_Y[^u]['][n]w[)e]h[)i], y[^u]['][n]w[)e]h[)i], y[^u]['][n]w[)e]h[)i],
y[^u]['][n]w[)e]h[)i]._
I am come from above--_Y[^u]['][n]w[)e]h[)i], y[^u]['][n]w[)e]h[)i],
y[^u]['][n]w[)e]h[)i], y[^u]['][n]w[)e]h[)i]._
I am come down from the Sun Land--_Y[^u]['][n]w[)e]h[)i]._
O Red Ag[)e]`yagu[']ga, you have come and put your red spittle
upon my body--Y[^u]['][n]w[)e]h[)i], y[^u]['][n]w[)e]h[)i],
y[^u]['][n]w[)e]h[)i].
And this above is to recite while one is painting himself.
_Explanation._
This formula, from Gatigwanasti, immediately follows the one last
given, in the manuscript book, and evidently comes immediately after
it also in practical use. The expressions used have been already
explained. The one using the formula first bathes in the running
stream, reciting at the same time the previous formula "Am[^a][']y[)i]
[)A][']tawasti[']y[)i]." He then repairs to some convenient spot
with his paint, beads, and other paraphernalia and proceeds to adorn
himself for the dance, which usually begins about an hour after
dark, but is not fairly under way until nearly midnight. The refrain,
y[^u]['][n]w[)e]h[)i], is probably _sung_ while mixing the paint, and
the other portion is recited while applying the pigment, or vice versa.
Although these formula are still in use, the painting is now obsolete,
beyond an occasional daubing of the face, without any plan or pattern,
on the occasion of a dance or ball play.