I
Deep the dew water falls
No one comes close to me!
Where are you, whip-poor-will?
Why I am waiting now
Calling your voice again?
II
Screaming the night away,
With his great wing feathers
Swooping the darkness up;
I hear the Eagle bird
Pulling the blanket back
Off from the eastern sky.
III
How swift he flies bearing the sun to the morning.
See how he sits down in the trails of the eastern sky!
Whip-poor-will, Whip-poor-will, no more I follow thee!
When the night comes again, wilt thou say, “Follow me”?
THE PLANTING SONG (_Osage_)
I have made a footprint, a sacred one.
I have made a footprint; through it the blades push upward.
I have made a footprint; through it the blades radiate.
I have made a footprint; over it the blades float in the wind.
I have made a footprint; over it the ears lean toward one another.
I have made a footprint; over it I pluck the ears.
I have made a footprint; over it I bend the stalk to pluck the ears.
I have made a footprint; over it the blossoms lie gray.
I have made a footprint; smoke arises from my house.
I have made a footprint; there is cheer in my house.
I have made a footprint; I live in the light of day.
SONG OF THE RAIN CHANT (_Navaho_)
Far as man can see,
Comes the rain,
Comes the rain with me.
From the Rain-Mount,
Rain-Mount far away,
Comes the rain,
Comes the rain with me.
’Mid the lightnings,
’Mid the lightning zigzag,
’Mid the lightning flashing,
Comes the rain,
Comes the rain with me.
’Mid the swallows,
’Mid the swallows blue
Chirping glad together,
Comes the rain,
Comes the rain with me.
Through the pollen,
Through the pollen blest,
All in pollen hidden
Comes the rain,
Comes the rain with me.
Far as man can see,
Comes the rain,
Comes the rain with me.
THE VOICE THAT BEAUTIFIES THE LAND (_Navaho_)
I
The voice that beautifies the land!
The voice above,
The voice of the thunder,
Among the dark clouds
Again and again it sounds,
The voice that beautifies the land.
II
The voice that beautifies the land!
The voice below,
The voice of the grasshopper,
Among the flowers and grasses
Again and again it sounds,
The voice that beautifies the land.
CORN-GRINDING SONG (_Tesuque Pueblo_)
I
This way from the North
Comes the cloud,
Very blue,
And inside the cloud is the blue corn.
How beautiful the cloud
Bringing corn of blue color!
II
This way from the West
Comes the cloud
Very yellow,
And inside the cloud is the yellow corn.
How beautiful the cloud
Bringing corn of yellow color!
III
This way from the South
Comes the cloud
Very red,
And inside the cloud is the red corn.
How beautiful the cloud
Bringing corn of red color!
IV
This way from the East
Comes the cloud,
Very white,
And inside the cloud is the white corn.
How beautiful the cloud
Bringing corn of white color!
How beautiful the clouds
From the North and the West
From the South and the East
Bringing corn of all colors!
SONG OF THE BLUE CORN DANCE (_Zuñi_)
Beautiful, lo, the summer clouds,
Beautiful, lo, the summer clouds!
Blossoming clouds in the sky,
Like unto shimmering flowers,
Blossoming clouds in the sky,
Onward, lo, they come,
Hither, hither bound!
CORN-GRINDING SONG (_Zuñi_)
Yonder, yonder see the fair rainbow,
See the rainbow brightly decked and painted!
Now the swallow bringeth glad news to your corn,
Singing, “Hitherward, hitherward, hitherward, rain,
Hither come!”
Singing, “Hitherward, hitherward, hitherward, white cloud,
Hither come!”
Now we hear the corn-plants murmur,
“We are growing everywhere!”
Hi, yai, the world, how fair!
CORN DANCE SONG (_Zuñi_)
Who, ah ye know who—
Who, ah ye know who—
Who was’t that made a picture the first?
It was the bright Rainbow Youth,
Rainbow Youth—
Ay, behold it was even thus—
Clouds came,
And rain came
Close following—
Rainbow then colored all!
KOROSTA KATZINA SONG (_Hopi_)
I
Yellow butterflies
Over the blossoming virgin corn,
With pollen-painted faces
Chase one another in brilliant throng.
II
Blue butterflies
Over the blossoming virgin beans,
With pollen-painted faces
Chase one another in brilliant streams.
III
Over the blossoming corn,
Over the virgin corn
Wild bees hum;
Over the blossoming corn,
Over the virgin beans
Wild bees hum.
IV
Over your field of growing corn
All day shall hang the thunder-cloud;
Over your field of growing corn
All day shall come the rushing rain.
ANGA KATZINA SONG (_Hopi_)
Rain all over the cornfields,
Pretty butterfly-maidens
Chasing one another when the rain is done,
Hither, thither, so.
How they frolic ’mid the corn,
Laughing, laughing, thus:
A-ha, ha-ha,
O-ah, e-lo!
How they frolic ’mid the corn,
Singing, singing, thus:
O-o, o-ho,
O-he, e-lo!
HE-HEA KATZINA SONG (_Hopi_)
Corn-blossom maidens
Here in the fields,
Patches of beans in flower,
Fields all abloom,
Water shining after rain,
Blue clouds looming above.
Now behold!
Through bright clusters of flowers
Yellow butterflies
Are chasing at play,
And through the blossoming beans
Blue butterflies
Are chasing at play.
WUWUCHIM CHANT (_Hopi_)
Thus we, thus we,
The night along,
With happy hearts
Wish well one another.
In the chief’s kiva
They, the fathers,
They and Muyingwa
Plant the double ear—
Plant the perfect double corn-ear.
So the fields shall shine
With tassels white of perfect corn-ears.
Hither to them, hither come,
Rain that stands and cloud that rushes!
A RAIN SONG OF THE SNAKE SOCIETY—I (_Sia_)
Priests of _tinia_,
Let the white floating clouds,
The clouds like the plains,
The lightning, thunder, rainbow, and cloud peoples water the earth.
Let the people of the white floating clouds,
The people of the clouds like the plains,
The lightning, thunder, rainbow, and cloud peoples
Come and work for us and water the earth.
A RAIN SONG OF THE SNAKE SOCIETY—II (_Sia_)
Cloud priest who ascends through the heart of the spruce of the north,
Cloud priest who ascends through the heart of the pine of the west,
Cloud priest who ascends through the heart of the oak of the south,
Cloud priest who ascends through the heart of the aspen of the east,
Cloud priest who ascends through the heart of the cedar of the zenith,
Cloud priest who ascends through the heart of the oak of the nadir,
Send your people to work for us
That the water of the six great springs may quicken the earth,
That she may give to us the fruits of her being.
CORN SONG (_Pima_)
I
_Hi-ilo-o ya-a-a!_ He who sees everything
Sees the two stalks of corn standing;
He’s my younger brother. _Hi-ilo-o ya-a-a!_
He who sees everything, sees the two squashes;
He’s my younger brother. _Hi-ilo-o ya-a-a!_
On the summit of _Ta-atûkam_ sees the corn standing;
He’s my younger brother. _Hi-ilo-o ya-a-a!_
On the summit of _Ta-atûkam_ sees the squash standing;
He’s my younger brother. _Hi-ilo-o woiha!_
II
_Hi-ilo-o ya-a-a!_ Over _Ta-atûkam_
Rise the clouds with their loud thundering.
_Hi-ilo-o ya-a-a!_ Over _Ta-atûkam_
Rise the clouds with their loud raining.
_Hi-ilo-o ya-a-a!_ The Bluebird is holding
In his talons the clouds that are thundering.
_Hi-ilo-o ya-a-a!_ Yellowbird is holding
In his talons the clouds that are raining.
III
_Hi-ilo-o ya-a-a!_ See Elder Brother
Breathe out the winds that over _Ta-atûkam_
Drive the clouds with their loud thundering.
_Hi-ilo-o ya-a-a!_ See Elder Brother
Breathe out the winds that over _Ta-atûkam_
The welcome storm clouds are suspending.
_Hi-ilo-o ya-a-a!_ In the great rain clouds
Let me sing my song of rejoicing.
RAIN SONGS (_Pima_)
I
_Hi-ihiya naiho-o!_ Let us begin our song,
Let us begin, rejoicing. _Hitciya yahina-a._
Let us begin our song, let us begin, rejoicing,
Singing of the large corn. _Hitciya yahina-a._
Singing of the small corn. _Hitciya yahina-a._
II
_Hi-ihiya naiho-o!_ The darkness of evening
Falls as we sing before the sacred âmĭna.
About us on all sides corn tassels are waving.
_Hitciya yahina!_ The white light of day dawn
Yet finds us singing, while corn tassels are waving.
_Hitciya yahina-a!_ The darkness of evening
Falls as we sing before the sacred âmĭna.
About us on all sides corn tassels are waving.
_Hitciya yahina!_ The white light of day dawn
Yet finds us singing, while the squash leaves are waving.
III
_Hi-ihiya naiho-o!_ The earth is rumbling
From the beating of our basket drums.
The earth is rumbling from the beating
Of our basket drums, everywhere humming.
_Hitciya yahina-a._
Earth is rumbling, everywhere raining,
_Hitciya yahina-a._
IV
_Hi-ihiya naiho-o!_ Pluck out the feathers
From the wing of the Eagle and turn them
Toward the east where lie the large clouds.
