do"-be when an initiation took place in either of these subdivisions. Sho®’-ge- mo®-i" died in 1919. There now remain living in the entire tribe only two old warriors, Ni’-ka-wa-zhi"-to®-ga (Pl. 9, A) and Ku’-zhi-wa-tse (P1.7, B), both over 3594 °—25}——12 178 THE OSAGE TRIBE. [BLH. ANN. 39 90 years old, who can count the full thirteen o-do®’. Both of these men belong to the Po"’-ka Wa-shta’-ge gens of the Wa-zha’-zhe sub- division. The narrator, Wa-xthi’-zhi, when singing the fifth song used the name of the Mi-k’i"’ gens from which the Ho*’-ga subdivision was accustomed to choose the Wa’-do"-be. instead of the gens of Sho*’- ge-mo®-i", who actually did the counting. In the song the word “‘o-do"’”’ does not occur. The word “ wa’- tse”’ (a stroke) is used, which is another form for indicating a military honor. Sona 5. (Osage version, p. 442; literal translation, p. 574.) Transcribed by Alice C. Fletcher ° i <a , : Time beats Tha -wa tse the he, tha-wa tse the he, Tha-wa tse the he, tha-wa ie the he, Wa - tse the he r Mi-k’i wi-xtsi tha-wa tse the he, Tha-wa tse the he, tha-wa tse the he, Wa -tse the he tha, FREE TRANSLATION, 1. Now let him count, let him count, Now let him count, let him count, Let the Mi-k’i*’ count the first wa’-tse, Now let him count, let him count, The wa’-tse. 2. Let the Mi-k’i®’ count the second wa’-tse. 3. Let the Mi-k’i®’ count the third wa’-tse. BUREAU OF AMERICAN ETHNOLOGY THIRTY-NINTH ANNUAL REPORT PLATE 10 Mullett SHO"’-GE-MO*-I" COUNTING HIS WAR HONORS BUREAU OF AMERICAN ETHNOLOGY THIRTY-NINTH ANNUAL REPORT PLATE 11 XO’-KA WITH WAR CLUB AND HAWK LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION, 179 4, Let the Mi-k’i*’ count the fourth wa’-tse. 5: Let the Mi-k’i»’ count the fifth wa’-tse. 6. Let the Mi-k’i®’ count the sixth wa’-tse. ie Let the Mi-k’i*’ count the final wa’-tse. When the A’-ki-ho® Xo/-ka begins to sing the song calling for the counting of the o-do"’ the Wa’-do"-be promptly rises, puts upon his left arm the bunch of seven willow saplings and, taking one from the bunch, he proceeds to count, his voice mingling with those of the No®’-ho®-zhi"-ga as they recite their wi’-gi-es, and the voices of the singers as they sing the seven stanzas of the song. The Wa’-do"-be, as he holds aloft the willow sapling, gives a brief account of his winning the o-do®’ which it represents. When he closes he drops the sapling to the ground, saying he places it upon the Wa-xo’-be, although that sacred object lies in its place at the eastern end of the lodge. He then takes another sapling from his left arm and gives a brief account of the second o-do”’ and in like manner he continues counting until he has counted the seven o-do"’ for the Ho®’-ga great tribal division. The Wa’-do"-be then proceeds to count the six o-do"’ for the Tsi’- zhu great tribal division, using the second bunch containing six sap- lings which he picks up from the ground and holds upon his left arm. Tur O-po%’ Count oF SHO*N’-GE-MO*-1. In May, 1916, Sho"’-ge-mor-i" (Pl. 10) very obligingly consented to count into the dictaphone his o-do®’ in the same manner as when he counted them at an initiatory ceremony. The translation is here given. “T rise to count my o-do®’. It is at your request, O, Wa-zha’-zhe, Ho®’-ga, and Ni’-ka Wa-ko"-da-gi, that I rise to recount my o-do*’. You well know that the o-do"’ that have been awarded me are not altogether clear of doubt [a conventional plea of modesty], but it is your wish that I recount them on this occasion, and I cannot but give consent to your request.” THE SEVEN O-DON’, (1) “This (willow sapling) represents the o-do®’ known as O-¢ko?’- ¢ka dsi Ga-ca-gi, Striking the Enemy within the Camp Limits. A Pawnee warrior was slain within the camp limits on Salt Creek. 