it, at last, arrived they were astonishingly prompt in rearing it.
The traditional method of construction was followed and a feast
celebrated its completion. Unfortunately, we could not be present,
but a week later a post-rehearsal was given for our benefit. The
Saint Louis house consists of the main eastern part, and the western
_shem_; these are separated to give better circulation of air and
the passage between them is roofed over; a curtain of matting hangs
in the west doorway; the ground is covered with mattings and the
walls are hung with them; there are the usual east and south windows,
fireplace, and treasure corner. At the feast Sangyea officiated as
the head of the house, Santukno, as his wife, assisting. They were
seated to the north of the fireplace; the rest of the household
were to the south; the guests of consequence were seated upon fine
mattings to the east of the fireplace; others sat along the north
and west sides. When all were seated the _inao_ to the fire-goddess
were placed; then the other _inao_ of the house were put in their
proper places. Kutoroge next made the new fire for the hearth, not
with matches but with the ancient flint and steel, the spark being
caught in tinder in a sort of horn or cup; as soon as the spark was
caught, a piece of dried elm-root was fitted into the opening of this
receptacle, and vigorously sucked at the upper end until the whole
lower end, in contact with the lighted tinder, was in a glow, when
the fire was started with it. The treasures were then located in
their corner and the _inao_ guardian of the house set up. All now
went outside while Yazo placed the roof _inao_. Next the _nusa_ was
constructed to the east of the house, before the sacred window, while
Sangyea prayed. Returning to the house cups and moustache-sticks
were produced. Goro filled the cups and Sangyea made an offering to
the east and to the _inao_ of the fireplace, drank half the cup,
giving the rest to Santukno; drink was now served to all the members
of the household and to the guests. Then for the first time in the
new home the women pounded millet in the mortar, singing songs
without words to time the pounding. The younger men then threw beans
to the little children, to the household and to the guests, after
which millet-cakes were served. When all was ended the house-master
expressed his appreciation of the interest of the guests as shown by
their presence.
The house truly presented a gay showing of _inao_. Those for the
fireplace are called _chi e horo ka kep_. There were four of them in
line at the east end of the fireplace; the top end is four-cleft and
there are two tufts of shavings at different heights; in the upper
tuft were three small bunches, neatly curled; in the lower tuft, were
two bunches; in shaving these the movement is downward and toward
the cutter; the bark is left on the lower part of the sticks; these
_inao_ should be burned after the ceremony. The _chise koro inao_
were two in number, one to the north, the other to the south, of
the fireplace; they are cut squarely across at the upper end and
tapered gradually below; no bark is left upon them; they are for the
household god and, after the ceremony should be placed with it in the
northeast corner. _Inao kike_, loose shaving curls, were hung at the
entrance and at the sides of the two windows; when evil people look
in at the window, where these are located, the god strikes them in
the face; only evil people _will_ look in at a window. Great _inao_,
with beautifully curled masses of shavings, called _kike parase_ were
fastened—one at the south window, one somewhat larger at the east
window, another still larger on the roof beam above the south end of
the fireplace; those at the windows are to keep away evil spirits and
ghosts; that bound to the beam is dedicated to the god who holds up
the house; the two on the roof, at the ends of the ridgepole were of
the same kind and were to ward off harm from winds and evil birds.
_Chise koro inao_ is a name used only while that kind of an _inao_ is
at the fireplace; when it is elsewhere it is called _kike chinoe_;
the shaving curls of which it is composed may be twisted together
into cords giving it an entirely peculiar and different appearance.
Most important of all, however, is the _inao netobe_; this is the
one at the extreme northeast corner of the room, and, even for our
inspection the people were unwilling to bring it out, though they
showed it to me in its place, in full detail; the top end is cut
obliquely at a single stroke, and the resulting slope is called
“the face”; the bark is left on and in it three notches are cut, at
each of three levels, around the stick, nine in all; cords of _kike
inao_ are tied around this stick and rest upon these notches, as
supports; these cords bind in place pendant _kike_; as new household
festivals occur new _kike_ are added until a great bunch of them is
formed; under this mass of pendant shavings the coal from the hearth
is bound; a little arrow or spear is laid among the shavings and
a miniature sword is bound to the upright; this _inao_ represents
the very spirit of the house, and while it ought never to be moved
during the lifetime of the house, it should be destroyed if the
house is deserted. The _nusa_ to the east of the house consisted of
twenty sticks of which twelve were long, eight short. The longer ones
consist of support sticks to which _kike parase_ were lashed, both
support and _inao_ being cut to neat sloping surfaces for fitting.
The shorter sticks were cut with a single sloping stroke, giving a
“face,” which was slit across with one cut, “the mouth”; in each
mouth _inao_ shavings were thrust. The shorter sticks are said to be
merely ornamental; the longer ones are sacred. The one to the left is
the moon, the next the wells, next bears, the rest are mountains in
which bears are hunted.
[Illustration: GREAT INAO: KIKE PARASE.]
[Illustration: AINU IN CANOE: SARU RIVER.]
In Yezo, when an Ainu has been away from the village and returns,
his home-coming is made a public occasion. All the people
gather, someone being their spokesman. He and the traveller seat
themselves facing. He who has been away begins to sing, narrating
his adventures, telling where he has been and what he has seen and
done. Presently he stops and the other begins to sing the happenings
of the village during the traveller’s absence from home. So they
sing, alternating, until both stories are completed. When our Ainu
group returns, they will be received as those who were dead and have
returned; what a many things the poor fellows will have to sing of
the people and the places they have seen so far away from their home
villages in the Saru River valley.
FOOTNOTES:
[1] Unfortunately photographed inside out.
[2] Ainu village.
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