_Hitciya yahina-a!_ Pluck out the soft down
From the breast of the Eagle and turn it
Toward the west where sail the small clouds.
_Hitciya yahina!_ Beneath the abode
Of the rain gods it is thundering;
Large corn is there. _Hitciya yahina!_
Beneath the abode of the rain gods
It is raining; small corn is there.
_Hitciya yahina._
A METATE SONG
Is it not beautiful?
Is it not, truly!
Is it not beautiful?
Is it not, truly!
Is it not beautiful?
Is it not, truly!
Is it not beautiful?
Is it not, truly!
Is it not beautiful?
Is it not, truly!
On every side They are,
The Trues, the rain-commanders;
Do you not hear their drum?
Because of that you will see
This year the vapor floating;
Because of that you will see
This year the drizzling rain.
Is it not beautiful?
Is it not truly!
In all the fields the corn upspringing,
Like the young pine it comes up;
Like the green aspen;
In all the fields the corn upspringing,
Tall like the tail of the thrush!
Tall like the road-runner’s tail,
In all the fields the corn upspringing!
(Refrain of three lines of vocables.)
FLUTE SONG (_Hopi_)
I
Hail, fathers, hail!
Chieftain of the Gray Flute, hail!
At the four world-points
Ye call, ye summon clouds.
From the four world-points upstarting,
Shall the rain hither come.
II
Hither thunder, rain-thunder here,
Hither the rain-thunder will come;
Hither rain, moving-rain—
Onward now, over all the fields,
Moving-rain.
And the wet earth, amid the corn,
Everywhere, far and near,
It will shine—water-shine.
THE SUNRISE CALL (_Zuñi_)
I
Rise! arise! arise!
Rise! arise, arise!
Wake ye! arise, life is greeting thee.
Wake ye, arise, ever watchful be.
Mother Life-god, she is calling thee!
Mother Life-god, she is calling thee!
Mother Life-god, she is greeting thee.
All arise, arise, arise!
Rise! arise, arise!
II
Mighty Sun-god! give thy light to us,
Let it guide us, let it aid us.
See it rise! See it rise!
How the heart glows, how the soul delights
In the music of the sunlight.
Watch it rise! Watch it rise!
Wake ye, arise, life is greeting thee.
Wake ye, arise, ever watchful be.
Mother Life-god, she is calling thee!
Mother Life-god she is greeting thee.
All arise, arise, arise!
Rise! arise, arise!
HYMN TO THE SUN (_Zuñi_)
I
Early in the morning,
We waken, we waken.
When mother Sun-god rises,
We welcome her with joy.
She greets us with a radiant face,
She meets us with a warm embrace,
So sweetly, so sweetly.
Merrily we sing and dance;
In happy spirit we advance;
Merrily we sing and dance;
In happy spirit we advance.
We are children of the sun,
Arm in arm together run,
Round a ring we steady move:
Our hearts will faithful prove,
As the sun comes near to us,
Near to us, near to us.
Listen! just listen!
II
What a wondrous shower of sounds,
Countless beats in rapid rounds,
Ever changing ever new,
Constant strains of high and low.
They are messengers of love,
Spirit voices from above,
Bringing light and life and joy
Telling us of bliss on high,
Bliss on high! Bliss on high!
Listen! just listen!
III
Whence come all these distant sounds?
Echoes, where the light abounds:
Crystal streams in murmurs faint,
Bursting forth without restraint.
They are golden grains of thought,
Silent whispers faintly caught,
Filling us with joy content,
Pathways of our souls’ ascent,
Souls’ ascent, souls’ ascent.
Listen! just listen!
IV
Glory to the sunlight rays,
Glory to the Sun-god’s ways,
Sunlight rays, Sun-god’s ways.
They command us: to endure,
To be silent, chaste and pure,
To be faithful, true and brave,
To the laws our fathers gave.
O harken to the Sun-god’s voice
Beckoning your soul to rise:
In radiant light, the source of song,
The origin of thought has sprung:
As light and song in one unite,
Let us forever seek the light,
We seek the light, we seek the light.
Listen! just listen!
SUNSET SONG (_Zuñi_)
Goodnight to thee, Fair Goddess,
We thank thee for thy blessing.
Goodnight to thee, Fair Goddess,
We thank thee for this day.
In glory we behold thee
At early dawn again.
We thank thee for thy blessing,
To be with us this day.
This day,
We thank thee for this day.
INVOCATION TO THE SUN-GOD (_Zuñi_)
Grant, O Sun-god, thy protection!
Guard this helpless infant sleeping.
Grant, O Sun-god, thy protection!
Guard this helpless infant sleeping,
Resting peaceful, resting peaceful.
Starry guardians forever joyful,
Faithful Moon-god forever watchful.
Grant, O Sun-god, thy protection!
Guard this helpless infant sleeping.
Spirit living, Spirit resting,
Guard us, lead us, aid us, love us.
Sun-god forever, Spirit living, Spirit resting,
Guard us, lead us, aid us, love us,
Sun-god forever.
A SONG OF GOTAL LIII (_Mescalero Apache_)
The black turkey-gobbler, under the East, the middle of his tail;
toward us it is about to dawn.
The black turkey-gobbler, the tips of his beautiful tail; above us the
dawn whitens.
The black turkey-gobbler, the tips of his beautiful tail; above us the
dawn becomes yellow.
The sunbeams stream forward, dawn boys, with shimmering shoes of
yellow;
On top of the sunbeams that stream toward us they are dancing.
At the East the rainbow moves forward, dawn maidens, with shimmering
shoes and shirts of yellow dance over us.
Beautifully over us it is dawning.
Above us among the mountains the herbs are becoming green;
Above us on the tops of the mountains the herbs are becoming yellow.
Above us among the mountains, with shoes of yellow I go around the
fruits and herbs that shimmer.
Above us among the mountains, the shimmering fruits with shoes and
shirts of yellow are bent toward him.
On the beautiful mountains above it is daylight.
FIRST DAYLIGHT SONG (_Navaho_)
I
The curtain of daybreak is hanging,
The Daylight Boy (it is hanging),
From the land of day it is hanging;
Before him, as it dawns, it is hanging.
Behind him, as it dawns, it is hanging.
Before him, in beauty, it is hanging;
Behind him, in beauty, it is hanging;
From his voice, in beauty, it is hanging.
II
The Daylight Girl (it is hanging),
From the land of yellow light, it is hanging;
Before her, as it dawns, it is hanging;
Behind her, as it dawns, it is hanging.
Before her, in beauty, it is hanging;
Behind her, in beauty, it is hanging;
From her voice, in beauty, it is hanging.
SONG OF THE DAWN BOY (_Navaho_)
Where my kindred dwell, there I wander.
Child of the White Corn am I, there I wander.
The Red Rock House, there I wander.
Where dark _kethawns_ are at the doorway, there I wander.
At the _yuni_, the striped cotton hangs with pollen. There I wander,
Going around with it. There I wander.
Taking another, I depart with it. With it I wander.
In the house of long life, there I wander.
In the house of happiness, there I wander.
Beauty before me, with it I wander.
Beauty behind me, with it I wander,
Beauty below me, with it I wander,
Beauty above me, with it I wander.
Beauty all around me, with it I wander,
In old age traveling, with it I wander.
On the beautiful trail I am, with it I wander.
THE MORNING STAR AND THE NEW BORN DAWN (_Pawnee_)
I
O Morning Star, for thee we watch!
Dimly comes thy light from distant skies;
We see thee, then lost art thou,
Morning Star, thou bringest life to us.
II
O Morning Star, thy form we see!
Clad in shining garments dost thou come,
Thy plume touched with rosy light.
Morning Star, thou now art vanishing.
III
O youthful Dawn, for thee we watch!
Dimly comes thy light from distant skies;
We see thee, then lost art thou.
Youthful Dawn, thou bringest life to us.
IV
O youthful Dawn, we see thee come!
Bright grows thy glowing light
As near, nearer thou dost come.
Youthful Dawn, thou now art vanishing.
DAYLIGHT (_Pawnee_)
I
Day is here! Day is here, is here!
Arise, my son, lift thine eyes,
Day is here! Day is here, is here!
Day is here! Day is here, is here!
Look up, my son, and see the day.
Day is here! Day is here, is here!
II
Lo, the deer! Lo, the deer, the deer
Comes from her covert of the night!
Day is here! Day is here, is here!
Lo, the deer! Lo, the deer, the deer!
All creatures wake and see the light.
Day is here! Day is here, is here!
Day is here! Day is here, is here!
THE BIRTH OF DAWN (_Pawnee_)
I
Awake, O mother, from sleep!
Awake! the night is far spent;
The signs of dawn are now seen
In east, whence cometh new life.
II
The mother wakens from sleep;
She wakes, for night is far spent;
The signs of dawn are now seen
In east, whence cometh new life.
III
Awake, O _Kawas_, from sleep!
Awake! The night is far spent;
The signs of dawn are now seen
In east, whence cometh new life.
IV
Now _Kawas_ wakens from sleep,
Awakens for night is far spent;
The signs of dawn are now seen
In east, whence cometh new life.