180 THE OSAGE TRIBE. [BTH. ANN. 39 Do-do"’-i-no"-hi" was first to strike the warrior, and being next to him in the attack I gave the enemy the second stroke, which entitles me to a like o-do®’. O, thou Wa-xo’-be that lies before me, I place this upon thee.” (2) “This (willow sapling) represents the o-do®’ called Wa’-thu- xpe. I won it in a fight by a great war party, composed of both the great divisions of the tribe. The sacred charcoal was still upon my body and face when I performed this act and there exists no doubt of my title to count this o-do®’. O, thou Wa-xo’-be that hes before me, I place this upon thee.” (3) ‘This (willow sapling) represents the o-do®’ known as Do-do®’- hi®-to"-ga Wa-tse’-gthi, Triumph of a Do-do®’-ho?-ga of a Great War Party. Ni’-ka-ga-xthi came to me in his bereavement and, weeping, asked me to go forth to slay an enemy because of his loss. I went forth and came back in triumph. O, thou Wa-xo’-be that lies before me, I place this upon thee.”’ (4) “This (willow sapling) represents the o-do"’ called Wa-tse’, Victory. I won the o-do"’ when, as the officer carrying one of the standards of a war party, I struck an enemy. O, thou Wa-xo’-be that lies before me, I place this upon thee.”’ (5) “This (willow sapling) represents the o-do®’ called Do-do®’- hi®-to"-ga Wa-ga/-xthi, Striking of an Enemy in an Attack by a Great War Party. I won this o-do"’ when, under the leadership of Mi-ka’-zhi-ga, a war party attacked and slew a number of the enemy. O, thou Wa-xo’-be that lies before me, I place this upon thee.”’ (6) ‘This (willowsapling) represents the o-do"’ called Mo®-zho®’-dsi Ga-xthi, The Striking of an Enemy in the Open Country. I won this o-do"’ by striking a single enemy attacked at break of day by a war party of which I was a member. O, thou Wa-xo’-be that lies before me, I place this upon thee.” (7) “This (willow sapling) represents the o-do®’ called Tsi’-ga- xa-to"-ga Pa’ Wa-thu-ce, Taking a Head in an Attack by a War Party .Composed of Warriors of Only One of the Two Great Divisions. I won this o-do®’ in an attack made by a war party led by Wa-ko®’- da-u-ki-e. O, thou Wa-xo’-be that lies before me, I place this upon thee.”’ 6 The term ‘‘wa'-thu-xpe”’ remains unexplained, although diligent inquiry has been made concerning its meaning. The word analytically translated is: Wa, an act and upon; thu-xpe, from the word u-thi’- xpa-the, to drop. It is probable that the word refers to the custom of the warriors of dropping upon the body ofaslain enemy the sacred captive thong which each warrior is given to carry for the purpose of tying a captive should one be taken. As there is no use for the thong, no captive having been taken, the thong is left upon the body of the slain man. The warrior who has thus dropped his thong upon the dead body of an enemy is permitted to count the act as ‘‘o-don’.”’ LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION, : 181 THE SIX O-DOY’, (1) “This (willow sapling) represents the o-do®’ called Wa-xo’-be U-ko®-dsi Wa-thu-xpe, The Wa’-thu-xpe O-do®’ Awarded to a Mem- ber of a War Party Carrying Only One Wa-xo’-be. I won this o-dor’ in an attack made upon the enemy by a war party led by Ku’-zhi- wa-tse. O, thou Wa-xo’-be that lies before me, I place this upon thee.” (2) “This (willow sapling) represents the o-do®’ called Wa-xo’-be U-ko"-dsi Wa-tse’-gthi, O-do"’ Awarded to a Successful Leader of a War Party Carrying Only One Wa-xo’-be. I won this o-do"’ as leader of a war party carrying a single Wa-xo’-be. O, thou Wa-xo’-be that lies before me, I place this upon thee.” (3) “This (willow sapling) represents the o-do®’ called Wa-xo’-be U-ko®-dsi Wa-ga’-xthi, Striking of an Enemy in an Attack made by a War Party Carrying Only One Wa-xo’-be. I won this o-do®’ in an attack made by a war party led by Gthe-mo?’-zhi-ga. O, thou Wa-xo’-be that lies before me, I place this upon thee.” (4) “This (willow sapling) represents the o-do®’ called Mo®-zho"’-dsi U-tsi", Striking of an Enemy in an Attack in the Open Country. I won this o-do®’ in an attack made by a war party led by Tse-do’-a- mo™-1". O, thou Wa-xo’-be that lies before me, I place this upon thee.” (5) “This (willow sapling) represents the o-do"’ called Tsi’-ga-xa Wa-tse’-gthi, O-do"’ Awarded to a Successful Do-do*’-ho"-ga of a War Party Composed of Warriors of Only One of the Two Great Divisions. I won this o-do®’ as the successful Do-do"’-ho™-ga of a war party. O, thou Wa-xo’-be that lies before me, I place this upon thee.” (6) “This (willow sapling) represents the o-do”’ called Wa-xo’-be U-ko"-dsi Pa’ Wa-thu-ce, Taking the Head of an Enemy in an Attack made by a War Party Carrying a Single Wa-xo’-be. I won this o-do?’ in an attack made by a war party carrying but one Wa-xo’-be. O, thou Wa-xo’-be that lies before me, I place this upon thee.”’ Frees GrvEN THE WA’-pO*-BE. At the close of the song calling for the counting of the o-do®’, the A’-ki-ho® Xo’-ka lays down his gourd rattle and fills his own pipe to enjoy a smoke before proceeding with the final song of this group. The Wa’-do"-be returns to his seat among the members of his own gens and the No®’-ho"-zhi"-ga seek relaxation from their mental strain in social conversation. Meanwhile the Sho’-ka and two assist- ants busy themselves with apportioning, by families, the meat and other provisions supplied by the Singer for the entertainment of his numerous guests. When this task is finished the Sho’-ka calls the Wa’-do*-be’s wife, who promptly comes forward with her daughters. 182 ; THE OSAGE TRIBE. [RTH. ANN. 99 The Sho’-ka places before her a portion of the choicest parts of the meat and a liberal allowance of the other supplies. The wife of the Wa/’-do®-be and her assistants carry away these provisions, taking with them also the horse, robes, and other fees earned by the Wa’- do®-be for his services. It was a marked honor for the Wa’-do?-be to be thus served first, as it was not only a recognition of the services he had just given at the ceremony but also for the part he had taken in the past to insure the protection of the people and their homes. While the wife of the Wa’-do"-be and her assistants are carrying away their portion of the supplies the A’-ki-ho™ Xo’-ka takes up his rattle and sings the final song of the Wa-thu’-ge Wa-tho", which has only one stanza, but that is repeated four times. A free translation of the first line will suffice to give the meaning of the song. Sone 6. (Osage version, p. 443; literal translation, p. 575.) MM. ’ = 476 Transcribed by Alice C. Fletcher SS eee — fi | - Se ee ee Time beats f if f r if f f r E he ha he-beni® ha-thi" a-gtha-gthake, He - ha - thim a-gtha-gtha be, He - be nim ha-thi"a-gtha-gtha be. FREE TRANSLATION. ul Lo, they carry homeward a great portion! Crow SonGs. The crow is a bird that figures prominently in rites not only of the Osage but also in those of the Omaha and other Siouan tribes. The men of ancient days who formulated the tribal rites observed that nature had endowed this bird with faculties that served him well. His strong sense of sight enabled him to follow the movements of a war party and when foe met foe and the hills were strewn with the LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 183 slain the bird feasted upon the remains of the fallen warriors. Should it happen that he was not present to witness the deadly strife the winds carried to him the message that a feast awaited him beyond the hills—a message received through his keen sense of smell. The wi’-gi-es of the Wa-thu’-¢e Wa-tho™ (Seizing the Wa’-do™-be), the ceremonial movements, and the Crow Songs all dramatize the rally- ings of the people to go and chastise their foes. The warriors who march to the country of their enemies leave the hills strewn with the dead, upon which the black birds of mystery feast. Thus the war- riors return triumphant to their village, where the o-do"’ won by them are ceremonially confirmed. In the Omaha tribal buffalo hunt the runners who are sent out to seek for a large herd are often guided by the actions of this black bird of mystery, for when the runner sees flocks of crows hovering over a certain spot, or soaring widely, he knows that a herd is to be found at that place. This characteristic action of the crow prompted the priests to give this bird a place in the buffalo hunting rite. The Omaha Crow Song occurs in the group of songs relating to the runner (27th Ann. Rept. B. A. E., pp. 300, 