V
Then _Kawas_ stands and speaks forth:
“A child from Night is now born;
_Tirá wa_, father on high,
On Darkness moving, brings Dawn.”
VI
I understand now, I know
A child from Night has been born;
_Tirá wa_, father on high,
On Darkness moving, brings Dawn.
VII
O Son, awaken from sleep
Awake! the night is far spent;
The signs of dawn are now seen
In east, whence cometh new life.
VIII
The Son awakens from sleep;
He wakes, for night is far spent;
The signs of dawn are now seen
In east, whence cometh new life.
SONG TO THE PLEIADES (_Pawnee_)
Look as they rise, rise
Over the line where sky meets the earth;
Pleiades!
Lo! They ascending, come to guide us,
Leading us safely, keeping us one;
Pleiades,
Teach us to be, like you, united.
THE SONG OF THE STARS (_Algonquin_)
We are the stars which sing,
We sing with our light;
We are the birds of fire,
We fly over the sky.
Our light is a voice;
We make a road for spirits,
For the spirits to pass over.
Among us are three hunters
Who chase a bear;
There never was a time
When they were not hunting.
We look down on the mountains.
This is the Song of the Stars.
THE STARS DEHN-DEK AND MAH-OH-RAH (_Wyandot_)
Dehn-dek (_to Oh-tsch-eh-stah, the mother_):
She arises from the ground!
In a far land Mah-oh-rah walks before us!
She comes to the great city and stands before its gates!
Our Grandmother looks upon her! She who fell down from heaven,
... lies upon her couch and beholds Mah-oh-rah.
She goes to the Land of Little People; she goes through the old
city in which our fathers were saved.
Get thee down in haste and bring her again to her own people.
(_Journeys forth to the city of Our Grandmother._)
(_Enters the royal palace in the sacred city._)
Dehn-dek (_to Our Grandmother_):
Give again into my arms the daughter gone to the Land of the
Little People!
She stood here in this hour, but is gone on the lonely way to that
land.
Your children mourn for her; they cut themselves for grief!
Let her return with me to our own land.
Our Grandmother:
Mah-oh-rah stood indeed before me!
She was pale and faint from the journey!
The Hooh-kehs drew her back in their power!
She went out from my presence to return to her own people.
Two torches she bore aloft to make clear the way.
(_Dehn-dek goes out in pursuit of his daughter._)
Our Grandmother (_watching the pursuit_):
They go into the sky!
From that land are we cast down forever!
And another land is made for us.
Let them be made stars.
Now shall they be made stars to shine forever there.
And their journey shall never cease!
SONG OF THE MASKED DANCERS (_Apache_)
The day broke with slender rain.
The place which is called “lightning’s water stands,”
The place which is called “where the dawn strikes,”
Four places where it is called “it dawns with life,”
I landed there.
I went among the sky youths.
One came to me with long life.
When he talked over my body with the longest life,
The voice of the thunder spoke well four times,
He spoke four times to me with life.
Holy sky youth spoke to me four times.
When he talked to me my breath became.
A SONG OF THE MASKED DANCERS III (_Apache_)
The living sky black-spotted;
The living sky blue-spotted;
The living sky yellow-spotted;
The living sky white-spotted;
The young spruce as girls stood up for their dance in the way of life.
When my songs first were, they made my songs with words of jet.
Earth when it was made,
Sky when it was made,
Earth to the end,
Sky to the end,
Black gans, black thunder, when they came toward each other,
The various bad things that used to be vanished;
The bad wishes which were in the world vanished.
The lightning of the black thunder struck four times for them.
It struck four times for me.
EMERGENCE SONG (_Pima_)
Together we emerge with our rattles;
Together we emerge with our rattles,
Bright-hued feathers in our head-dresses.
With our nyñnyirsa we went down;
With our nyñnyirsa we went down,
Wearing _Yoku_ feathers in our head-dresses.
This is the white land; we arrive singing,
Head-dresses waving in the breeze.
We have come! We have come!
The land trembles with our dancing and singing.
On these black mountains all are singing.
Head-dresses waving, head-dresses waving.
We all rejoice! We all rejoice!
Singing, dancing, the mountains trembling.
THE WARNING OF THE FLOOD (_Pima_)
Weep my unfortunate people!
All this you will see take place.
Weep my unfortunate people!
For the waters will cover the land.
Weep my unhappy relatives!
You will learn all.
Weep my unhappy relatives!
You will learn all.
The waters will cover the mountains.
Weep my unfortunate people!
All this you will see take place.
Weep my unfortunate people!
For the waters will cover the land.
PROTECTION SONG (_Navaho_)
I
Now, Slayer of the Alien Gods, among men am I.
Now among the alien gods with weapons of magic am I.
Rubbed with the summits of the mountains,
Now among the alien gods with weapons of magic am I.
Now upon the beautiful trail of old age,
Now among the alien gods with weapons of magic am I.
II
Now, Offspring of the Water, among men am I.
Now among the alien gods with weapons of magic am I.
Rubbed with the water of the summits,
Now among the alien gods with weapons of magic am I.
Now upon the beautiful trail of old age,
Now among the alien gods with weapons of magic am I.
III
Now, Lightning of the Thunder, among men am I.
Now among the alien gods with weapons of magic am I.
Rubbed with the summit of the sky,
Now among the alien gods with weapons of magic am I.
Now upon the beautiful trail of old age,
Now among the alien gods with weapons of magic am I.
IV
Now, _Altsodoniglehi_, among men am I.
Now among the alien gods with weapons of magic am I.
Rubbed with the summits of the earth,
Now among the alien gods with weapons of magic am I.
Now upon the beautiful trail of old age,
Now among the alien gods with weapons of magic am I.
SONG OF NAYENEZGANI I (_Navaho_)
I
The Slayer of the Alien Gods,
That now am I.
The Bearer of the Sun
Arises with me,
Journeys with me,
Goes down with me,
Abides with me;
But sees me not.
II
Child of the Water
That now am I.
The Bearer of the Moon
Arises with me,
Journeys with me,
Goes down with me,
Abides with me;
But sees me not.
SONG OF NAYENEZGANI II (_Navaho_)
I
I am the Slayer of the Alien Gods
Where’er I roam
Before me
Forests white are strewn around.
The lightning scatters;
But ’tis I who cause it.
II
I am the Child of the Water.
Where’er I roam
Behind me
Waters white are strewn around.
The tempest scatters;
But ’tis I who cause it.
SONG OF THE HORSE (_Navaho_)
How joyous his neigh!
Lo, the Turquoise Horse of Johano-ai,
How joyous his neigh!
There on precious hides outspread standeth he;
How joyous his neigh,
There on tips of fair fresh flowers feedeth he;
How joyous his neigh,
There of mingled waters holy drinketh he;
How joyous his neigh,
There he spurneth dust of glittering grains;
How joyous his neigh,
There in mist of sacred pollen hidden, all hidden he;
How joyous his neigh,
There his offspring many grow and thrive for evermore:
How joyous his neigh!
SONG OF THE HOGANS (_Navaho_)
Lo, yonder the hogan,
The hogan blessed!
There beneath the sunrise
Standeth the hogan,
The hogan blessed.
Of _Hastyeyalti-ye_
The hogan,
The hogan blessed.
Built of dawn’s first light
Standeth his hogan,
The hogan blessed.
Built of fair white corn
Standeth his hogan,
The hogan blessed.
Built of broidered robes and hides
Standeth his hogan,
The hogan blessed.
Built of mixed All-Waters pure
Standeth his hogan,
The hogan blessed.
Built of holy pollen
Standeth his hogan,
The hogan blessed.
Evermore enduring,
Happy evermore,
His hogan,
The hogan blessed.
Lo, yonder the hogan,
The hogan blessed!
There beneath the sunset
Standeth the hogan,
The hogan blessed.
Of _Hastyehogan-i_
The hogan,
The hogan blessed.
Built of afterglow
Standeth his hogan,
The hogan blessed.
Built of yellow corn
Standeth his hogan,
The hogan blessed.
Built of gems and shining shells
Standeth his hogan,
The hogan blessed.
Built of Little-Waters
Standeth his hogan,
The hogan blessed.
Built of holy pollen
Standeth his hogan,
The hogan blessed.
Evermore enduring,
Happy evermore,
His hogan,
The hogan blessed.
Lo, yonder the hogan,
The hogan blessed!
WAR-SONG (_Navaho_)
Lo, the flint youth, he am I,
The flint youth.
_Nayenezrani_, Lo, behold me, he am I,
Lo, the flint youth, he am I,
The flint youth.
Moccasins of black flint have I;
Lo, the flint youth, he am I,
The flint youth.
Leggings of black flint have I;
Lo, the flint youth, he am I,
The flint youth.
Tunic of black flint have I;
Lo, the flint youth, he am I,
The flint youth.
Bonnet of black flint have I;
Lo, the flint youth, he am I,
The flint youth.
Clearest, purest flint the heart
Living strong within me—heart of flint;
Lo, the flint youth, he am I,
The flint youth.
Now the zig-zag lightnings four
From me flash,
Striking and returning,
From me flash;
Lo, the flint youth, he am I,
The flint youth.
There where’er the lightnings strike,
Into the ground they hurl the foe—
Ancient folk with evil charms,
One upon another, dashed to earth;
Lo, the flint youth, he am I,
The flint youth.
Living evermore,
Feared of all forevermore,
Lo, the flint youth, he am I,
The flint youth.
Lo, the flint youth, he am I,
The flint youth.
ATSÁLĒI YEDADIGLÉS (_Navaho_)
Now the holy one paints his form.
The Wind Boy, the holy one, paints his form,
All over his body, he paints his form,
With the dark clouds he paints his form,
With the misty rain he paints his form,
With the rainy bubbles he paints his form,
To fingers and rattle he paints his form,
To the plume on his head he paints his form.
MOUNTAIN SONGS (_Navaho_)
I
Swift and far I journey.
Swift upon the rainbow.
Swift and far I journey.
Lo, yonder, the Holy Place!
Yea, swift and far I journey.
To Sisnajinni, and beyond it,
Yea, swift and far I journey;
The Chief of Mountains, and beyond it,
Yea, swift and far I journey;
To Life Unending, and beyond it,
Yea, swift and far I journey.
II
Homeward now shall I journey,
Homeward upon the rainbow;
Homeward now shall I journey,
Lo, yonder, the Holy Place!
Yea, homeward now shall I journey.
To _Sisnajinni_, and beyond it,
Yea, homeward now shall I journey;
The Chief of Mountains, and beyond it,
Yea, homeward now shall I journey;
To Life Unending, and beyond it,
Yea, homeward now shall I journey;
To Joy Unchanging, and beyond it,
Yea, homeward now shall I journey.
III
Homeward behold me starting,
Homeward upon the rainbow;
Homeward behold me starting.
Lo, yonder, the Holy Place!
Yea, homeward behold me starting.
To _Sisnajinni_, and beyond it,
Yea, homeward behold me starting;
The Chief of Mountains, and beyond it,
Yea, homeward behold me starting.
To Life Unending, and beyond it,
Yea, homeward behold me starting;
To Joy Unchanging, and beyond it,
Yea, homeward behold me starting.
IV
Homeward behold me faring,
Homeward upon the rainbow;
Homeward behold me faring.
Lo, yonder, the Holy Place!
Yea, homeward behold me faring.
To _Sisnajinni_, and beyond it,
Yea, homeward behold me faring;
The Chief of Mountains, and beyond it,
Yea, homeward behold me faring;
To Life Unending, and beyond it,
Yea, homeward behold me faring;
To Joy Unchanging, and beyond it,
Yea, homeward behold me faring.
V
Now arrived home behold me,
Now arrived on the rainbow;
Now arrived home behold me,
Lo, here, the Holy Place!
Yea, now arrived home behold me.
At _Sisnajinni_, and beyond it,
Yea, now arrived home behold me;
The Chief of Mountains, and beyond it,
Yea, now arrived home behold me;
In Life Unending, and beyond it,
Yea, now arrived home behold me;
In Joy Unchanging, and beyond it,
Yea, now arrived home behold me.
VI
Seated at home behold me,
Seated amid the rainbow;
Seated at home behold me,
Lo, here, the Holy Place!
Yea, seated at home behold me.
At _Sisnajinni_, and beyond it,
Yea, seated at home behold me;
The Chief of Mountains, and beyond it,
Yea, seated at home behold me;
In Life Unending, and beyond it,
Yea, seated at home behold me;
In Joy Unchanging, and beyond it,
Yea, seated at home behold me.
MOUNTAIN SONG (_Navaho_)
I
In a holy place with a god I walk,
In a holy place with a god I walk,
On _Tsĭsnadzĭʹni_ with a god I walk,
On a chief of mountains with a god I walk,
In old age wandering with a god I walk.
On a trail of beauty with a god I walk.
II
In a holy place with a god I walk,
In a holy place with a god I walk,
On _Tsótsĭl_ with a god I walk,
On a chief of mountains with a god I walk,
In old age wandering with a god I walk,
On a trail of beauty with a god I walk.
III
In a holy place with a god I walk,
In a holy place with a god I walk,
On _Dokoslíd_ with a god I walk,
On a chief of mountains with a god I walk,
In old age wandering with a god I walk,
On a trail of beauty with a god I walk.
IV
In a holy place with a god I walk,
In a holy place with a god I walk,
On _Depĕʹntsa_ with a god I walk,
On a chief of mountains with a god I walk,
In old age wandering with a god I walk,
On a trail of beauty with a god I walk.
MOUNTAIN SONG (_Navaho_)
Thither go I!
Chief of all mountains,
Thither go I,
Living forever,
Thither go I,
Blessings bestowing.
Thither go I,
Calling me “Son, my son.”
Thither go I.
INVOCATION OF THE GAME (_San Ildefonso Pueblo_)
I (North)
Yonder afar
By the Black Mountain
In the Valley
The Black Chief of the Elk is standing,
And he is our quarry.
II (West)
Yonder afar
By the Mountain of Deer-Trails
In the Valley
The Yellow Chief of the Antelope is standing,
And he is our quarry.
III (South)
Yonder afar
By the Mountain of Flying
In the Valley
The Red Chief of the Antelope is standing,
And he is our quarry.
IV (East)
Yonder afar
By the Mountain of Flowers
In the Valley
The White Chief of the Buffalo is standing,
And he is our quarry.
MEDICINE SONG (_Apache_)
Stĕnátlĭhăⁿ, you are good, I pray for long life.
I pray for your good looks.
I pray for good breath.
I pray for good speech.
I pray for feet like yours to carry me through a long life.
I pray for a life like yours.
I walk with people; ahead of me all is well.
I pray for people to smile as long as I live.
I pray to live long.
I pray, I say, for a long life to live with you where the good people
are.
I live in poverty.
I wish the people there to speak of goodness and to talk to me.
I wish you to divide your good things with me as a brother.
Ahead of me is goodness; lead me on.
PRAYER OF THE FIRST DANCERS (_Navaho_)
From the ceremony of the Night Chant
In _Tseʿgíhigi_ (oh you who dwell!)
In the house made of the dawn,
In the house made of the evening twilight,
In the house made of the dark cloud,
In the house made of the he-rain,
In the house made of the dark mist,
In the house made of she-rain,
In the house made of pollen,
In the house made of grasshoppers,
Where the dark mist curtains the doorway,
The path to which is on the rainbow,
Where the zigzag lightning stands high on top,
Where the he-rain stands high on top,
Oh, male divinity!
With your moccasins of dark cloud, come to us.
With your leggings of dark cloud, come to us.
With your shirt of dark cloud, come to us.
With your head-dress of dark cloud, come to us.
With your mind enveloped in dark cloud, come to us.
With the dark thunder above you, come to us soaring.
With the shapen cloud at your feet, come to us soaring.
With the far darkness made of the dark cloud over your head, come to us
soaring.
With the far darkness made of the he-rain over your head, come to us
soaring.
With the far darkness made of the dark mist over your head, come to us
soaring.
With the far darkness made of the she-rain over your head, come to us
soaring.
With the zigzag lightning flung out on high over your head, come to us
soaring.
With the rainbow hanging high over your head, come to us soaring.
With the far darkness made of the dark cloud on the ends of your wings,
come to us soaring.
With the far darkness made of the he-rain on the ends of your wings,
come to us soaring.
With the far darkness made of the dark mist on the ends of your wings,
come to us soaring.
With the far darkness made of the she-rain on the ends of your wings,
come to us soaring.
With the zigzag lightning flung out on high on the ends of your wings,
come to us soaring.
With the rainbow hanging high on the ends of your wings, come to us
soaring.
With the near darkness made of the dark cloud, of the he-rain, of the
dark mist, and of the she-rain, come to us.
With the darkness on the earth, come to us.
With these I wish the foam floating on the flowing water over the
roots of the great corn.
I have made your sacrifice.
I have prepared a smoke for you.
My feet restore for me.
My limbs restore for me.
My body restore for me.
My mind restore for me.
My voice restore for me.
Today, take out your spell for me.
Today, take away your spell for me.
Away from me you have taken it.
Far off from me you have taken it.
Far off you have done it.
Happily I recover.
Happily my interior becomes cool.
Happily my eyes regain their power,
Happily my head becomes cool.
Happily my limbs regain their power.
Happily I hear again.
Happily for me (the spell) is taken off.
Happily I walk.
Impervious to pain, I walk.
Feeling light within, I walk.
With lively feelings, I walk.
Happily (or in beauty) abundant dark clouds I desire.
Happily abundant dark mists I desire.
Happily abundant passing showers I desire.
Happily an abundance of vegetation I desire.
Happily an abundance of pollen I desire.
Happily abundant dew I desire.
Happily may fair white corn, to the ends of the earth, come with you.
Happily may fair yellow corn, to the ends of the earth, come with you.
Happily may fair blue corn, to the ends of the earth, come with you.
Happily may fair corn of all kinds, to the ends of the earth, come
with you.
Happily may fair plants of all kinds, to the ends of the earth, come
with you.
Happily may fair goods of all kinds, to the ends of the earth, come
with you.
Happily may fair jewels of all kinds, to the ends of the earth, come
with you.
With these before you, happily may they come with you.
With these behind you, happily may they come with you.