303). The words of the song, freely translated, are: Yonder soars the black bird in wide circles, Soars widely upon his wings as he makes search. When the A’-ki-ho® Xo’-ka is about to sing the Crow Songs he addresses the No®’-ho®-zhi"-ga in a voice that all can hear: ‘“O, No*’-ho®-zhi"-ga, I have now come to the Crow Songs. It is the custom of the Men of Mystery at this stage of the ceremony to refresh themselves with water.” The A’-ki-ho" Xo’-ka and his assistants begin to sing the songs while women bring water for their husbands and brothers to drink and to wash from their faces the sign of vigil. The Sho’-ka and his assistants at this time give to each matron of a family her portion of the provisions bountifully supplied by the Singer. The No®’-ho®-zhi"-ga of all the gentes, excepting those of the initiating gens, adjourn for a recess and go to their homes to enjoy the meals prepared for them, leaving the presiding gens to continue the ceremony. The two songs composing this group are addressed to the crows by the symbolic man who symbolically acts as the protector of the tribal life. It was explained by Wa’-thu-xa-ge, a member of the Tsi’-zhu Wa-shta’-ge gens (see 36th Ann. Rept. B. A. E., p. 300), that when one of this class of songs occurs in a ceremony it is called ‘‘I’-ki Wa-tho",” Singing of Himself, that is, the symbolic man sings of himself. 184 THE OSAGE TRIBE. [ETH. ANN. 39 Sone 1. (Osage version, p. 443; literal translation, p. 575.) Transcribed by Alice C. Fletcher Ka - xe a-tsi® da ha ni-wa - the, Ka-xe atsitda ha ni-wa-the, (i ta’tsida ha ni-wa-the he, Ka- xe a-tsin da ha ni-wa - the. FREE TRANSLATION. iif O, ye crows, I, the protector of life, have come. O, ve crows, I, the protector of life, have come. Upon my feet, I, the protector of life, have come. O, ye crows, I, the protector of life, have come. 2. Upon my legs, I, the protector of life, have come. 3. In my body, I, the protector of life, have come. 4, With my arms, I, the protector of life, have come. With my head, I, the protector of life, have come. 6. With my mouth, I, the protector of life, have come. Sone 2. The translation of the first two lines and the third line of each stanza of this song will suffice. In this, as in the preceding song, the same order is observed in mentioning the parts of the body of the crow. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 185 (Osage version, p. 444; litera] translation, p. 576.) Transcribed by Alice C.Fletcher | tetas Ka - xe a-tsi® da ha shon FREE TRANSLATION. 5 I have come, O, ye crows, it is well. Upon my feet I have come, it is well. 2. I have come, O, ve crows, it is well. Upon my legs I have come, it is well. 3. I have come, O, ye crows, it is well. In my body I have come, it is well. 4, I have come, O, ye crows, it is well. With my arms I have come, it is well. 5. I have come, O, ye crows, it is well. With my head I have come, it is well. 6. I have come, O, ye crows, it is well. With my mouth I have come, it is well. Brack BEAR Songs. The next group of four songs is called Wa-ca’-be Wa-tho", Black Bear Songs. The songs relate to the soil of the earth given by the black bear to the people to be used by them as a sign of vigil when they 186 THE OSAGE TRIBE. [BTH. ANN. 39 appeal to the divine power for aid in overcoming their enemies. This purpose is clearly set forth in lines 94 to 115 in the Black Bear Wi’-gi-e given by Wa-tse’-mo®-1" (pp. 157-158). Lines 107 to 115 refer particu- larly to the symbol and its significance. As described in the wi’-gi-e, the bear tore open with his claws a hummock and disclosed the sacred soil of the earth that is to be used as a sign of vigil. This act of the bear in disclosing the sacred soil is a sacred and mysterious act, there- fore he who is to open the earth in order to take from it with his hands the soil to be used in his vigil must simulate in detail the actions of the bear. In the first song of this group occurs the word “ ta-ko,”’ a word that has become archaic, having long been out of use in the language as commonly spoken. It is never heard except in this and in other ancient songs of the rites where it has remained fixed and is still carried along by the sacred rites. The people of this generation do not understand the word and it is doubtful if there remain any of the older people who can explain its meaning. The word ‘‘ta-ko” is not used by the Omaha and the Ponca, who are closely related, linguistically, to the Osage, but it is found in the dialects of the Dakota group that departed from the original tribe at a remote period. Dr. Stephen R. Riggs, a well-known authority on the Santee dialect of the Dakota, says, on page 56 of his book, entitled “Tah'-koo Wah-kan,” or Gospel Among the Dakotas: ‘‘The great object of all their worship, whatever its chosen medium, is the Ta-koo Wa-kan’, which is the supernatural and mysterious. No one term can express the full meaning of the Dakota’s wakan’. It comprehends all mystery, secret power, and divinity. Awe and reverence are its due. And it is as unlimited in manifestation as it is in idea. All life is wakan’. So also is everything which exhibits power, whether in action, as the winds and drifting clouds, or in passive endurance, as the boulder by the wayside. For even the commonest sticks and stones have a spiritual essence which must be reverenced as a mani- festation of the all-pervading mysterious power that fills the universe.” The word ta-koo is compounded with the word wa-kan, which is akin to the term Wa-ko®’-da used by the Osage. Doctor Riggs also gives ta-koo in another compound form, on page 64 of the same volume, ‘‘ Ta’-koo-shkan-shkan’,’’ which he translates as “‘the moving god,’ adding: ‘‘This god is too subtle in essence to be perceived by the senses, and is as subtle in disposition.’’ The Dakota word ta-koo, which is unquestionably the same as the word ta-ko used in the Osage Ritual, Doctor Riggs interprets as ‘‘god;” and the last part of the compound word ‘‘shkan-shkan”’ he interprets as “moving.” The word ‘“‘shkan-shkan” is used by the Osage, the Omaha, and the Ponca tribes for expressing the same idea, that is, a continuous LA FLESCHE] RITE OF VIGIL—-FREE TRANSLATION, 187 moving, like that of the waters and the clouds, which are never: still but continually move, as do all other living things. The archaic Osage word ‘‘ta-ko,” which appears in this group of songs, having thus been found in use in the dialects of the Dakotas and with a definite meaning, there should be no hesitancy in trans- lating the word “‘ta-ko” in the Osage Ritual as ‘“‘divine;’’ as all the symbols, the songs, and the wi’-gi-es used in the rites are regarded as of a mysterious, divine nature, and are reverenced as such. Other words of the songs and the wi’-gi-es that have become obscure to the Osage are to be found in the Omaha and Ponca dialects with a definite meaning. ‘‘ Wa-tsi’-shka,’’ an archaic word used in the Osage Ni’-ki Wi’-gi-e of the I"-gtho"’-ga gens, is found in daily use among the Omaha as meaning a small creek. An Osage of to-day if spoken to of a “ wa-tsi’/-shka”’ would not understand the word, for his ancestors had long ago abandoned it, using in its stead the word ““ga-xa,”” branch, for creek. In the Hawk Songs of the Tho’-xe gens, given by Tse-zhi®’-ga-wa-da-in-ga, appears the archaic word “‘ pa-he’,” which conveys no meaning to the modern Osage, for they have been using for an indefinite time the word “pa-¢i,” a peak, for hill. Whereas among the Omaha, and also the Ponca, the word used for hill is ‘“‘pa-he’,”” a word given in the Hawk Song, two lines of which are here given: Over the earth I spread my wings, Lo, the hills (pa-he’) over which I am ever flying. 188 THE OSAGE TRIBE. [BTH. ANN. 39 Sone 1. (Osage version, p. 445; literal translation, p. 577.) M.M a - 88 Transcribed by Alice C. Fletcher coer amped kes Time beats won- thi- ton ge he ta- ico in da _—iha - we, f Mo®-thi-tonge he ta-koitda ha-we, Wi a-tsii"da ha-we he, 22S = Se SS SS Pere tar eral r f r Mon. thi- to" ge he ta-koi® da ha- we. FREE TRANSLATION. 