With these below you, happily may they come with you.
With these above you, happily may they come with you.
With these all around you, happily may they come with you.
Thus happily you accomplish your task.
Happily the old men will regard you.
Happily the old women will regard you.
Happily the young men will regard you.
Happily the young women will regard you.
Happily the boys will regard you.
Happily the girls will regard you.
Happily the children will regard you.
Happily the chiefs will regard you.
Happily, as they scatter in different directions, they will regard you.
Happily, as they approach their homes, they will regard you.
Happily may their roads home be on the trail of pollen (peace).
Happily may they all get back.
In beauty (happily) I walk.
With beauty before me, I walk.
With beauty behind me, I walk.
With beauty below me, I walk.
With beauty above me, I walk.
With beauty all around me, I walk.
It is finished (again) in beauty,
It is finished in beauty,
It is finished in beauty,
It is finished in beauty.
A PRAYER OF THE SECOND DAY OF THE NIGHT CHANT (_Navaho_)
From the base of the east,
From the base of the Pelado Peak,
From the house made of mirage,
From the story made of mirage,
From the doorway of rainbow,
The path out of which is the rainbow,
The rainbow passed out with me.
The rainbow raised up with me.
Through the middle of broad fields,
The rainbow returned with me.
To where my house is visible,
The rainbow returned with me.
To the roof of my house,
The rainbow returned with me.
To the entrance of my house,
The rainbow returned with me.
To just within my house,
The rainbow returned with me.
To my fireside,
The rainbow returned with me.
To the center of my house,
The rainbow returned with me.
At the fore part of my house with the dawn,
The Talking God sits with me.
The House God sits with me.
Pollen Boy sits with me.
Grasshopper Girl sits with me.
In beauty _Estsánatlehi_, my mother, for her I return.
Beautifully my fire to me is restored.
Beautifully my possessions are to me restored.
Beautifully my soft goods to me are restored.
Beautifully my hard goods to me are restored.
Beautifully my horses to me are restored.
Beautifully my sheep to me are restored.
Beautifully my old men to me are restored.
Beautifully my old women to me are restored.
Beautifully my young men to me are restored.
Beautifully my women are restored.
Beautifully my children to me are restored.
Beautifully my wife to me is restored.
Beautifully my chiefs to me are restored.
Beautifully my country to me is restored.
Beautifully my fields to me are restored.
Beautifully my house to me is restored.
Talking God sits with me.
House God sits with me.
Pollen Boy sits with me.
Grasshopper Girl sits with me.
Beautifully white corn to me is restored.
Beautifully yellow corn to me is restored.
Beautifully blue corn to me is restored.
Beautifully corn of all kinds to me is restored.
In beauty may I walk.
All day long may I walk.
Through the returning seasons may I walk.
Beautifully will I possess again.
On the trail marked with pollen may I walk.
With grasshoppers about my feet may I walk.
With dew about my feet may I walk.
With beauty may I walk.
With beauty before me, may I walk.
With beauty behind me, may I walk.
With beauty above me, may I walk.
With beauty below me, may I walk.
With beauty all around me, may I walk.
In old age wandering on a trail of beauty, lively, may I walk.
In old age wandering on a trail of beauty, living again, may I walk.
It is finished in beauty.
It is finished in beauty.
PRAYER TO DSILYI NEYÁNI (_Navaho_)
Reared Within the Mountains!
Lord of the Mountains!
Young Man!
Chieftain!
I have made your sacrifice.
I have prepared a smoke for you.
My feet restore thou for me.
My legs restore thou for me.
My body restore thou for me.
My mind restore thou for me.
My voice restore thou for me.
Restore all for me in beauty.
Make beautiful all that is before me.
Make beautiful all that is behind me.
Make beautiful my words.
It is done in beauty.
It is done in beauty.
It is done in beauty.
It is done in beauty.
DEDICATION OF A NEW HOUSE (_Navaho_)
Man (_scattering white cornmeal about the circumference of the room_):
May it be delightful, my house;
From my head may it be delightful;
To my feet may it be delightful;
Where I lie may it be delightful;
Above me may it be delightful;
All around me may it be delightful.
(_flinging meal into the fire_)
May it be delightful and well, my fire.
(_flinging meal up the smoke-hole_)
May it be delightful, Sun, my mother’s ancestor, for this gift;
May it be delightful as I walk around my house.
(_sprinkling meal out the doorway_)
May it be delightful, this road of light (the path of the Sun) my
mother’s ancestor.
Woman (_making meal, offering to the fire, says quietly_):
May it be delightful, my fire;
May it be delightful for my children; may all be well;
May it be delightful with my food and theirs; may all be well;
All my possessions well may they be made.
All my flocks well may they be made.
(That is, may they all be healthy and increase.)
PRAYER OF THE FOSTER-PARENT CHANT (_Teton-Sioux_)
Great Mystery, you have existed from the first;
This sky and this earth you created.
Wing flapper (Thunder Bird), you have existed from the first,
Your nation is half soldiers and half chiefs, so they say.
Lend me a good day; I borrow it.
Me, the Indian race, you have uplifted.
But now I am in despair;
Yet this good boy will renew the life of his people.
So, Great Mystery, look upon me; pity me,
That the nation may live—
Before the face of the North, the nation may live.
HOLY SONG (_Dakota_)
O ye people, be ye healed;
Life anew I bring unto ye.
O ye people, be ye healed;
Life anew I bring unto ye.
Through the Father over all
Do I thus.
Life anew I bring unto ye.
INVOKING THE VISIONS (_Pawnee_)
I
Holy visions!
Hither come, we pray you, come unto us,
Bringing with you joy;
Come, O come to us, holy visions,
Bringing with you joy.
II
Holy visions!
Near are they approaching, near to us here,
Bringing with them joy;
Nearer still they come—holy visions—
Bringing with them joy.
III
Holy visions!
Lo! Before the doorway pause they, waiting,
Bearing gifts of joy;
Pausing there they wait—holy visions—
Bearing gifts of joy.
IV
Holy visions!
Now they cross the threshold, gliding softly
Toward the space within;
Softly gliding on—holy visions—
Toward the space within.
V
Holy visions!
They the lodge are filling with their presence,
Fraught with hope and peace;
Filling all the lodge—holy visions—
Fraught with hope and peace.
VI
Holy visions!
Now they touch the children, gently touch them,
Giving dreams of joy;
Gently touch each one—holy visions—
Giving dreams of joy.
VII
Holy visions!
Ended now their mission, pass they outward,
Yet they leave us joy;
Pass they all from us—holy visions—
Yet they leave us joy.
VIII
Holy visions!
They, the sky ascending, reach their dwelling;
There they rest above;
They their dwelling reach—holy visions—
There they rest above.
RITUAL SONG (_Pawnee_)
I
I know not if the voice of man can reach to the sky;
I know not if the mighty one will hear as I pray;
I know not if the gifts I ask will all granted be;
I know not if the word of old we truly can hear;
I know not what will come to pass in our future days;
I hope that only good will come, my children, to you.
II
I now know that the voice of man can reach the sky;
I now know that the mighty one has heard as I prayed;
I now know that the gifts I asked have all granted been.
I now know that the word of old we truly have heard;
I now know that _Tirá wa_ hearkens unto man’s prayer;
I know that only good has come, my children, to you.
MEDICINE SONG (_Omaha_)
Ho! Aged One, _eçka_,
At a time when there were gathered together seven persons,
You sat in the seventh place, it is said,
And of the Seven you alone possessed knowledge of all things,
Aged One, _eçka_.
When in their longing for protection and guidance,
The people sought in their minds for a way,
They beheld you sitting with assured permanency and endurance
In the center where converged the paths,
There, exposed to the violence of the four winds, you sat,
Possessed with power to receive supplications,
Aged One, _eçka_.
Where is his mouth, by which there may be utterance of speech?
Where is his heart, to which there may come knowledge and
understanding?
Where are his feet, whereby he may move from place to place?
We question in wonder,
Yet verily it is said you alone have power to receive supplications,
Aged One, _eçka_.
I have desired to go yet farther in the path of life with my little
ones,
Without pain, without sickness,
Beyond the second, third, and fourth period of life’s pathway,
Aged One, _eçka_.
O hear! This is my prayer,
Although uttered in words poorly put together,
Aged One, _eçka_.
SONG OF THE PRIMAL ROCK (_Omaha_)
Oh! Aged One, _eçka_,
Oh! thou recumbent Rock, _eçka_,
Aged One, _eçka_,
To thee I shall pray, _eçka_,
Aged One, _eçka_,
Oh! Aged One, _eçka_,
The great water that lies impossible to traverse, _eçka_,
Aged One, _eçka_,
In the midst of the waters thou came and sat, _eçka_,
Aged One, _eçka_,
Thou, of whom one may think, whence camest thou? _eçka_,
Aged One, _eçka_,
From midst the waters camest thou, and sat, _eçka_.