1b The touching of the earth is an act divine—Greetings, The touching of the earth is an act divine—Greetings, The touching of the earth is an act divine—Greetings, I have come—Greetings, The touching of the earth is an act divine—Greetings. 2. The digging into the earth is an act divine—Greetings, The digging into the earth is an act divine—Greetings, The digging into the earth is an act divine—Greetings, I have come—Greetings, The digging into the earth is an act divine—Greetings. The burden of song 2 of this group is the sanctity of the act by which a person taking the rite of vigil puts upon his face the sacred soil of the earth as a supplicatory symbol. It also refers to the act as being a part of the daily life of the people, for they never let a day pass without coming close to Wa-ko"’-da with their prayers. The song is also used in the group entitled No®’-zhir-zho" Wa-tho?, Songs of the Vigils (p. 110). The translation of two lines of each stanza will suffice to give the meaning, as the other lines are repetitions. LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 189 Sone 2. (Osage version, p. 445; literal translation, p. 577.) Transcribed by Alice C. Fletcher- M.M.d = 112 No" -be o®-xo-dse u-wa- ni - ke no® ta- ko in da ha, No" - be o®-xo-dse u-wa-ni - ke no ta- ko idaha. FREE TRANSLATION. 1. Sacred is the act by which my hands are browned, It is the act by which I offer my prayer. 2: Sacred is the act by which my hands are blackened, It is the act by which I offer my prayer. 3. Sacred is the act by which my face is browned, It is the act by which I offer my prayer. 4. Sacred is the act by which my face is blackened, It is the act by which I offer my praver. 5. Sacred is the light of day that falls upon my face, The day on which my prayers are finished. 190 THE OSAGE TRIBE. | BTH. ANN. 39 The third song relates to the Do-do"’-ho*-ga, who goes to a place not frequented by men, where he can perform the rite of vigil undis- turbed by human activities. In digging into the earth with his bare hands to take from it the sacred soil to put upon his face as the sign of his vigil, his actions are like those of the black bear who seeks for food within the recesses of the earth. The ery of the Do-do"’-ho®-ga, while in his vigils, is to the unseen Power which gave to both the black bear and to man life and form. Both are dependent upon that Power for their continued existence, and so the man, in the moment of stress, utters a cry of appeal to that Power. The sequential arrangement of the first three stanzas implies that in the ery of the Do-do®’-ho®-ga is included the cry of the fathers, the mothers and the little ones of the people. Sone 3. (Osage version, p. 446; literal translation, p. 578.) M.M. d - 82 Transcribed by Alice C. Fletcher Time beats r f fF f ' Tsi-go mo®-thi- k’o go®-tha bthe he, f Do-ga mo®-thi-k’o go"-tha ha bthehi® do ho. FREE TRANSLATION. ile O, grandfather, I go forth longing to dig into the earth, O, grandfather, I go forth longing to dig into the earth, I, the male, go forth longing to dig into the earth. 9 a O, grandfather, I go forth longing to dig into the earth, O, grandfather, I go forth longing to dig into the earth, I, the female, go forth longing to dig into the earth. 3. O, grandfather, I go forth longing to dig into the earth, O, grandfather, I go forth longing to dig into the earth, I, the little one, go forth longing to dig into the earth. LA FLPSCHB] RITE OF VIGIL—-FREB TRANSLATION. 191 4, O, grandfather, I go forth longing to dig into the earth, O, grandfather, I go forth longing to dig into the earth, Longing for the final day of my digging into the earth. In the fourth song the singer in his vigil recalls the former suc- cesses of those Do-do"’-ho®-gas who had faithfully performed all the acts required by the Rite of Vigil. The song represents him as forecasting his own acts. A free translation of the first three lines of each stanza will suffice to give the meaning, as all the other lines are repetitions. Sona 4. (Osage version, p. 447; literal translation, p. 578.) M.M Al -92 Transcribed by Alice C, Fletcher ff wv. beats | | if f f | f f r Tsi - go, tsi-go ho, Tsi - go wi"’tha-the don, ete go, tances tsi-go ho. FREE TRANSLATION. le Grandfather, O, grandfather, When I find the enemy, T fall upon him unawares. 