It is said that thou sittest crying: “Iⁿ! Iⁿ! _eçka_,
Though I shall carry these my little ones, _eçka_,
Though I shall sit and listen to their words, _eçka_,
Because,” they say, you have said, _eçka_,
“If one shall go astray in his speech, although here lies one on whom
one’s footsteps may seem impossible to stumble, _eçka_,
Upon this, the earth, very suddenly he shall stumble,” they say you
have said, _eçka_,
Aged One, _eçka_,
The impurities, _eçka_,
Shall not enter within, _eçka_,
Shall drift, like filth, as thou sittest, _eçka_,
Aged One, _eçka_
Oh! Aged One, _eçka_,
“If one of mine prays to me properly,” _eçka_,
Aged One, _eçka_,
“I shall be with him, _eçka_,
Further along he shall go,” _eçka_.
Aged One, _eçka_,
“The fourth hill, _eçka_,
The third, the fourth, _eçka_,
Even in going they shall appear thereon,” they say you have said,
_eçka_,
Aged One, _eçka_,
Oh! Aged One, _eçka_,
Thou sittest as though longing for something, _eçka_,
Thou sittest like one with wrinkled loins, _eçka_,
Thou sittest like one with furrowed brow, _eçka_,
Thou sittest like one with flabby arms, _eçka_,
“The little ones shall be as I am, whoever shall pray to me properly,”
_eçka_,
Oh! Aged One, _eçka_,
Oh! Thou Pole of the Tent, _eçka_,
Along the banks of the streams, _eçka_,
With head drooping over, there thou sittest, _eçka_,
Thy topmost branches, _eçka_,
Dipping again and again, verily, into the water, _eçka_,
Thou Pole of the Tent, _eçka_,
“One of these little ones, _eçka_,
I shall sit upon one, _eçka_,
The impurities, eçka,
All I shall wash away from them, _eçka_,
To the end, without one obstacle, they shall appear thereon,” they say
you have said, _eçka_,
Aged One, _eçka_,
It is said that you have commanded us to say to you, “Our Father,
_eçka_,
Thou Water, _eçka_,
Oh! Along the bends of the stream where the waters strike, and where
the waters eddy, among the water-mosses, let all the impurities that
gall be drifted, _eçka_,
Not entering within,” _eçka_.
Aged One, _eçka_,
“Whosoever touches me with face or lips, _eçka_,
All the impurities, _eçka_,
I shall cause to be cleansed,” it is said, you have said, _eçka_.
“The four apertures of the body, _eçka_,
And all within the body I shall purify,” it is said, you have said,
_eçka_.
“Little ones, _eçka_,
Through and through shall appear, _eçka_,
Against the wind, in the midst of air, they shall appear and stand,”
_eçka_,
It is said you have said, _eçka_,
Aged One, _eçka_.
INTRODUCTION OF THE CHILD TO THE COSMOS (_Omaha_)
I
Ho! Ye Sun, Moon, Stars, all ye that move in the heavens,
I bid you hear me!
Into your midst has come a new life.
Consent ye, I implore!
Make its path smooth, that it may reach the brow of the first hill!
II
Ho! Ye Winds, Clouds, Rain, Mist, all ye that move in the air,
I bid ye hear me!
Into your midst has come a new life.
Consent ye, I implore!
Make its path smooth, that it may reach the brow of the second hill!
III
Ho! Ye Hills, Valleys, Rivers, Lakes, Trees, Grasses, all ye of the
earth,
I bid you hear me!
Into your midst has come a new life.
Consent ye, I implore!
Make its path smooth, that it may reach the brow of the third hill!
IV
Ho! Ye Birds, great and small, that fly in the air,
Ho! Ye Animals, great and small, that dwell in the forest,
Ho! Ye Insects that creep among the grasses and burrow in the ground,
I bid you hear me!
Into your midst has come a new life.
Consent ye, I implore!
Make its path smooth, that it may reach the brow of the fourth hill!
V
Ho! All ye of the heavens, all ye of the air, all ye of the earth,
I bid you all to hear me.
Into your midst has come a new life.
Consent ye, consent ye all, I implore!
Make its path smooth—then shall it travel beyond the four hills!
SONG OF TURNING THE CHILD (_Omaha_)
I
Ye four, come hither and stand, near shall ye stand;
In four groups shall ye stand;
Here shall ye stand, in this place stand.
II
Turned by the winds goes the one I send yonder;
Yonder he goes who is whirled by the winds;
Goes, where the four hills of life and the four winds are standing;
There, in the midst of the winds do I send him,
Into the midst of the winds, standing there.
III
Here unto you has been spoken the truth;
Because of this truth you shall stand.
Here, declared is the truth.
Here in this place has been shown you the truth.
Therefore, arise! Go forth in its strength!
SUPPLICATION OF THE TSÍZHU WASHTÁGE (_Osage_)
Wakonda will cause the coming days to be calm and peaceful,
The Tsízhu have called upon Wakonda to make the days calm and peaceful,
That little ones may come to us in unbroken succession and we become
a people.
Wakonda will make the days beautiful.
Toward the winds of the rising of the sun the days will surely be calm
and peaceful.
Toward the winds of the south Wakonda will make the days to be calm
and peaceful.
Toward the winds of the setting sun Wakonda will make the days to be
calm and peaceful.
Toward the winds of the land of cedars (the north) Wakonda will make
the days to be calm and peaceful.
THE TRIBAL PRAYER (_Omaha_)
Father, a needy one before Thee stands.
I am he!
WAWAN SONG (_Omaha_)
The clear sky,
The green fruitful earth is good;
But peace among men is better.
THE MORNING SONG (_Cheyenne_)
He, our Father,
He hath shown His mercy unto me.
In peace I walk the straight road.
PART TWO
POETIC FORMS IN AMERICAN INDIAN LYRICS
POETIC FORMS IN AMERICAN INDIAN LYRICS
The true touchstone of primitive verse is familiarity with aboriginal
life and manners. Let the observer sit among the American Indians under a
starlit sky in the far spaces of the desert, or with his horizon bound by
native forests, where only blazed trails penetrate the shadows—wherever
these people sing, encircling a quiet fire. Not even the folk-songs of
the colored race on their native plantations convey the sense of detached
unreality that comes with hearing these evening songs of the red race.
When a thousand songs have beaten their way into his pulse, the
listener may hope to understand both the form and the spirit of this
verse. Only this certain recognition acquired by personal knowledge
can direct him to sound judgments of the current pseudo-Indian verse.
It is the only safe basis for comparison when studies lead far afield
into the song-literature of many tribes. Many of us, however, cannot
readily explore the remote places of aboriginal song. For such readers,
fortunately, there is an increasing number of printed studies and of
records gathered by our great museums.
Even after wide observation and the close study of years, many
questions will still remain to baffle us. To reconcile many apparent
inconsistencies of Indian lyric verse forms, we must first understand the
_thought-movement_ of this body of poetry before we approach the whole
subject of _thought-rhythm_, with the questions of _repetition_ and of
_stanzaic_ and _metrical structure_.
In the mood of the poet, to be sure, lies the chief influence which
shapes the poem and marks its larger formal characteristics of
thought-movement and rhythm. There are the graceful, lilting verses
that go swiftly to the golden melodies of some of the shorter lyrics,
as in the _Song of the Coyote and Locust_; others which move in slow
processional to stately chants, as in the odes of _The Night Chant_.
But the thought-movement is the more immediate influence upon the
structure of a poem. The pre-eminently characteristic movement of the
Indian lyric is recessional.[1] It perceptibly intensifies the haunting,
melancholy effect in which the lyric usually finds voice. The _motif_
appears at the opening of the song, with the emotional intensity or
emphasis gradually dying away toward the close. This movement commonly
occurs in the shorter songs which are entirely repeated several times.
This recessional movement is effective with its musical accompaniment,
repeating the melody in a descending scale, and ending on a low note.
Thus _pitch_ and _accent_, as well as varying _quantity_, mark the
repetitions and lessen their monotony.
As a modification of the recessional movement, there is the poem which
opens with the _motif_ and repeats it at regularly recurring points
throughout, concluding abruptly without the refrain. There are some
stanzaic units in this group. Whatever may be the gain in emphasis and
in organization, there is a distinct loss in atmosphere. This type is
interesting as a transitional stage.
The second type of thought-movement has influenced a third group of songs
which shows wide divergence from the first. In this last group the major
emphasis always opens and closes the song, though it recurs at intervals,
as at the opening or close of each stanza. This is the most finished
lyric in design, the most completely thought out, with stanzaic units
distinct. Mood and idea join to create a beautiful form.
To a less extent, the processional, or forward, thought-movement appears
in lyric form. It may progress toward an emotional climax at the end of
a song or a sequence. In the songs before sunrise, as the _Daylight Song_
in _The Hako_, the intensity increases toward the close as dawn appears.
The forward movement finds its most natural place in the ballads and in
those ritualistic poems which anticipate dramatic gesture or action. This
dramatic relationship, whether in formal ceremony or in vocational songs,
shapes the thought-movement in direct contrast to the characteristic
order.
There are other poems which carry the thought forward to the close,
rounding with an effective summary, sustaining the heightened interest,
yet showing the fine intellectual perception of form in relation
to thought which appears in _Mount Koonak: A Song of Arsut_. In
characteristics, this type approaches the lyric which Doctor Moulton has
classified as the _free sonnet_.
Whatever variations appear in the sequence of thought, it must be
remembered that the use of the recessional movement is a primary law of
Indian lyric art.
There is within the lyric a sense of symmetry, of poetic consistency,
which cannot be measured by Anglo-Saxon rules of prosody. The Indian
poet achieves this symmetry in structure by using varied patterns of
thought-rhythm; that is, by means of infinitely modified forms of
repetition which are as distinctively characteristic of his genius as
parallelism was of the ancient Hebrew or as the variations of rhyme and
of stanzaic pattern are of the English lyric genius of the last four
centuries. The subtle relationship of patterns of thought-rhythm to the
whole movement of a poem is often so fugitive as to escape analysis. One
origin of these patterns is the most obvious dramatic association which
may also determine the direction of the entire thought-movement. Although
the dramatic _motif_ shapes both aspects of thought, there is no apparent
connection between the progression of an idea and, let us say, the
alternating rhythm, except when the alternation becomes incremental. The
determining values of pitch and of melodic repetition are also important
external factors. Where these influences end, it is difficult to say.
So far as this study has proceeded, five characteristic patterns of
thought-rhythm appear in Indian lyric poetry. The iterative rhythm
appears in the simpler poems, of which the Navaho _Mountain Song_ and
_The Omaha Tribal Prayer_ are particularly fine in spirit. The iteration
is not always pleasing, sometimes beating with the steady monotony of
a kettle drum; but, contrary to reasonable supposition, it does not
necessarily indicate a dance song.
The alternating rhythm offers the Indian poet some æsthetic relief. It
creates a graceful lilt in his verse and often accompanies the quicker
movements. This is a universal pattern; but some _Katzina Songs_ of the
Hopi and songs of the Zuñi and Pima Indians have markedly achieved this
freedom of movement. The elasticity of this form provides an infinite
variety of uses, from carrying a pleasant refrain to providing a choric
response for the support of a dancing soloist. It has a place in the
vocational songs, as well as in the ritual songs of a tribe. There are
many variants which employ alternating patterns of thought at the opening
and close of a stanza, or with dramatic pose and gesture, as in the Zuñi
_Invocation to the Sun-God_, in singing which the Indian mother appeals
to the sun, moon, and stars to guide her sleeping infant. Mr. Troyer
marks the values of pitch as heightening the rhythmic movements of this
song.
Balanced forms of thought, that is, forms in parallel structure, do not
appear commonly. Perhaps it is more exact to recall that pure iteration
and alternation of thought approximate the effects which parallelism
may contribute, especially when the repetition is sung in a different
pitch from that of the key thought. The infrequent occurrence of sharp
contrasts of imagery, or antitheses of thought, may explain the rare
use of parallelism. The ancient lament of the Onondagas, preserved in
_The Iroquois Book of Rites_, remains one of the most beautifully wrought
poems of this type brought down to our time.
The interlacing design of thought is one of the most graceful as well
as one of the most difficult. This pattern shows skill and delicacy in
poetic construction, as the interlacing repetitions frequently carry
from one stanza to another, as from first to third and second to fourth,
found in _The Morning Star and the New Born Dawn_, from _The Hako_.
This device carries the thought forward. It is, therefore, definitely
related in purpose to the form which is universally the vehicle of the
ballad—incremental repetition. The Indian poet uses this form both for
narrative and for descriptive purposes. The Navaho _Song of the Horse_
shows a studied picture, framing each detail with repetitions; while the
same incremental use of repetition carries forward the narrative in the
_Navaho Rain Chant_.
There is a further structural use of these forms. If we can point to a
single prototype of the lyric stanza, we must find it in the unit of
thought-rhythm. As it assumed different aspects, enlarging itself with
repetitions, there appeared the first conscious step, the stanzaic germ
with varying possibilities of structure. This æsthetic origin of the
stanza appeared before the intellectual recognition of unity of thought.
In this song recorded by Miss Fletcher, there is a stanzaic germ of
typically primitive quality. It is lengthened, possibly, for singing.
The composer shaped three words into the form of a stanza by the use of
repetitions and the addition of vocables.
_Noⁿ-we shka-dse, noⁿ-we shka-dse_;
Ha-ha! e he tha, Ha-ha! we
Ha-ha! e he tha.
Ha-ha! e he tha tha. Ho-ga!
_Noⁿ-we shka-dse, noⁿ-we shka-dse_;
Ha-ha! e he tha.
In countless song-poems, however, the compactness of thought and swift
unity of impression have evolved stanzas with complex and studied
patterns of thought-rhythm.
Other distinct influences over the varying patterns of the stanza are
the mystic numbers and the dramatic element in the ceremonials, the
former more often determining the length of the stanzas and the number
of such divisions in a song. The ritualistic use of the numbers two,
three, four, five, six, seven, and occasionally of multiples of these
numbers, determines the number of stanzas and repetitions in ritualistic
songs. It is rather unusual to find distinct tribal preferences in the
number of song divisions; although the Taos Pueblo uses two parts and the
Blackfoot tribe often seven. Orientation to the world quarters has almost
universally established some use of four stanzas and four repetitions in
religious songs. Dramatic influence emphasizes the fourfold division,
especially in the ritual.
The length of the stanza at no point appears as fixed as the number of
stanzas and repetitions. The stanzaic pattern repeats itself exactly more
often in a ritual song than in a secular. Many of the odes have extremely
long stanzas, some units of thought reaching to one hundred lines, as the
_Prayer of the First Dancers_ in the Navaho _Night Chant_. The length of
the stanza in other songs may range from the distich to the sixteen line
unit, although little stanzas of three to six lines appear to be the most
pleasing to the Indian poet. The longer stanzas commonly employ preludes
and refrains and at times resort to repetition of matter.
The oral lyric makes certain special demands of the composer. There must
be devices for marking off the stanzas. In addition to certain formal
patterns of repetition, these devices include tag endings, such as
conclude the scenes in Elizabethan drama, endings with a sharp contrast
in pitch and care in enunciation. The drop in pitch appears at the
close of the unit of music corresponding to the unit of verse. There
may occur, also, a complete change of rhythm and a distinct change in
thought from stanza to stanza. Cycles of short songs, or song-sequences
with fixed repetitions in the ceremonials, give the effect of stanzaic
divisions. We must conclude that the lack of written or printed forms
appears no hindrance to the development of stanzaic patterns.
The question of rhyme schemes invites more attention than some other
markers of the stanza. It is, to be sure, a relatively unimportant
factor in Indian rhythms: although the wide use of assonance commonly
approximates rhyme, and elaborate schemes of repetition serve a like
purpose. Various schemes of rhyme are used in the songs of _The Night
Chant_, particularly in the internal and end rhymes. In the _Song of the
Meal Rubbing_[1] the second element in the internal rhyme scheme binds
the lines together:
Bĭtsísi ...
Estsanatléhisi ...
Alkaíye ...
Bikenagádbe ...
Bitalataibe ...
Bĭdatóʿbe ...
Biselataíbe ...
Bĭthadĭtínbe ...
Bĭdetsébe ...
Sána-nogaíbe ...
Biké-hozóbe ...
A simpler and more characteristic internal rhyme scheme is found in the
_Prayer of the First Dancers_,[2] _aaa_ _bbb_, in lines 14 to 21:
... nĭkégo ...
... nĭsklégo ...
... niégo ...
... nitságo ...
... bininĭnlágo ...
... dahitágo ...
Two further illustrations show the Navaho command of end rhymes. In the
_Daylight Song_,[3] there is easy inversion of pattern, _abba_:
... dóla aní,
... bĭźa holó,
... bĭźa hozó,
... hwí he inlí.
In _Slayer of the Alien Gods_,[4] the rhyme _aaaaa_ achieves a definite
tone color, rounding with a full open syllable:
... sĭnĭsnlígo,
... hánatahasgo,
... nítatahasgo,
... ínatahasgo,
... nínatahasgo.
We must keep in mind that these uses of rhyme serve only a secondary
purpose in drawing together the elements of the pattern within the stanza.
The stanza of Indian verse, it readily appears, is flexible in form—both
in length of line and in length of thought-unit. The rapid tempo employs
a short line, as in this Maliseet _Dance-Song_:[1]
Kive-hiu-wha-ni-ho
Ya hi ye
Kive-hiu-wha-ni-yo
Ya hi ye
Ya hi ye
Kshi-te-ka-mo-tikʹlo
Ya hi ye
Ya hi ye
Pilsh-kwe-sis-tokʹlo
Ya hi ye
Kshi-te-ka-mo-tikʹlo
Ya hi ye
Twa, twa, twa, twa!
The short line does not merely accompany rapid movement. It appears a
measure of severe economy in some prayers in which the Indian catalogs
his daily needs for seventy or more lines! The formal invocations,
however, commonly use the longer line and the slower movement. Long,
slow, even lines breathe the lament of the _Death of Taluta_ and the
reflective cadences of _Mount Koonak: A Song of Arsut_.
The variation of the lyric line shows technical skill. The _Dance-Song_
just quoted beats out only a simple alteration of long and short lines.
_The Song of the Coyote and the Locust_ begins with long flowing lines,
but snaps off with a gay quick ending:
Tchumali, tchumali, shohkoya,
Tchumali, tchumali, shohkoya,
Yaamii heeshoo taatani tchupatchiute
Shohkoya,
Shohkoya!