2 “. Grandfather, O, grandfather, When I find the enemy, I make him fall to the earth in death. 192 THE OSAGE TRIBE. [BTH. ANN. 39 3. Grandfather, O, grandfather, When I find the enemy, I reduce his houses to white smoke. 4. Grandfather, O, grandfather, When I find the enemy, I reduce his houses to gray ashes. 5. Grandfather, O, grandfather, When I find the enemy, His bones lie whitened and scattered. BurraLo SoOnGs. When the A’-ki-ho" Xo’-ka reaches the Tse Wa-tho", Buffalo Songs, he raises his voice and speaks to the No®’-ho?-zhi"-ga, saying: “Ha! No®/-ho®-zhi"-ga, Tse Wa-tho® a-tsi’/i" do. The ga Ki’-no” tsi ga-xa bi a, No®-hot-zhi"-e’,’’ a free translation of which is; ‘“ Ho! No®’-ho®-zhi"-ga, I have now come to the Buffalo Songs. It is the custom, at this point, to bring in those who are to be instructed in the use and meaning of the symbolic face paintings.” The Sho’-ka then goes out and in a short time returns, followed by the wife of the Singer and a number of her female relatives and immediate friends, all of whom must belong to the wife’s gens. These women, dressed in their gayest attire, arrange themselves in a row in front of the A’-ki-ho™ Xo’-ka, the Xo’-ka and the Singer who sit just back of the Wa-xo’-be (Fig. 2). When the women have taken their places, the A’-ki-ho™ Xo’-ka begins his instructions, a free translation of which is given. He begins by addressing the wife of the Singer by the term of relationship that he is accustomed to use when speaking to her. INSTRUCTIONS TO THE WIFE OF THE SINGER. PAINTING TO SEND COURAGE. “My granddaughter, this Wa-xo’-be is now yours, to take care of until there comes a time when it will be passed on to some one else. There may come a time when a warrior will wish to use this par- ticular Wa-xo’-be in a war expedition. If ever that: happens the warrior will come to your house in an appeal to you, not only for its use but also for your good wishes for success during the time that he is gone on the expedition. When you hear that a warrior is about to come to you, then you shall prepare yourself to receive him ceremonially. Should you happen to have a robe of black bear- LA FLESCHE] RITE OF VIGIL—FREE TRANSLATION. 193 skin you will be fortunate, for the black bear is a symbol of strength and courage. This robe you will spread upon the ground at your accustomed place in the house ready for you to sit upon while you _ wait for the coming of the warrior. Dress yourself in any garment that you think will be most becoming to you, but do not fail to remember to paint the parting of your hair red. The red line sym- bolizes the path of the god of day and also represents the path of life. When you have put upon your head this symbol then you will take your seat upon the bearskin robe and put this Wa-xo’-be in your lap. When the warrior enters the house and approaches you, do not touch the Wa-xo’-be, but let him take it himself from your lap. Upon the departure of the warrior from the house with the Wa-xo’-be you will remove the symbol from your head and say, while doing so: ‘‘My grandfather bade me to say, when I do this act, ‘I remove this symbol from my head and wipe my hands upon the bodies of the enemy.’ “Tn time you will hear that the warrior has started on his journey. Then you are to remember him. On the following morning, as the sun begins to rise, paint the parting of your hair red, put a narrow blue line upright on your right cheek, one horizontally on your fore- head, and one on your left cheek like that on the right. This is the Wa-zhi"’ The-the Ki’-no®, the symbolic painting by which you send to the warrior sympathy and courage, and your wish for his success. You must remove these symbols from your head and face before the sun reaches the zenith and say, while you do so: ‘My grandfather bade me to say, when I do this, ‘“‘I remove these symbols from my head and face and wipe my hands upon the body of the chief of the enemy.”’ On the next day, as the sun rises, you will again paint yourself in the same manner, but add a red line to each of the blue ones on your face. Before the sun reaches the zenith you must remove the symbols, and as you do so repeat the words I have just given you. On the third morning you will repeat this ceremony, this time adding a blue line to the red and blue lines, and later remove them as you did the others. On the fourth morning you must per- form the same ceremony, adding to the three lines on your face a red line, and later remove them in the same manner as before.” The A’-ki-ho® Xo’-ka continues his instructions as to the woman’s next act. : VIGIL TO SEND COURAGE. “Before the sun rises on the fifth morning you must arise and go out of your house and take from the earth a bit of soil and put it on your head. This is the Rite of the Wa-zhit’ The-the No®’-zhi*-zho" (the Rite of Vigil and the Sending of Courage). You must give all 3594°— 25} 13 194 THE OSAGE TRIBE. [BTH. ANN. 39 your thoughts to the warrior who has gone against the enemy car- rying your Wa-xo’-be. In this way you will give him aid. Refrain from sleeping, eating, or drinking water through the day. When the shadow of evening comes, making indistinguishable the faces of men, then remove from your head the soil of the earth. In doing so remember to repeat these words: ‘My grandfather bade me to say, when doing this, ‘‘I remove from my head the soil of the earth and wipe my hands upon the body of the chief of our enemies, that he may come to his death at the hands of our warriors.’”’’ You will repeat this rite for a period of four days, when your duty to your Wa-xo’-be and to the warrior will be fulfilled.”’ The A’-ki-ho" Xo’-ka next proceeds to instruct the woman as to her duties as a mother. SYMBOLIC PAINTING OF ROBE. “You have a child. Other children are yet to be born to you. There is in you the same desire that there is in all good mothers to bring your children successfully to maturity. In this you need the aid of a power that is greater than that of the human being. There is a rite by which an appeal can be made to this power. It is this: Let the father of your child secure the skin of an old male buffalo. You will dress and soften the skin with your own hands. When you have made it soft and pliable take some red paint and with it draw a straight, narrow line from the head, through the length of the body of the skin, to the tip of the tail. This straight line represents the path of the god of day that liveth forever. You will paint all four legs of the robe red, to represent the dawn, the coming of the god of day and of life. Let each child to whom you have given birth sleep in the consecrated robe and you will have aid in bringing to maturity your children.”’ The A’-ki-ho" Xo’-ka continues his instructions to the woman as to the ceremonial planting of the corn. SYMBOLIC PLANTING OF THE FIELD. “The planting of the field is also a responsibility that has been bestowed upon you and has to do with the feeding of your children. In this duty also you need aid such as no human effort can give you. There is a way by which you can appeal for aid in performing this duty and reach the power that controls all things. When the time for planting has come, aim to rise with the sun so that your task will begin at the same time the sun begins to take its course. The parting of your hair must be painted red for this work. The red line will represent the path of the god of day and will make the paths of all the animals converge toward you, for upon them you and your children LA PLESCHE] RITE OF VIGIL—-FREE TRANSLATION. 195 must depend for food. When you reach your field you must, first of all, prepare seven hills which you shall regard as the Mo?’-gtho"-ge Wa-ko"-da-gi, the Mysterious Hills. Open the first hill with your planting pole and put into it one grain of corn, after which you will cover up the opening and tamp it with your foot; in the second hill you will put two grains