When the shorter line falls within the stanza, there is greater play of
mood and thought, with the elasticity of the outward swing and return in
the rhythm of the thought as we feel it through the succession of stanzas
in _The Song of the Rain Chant_. The line of verse sweeps outward and the
thought recedes at the ebb, as clearly as a _Hiroshige_ wave crest lifts
and the waters return to their level.
Within the silhouette of the verse are indisputable metrical patterns,
some structural, some decorative. These patterns frequently occur in
phrases; and these phrases, in turn, fall into a larger pattern which may
be repeated or may be interchanged with other patterns of corresponding
values. They are sometimes of amazing complexity, yet form a compact
unity of design.
Few correspondences appear in the versification of the white race; but
the Indians’ use of pitch[1] for marking off rhythmic units is similar
to such a use in Chinese poetry. For analysis, we must observe native
singers and study phonographic records. The printed verse gives little
opportunity for the study of meter except through musical accompaniment,
when the phrases of the music and of the verse coincide, as few notable
investigators have set down accent and quantity. Only phonographic
records show the use of pitch in rhythm, an element most familiar to
any one who has ever heard the Indians chant and sing. Two related arts
explain the unique character of Indian lyric measures, the musical
setting and the oral rendition of the poem.
Miss Natalie Curtis once asked an Indian singer, “Which came first, the
words or the music?”
“They came at the same moment,” he answered.
We must accept that explanation for the choicest lyrics: yet we cannot,
in that way, account for some performances of remarkable ingenuity.
A singer with the art of a counterpuntist may subordinate the iambic
word-rhythm of his poem to an alternating three-four and two-four rhythm
of the melody, while he dances at the same moment to the unaccented
rhythm of the drum. The whole question turns again in his next song in
which he faithfully sets the lilt of his verse to the corresponding
rhythm of the music. Any first hand comparison of the word-rhythm and the
melodic rhythm proceeds with the greatest difficulty. Since the Indian
invariably sings the lyrics, often many times, before dictating the
words, he tends to employ the melodic rhythm in speaking the lines.
It is possible, of course, that the shifting of natural speech stresses
to adapt the verse to the music marks the distinct composition of words
and of music, with the latter as the earlier effort. There can be no
doubt that, in aboriginal life, music is more generally persistent than
words, and that new verses sometimes replace forgotten songs. On the
other hand, it is equally certain that many of these misfit songs are
only inferior compositions, hobbling in their meter just as the white
poet’s lyrics at times go haltingly in their rhythm.
Whether the Indian poet composed his lyric and melody simultaneously or
composed the verse to the rhythm of the melody, he conceived his song as
an oral expression which should set free his mood through an interpretive
accompaniment. That some melodies have changed their verbal associations
in the history of centuries may indicate that new experiences have
informed their characteristic rhythms. If the original words have been
lost, it is entirely possible that the new poem is perfectly adjusted
to the music as a genuine re-expression of the rhythm and sweep of the
melody. We have a notable instance in English in the poetry of Burns.
Indian lyric poetry has, we have noted, the qualities of oral verse.
It employs a number of devices to mark off rhythmic units: stress,
accent, range in pitch, quantity, and effort in enunciation. Stress
and the higher pitch coincide almost universally. The dramatic and the
musical influence require some use of quantity. Aside from its main use
in the tag ending of verse or stanza when stress is not used for that
purpose, effort in enunciation appears to be an accidental rhythmic
element, depending upon the use of the high, close vowels, as _e_, and
the aspirated, closed, and guttural consonants. It is, therefore, least
useful when it coincides with the other devices of rhythm—lost, as it
must be, in the use of stress. Indian poetry makes a sharp distinction,
it must be observed, between accent and stress, the latter requiring
definite bodily effort, even explosive enunciation.
The oral rendition of a poem brings us to some unexpected turns in
versification. A scholar observes that one must have an Indian throat to
sing these songs. This physical control is two fold: unique control of
the breathing and contraction or pulsation of the glottis, especially in
measures of unusual length. In Indian verse, there is a lengthening of
the metrical unit beyond the ordinary limits of European verse in feet of
six, seven, eight, and nine syllables, with but one syllable prominent
in stress, pitch, or quantity. The Indian sings and speaks on for hours
without apparent weariness.
The elemental two and three syllabled feet appear universally in Indian
poetry, but commonly in phrases with the longer feet of five to nine
syllables, as in the _Pledge Song_ of the Chippewa: _nín-da-ca-mi-gog_ |
_éya_. Another pattern has the recurring metrical phrase of three, six,
and five syllables: _í e ba_ | _bá-pi-ni-si-wa-gûn_ | _gé-non-de-ci-nan_.
A rhythmic group of five and one may be varied by the substitution of a
three syllabled and a two syllabled measure for that of five syllables.
A song may carry a two syllabled rhythm consistently, even when all
repetitions of line are disregarded:
O-kú-wah-tsá, úm weh dah án,
Hang wén bo wú u wán moon pí,
Han wán bo hí wut di ún wéh dah án,
É yan ne _yá_ ah né yáh na án.
Ah é yan ne yáh ah né yáh na án.
A Papago harvest song, for instance, balances high and low pitched
measures in rising three syllabled rhythm, which suggests a dance with
gesture or swaying of the body. In each phrase of the song, the foot
of the higher pitch carries the heavier stress. This double use of
pitch and stress, or accent, in phrases of two measures runs throughout
the song, showing the regularity of metrical pattern to be expected
where the lyric accompanies action or ritual observance. Such definite
schemes of short measures do not appear as commonly as in English lyric
poetry. In many Indian lyrics there is a tendency to avoid such emphatic
rhythms—a tendency toward the free rhythms, though the sense of measure
is never lost. On the whole, Indian lyric poetry is highly rhythmical in
structure, although not closely metrical.
The most interesting metrical patterns are the long units which almost
escape the ear as they die away in the low pitched glottal vibrations
of a glide. In these measures, liquid consonants frequently combine
with open vowels; though a Chippewa singer may take _b_, _t_, _g_,
and _k_ in one long unit. The singer finds the feet of eight and nine
syllables easiest when they are made up of vocables or of elongations of
a syllable, as _e-ye-e-e-e-e-e-e-e-_, receding in delicate sound waves
and requiring no effort in enunciation. These sound waves may occur as
a scarcely perceptible double pulsation within the long unit, in such
syllables as _e-ya_, _ai-ya_, which require little articulation. The poet
can sing them indefinitely, as they fall into the rhythm of respiration.
This syllabic group is the irreducible unit within the foot; if we
eliminate the lengthening of a vowel, a device for the singer rather than
for the poet.
The function of the vocable in the metrical design is nonessential from
the intellectual viewpoint; but there is a clear value, from an æsthetic
viewpoint, in the full rounded vowels of many syllables. They give tone
color to the whole song, and enrich the metrical design.
The range in metrical patterns gives infinite variety and freedom to
Indian verse. The poet varies even his repetition of rhythmic phrases
by using different degrees of pitch. By far the most notable element
in Indian versification, in fact, is this art of combining dissimilar
rhythms and of playing one against another with the effect of many
instruments.
All the subtlety of charm and melody in the verse evades analysis in the
study of rhythms; yet poetry is no less beautiful because we catch the
grace of a flowing line and the play of assonance through open syllables,
as in the Zuñi _Sunset Song_; the contrasting gaiety of light, quick,
staccato movement; or the faultless symmetry of antiphonals. It is
extremely difficult to interpret in terms of occidental prosody the
poetic genius which arose from an alien civilization. We must constantly
return to our cultural backgrounds for explanation.
It is not an incidental play-motif that the Zuñi children sing in the
_Hymn to the Sun_, “Listen, just listen,” as they hold spiral shells to
their ears. Mr. Troyer wrote: “The primary aim seems to be to develop
early in life, by mechanical aids, the perception of solar vibration,
which later in life becomes a natural gift.” A critic whose hearing is
less sensitive than that of the Red Man will remain wholly unaware of
many delicate nuances.
These subtle changes in Indian lyrics can scarcely be said to follow
metrical laws, yet cannot be thought accidental. The shifting influence
of pause is negligible. There is slight use of quantity except in vocalic
and consonantal interplay, and that is most elusive. Subtleties of mood
and thought in the line may turn swiftly from the flowing movement to
the staccato with corresponding shift in measure. A distinct influence
appears in the cluster-rhythms of holophrastic compounds. This element
becomes especially noticeable when the singer pauses to dictate the words
of his song. The crest words or syllables in a line, particularly in the
recessional movement and in descending pitch, may also shift the metrical
emphasis. In the Zuñi song _Lover’s Wooing_, the crest words are most
distinct: blanket, maiden, awaiting, alone, walk, come. The rhythm bends
to them.
To one who has listened to countless Indian songs, there remains another
logical influence over the exquisite variations of these lyrics—mimesis
of elements of the natural world. The rhythms of nature float through the
rhythms of Indian verse. The winds are imitated in the oral rendition
of many poems: the minor key, the little rushes of wind, the full swell
of sound, the gradual dying away. Curiously enough, the Plains tribes
call their songs in recollection of the absent “wind songs,” in true
appreciation of their minor key.
The steady patter or downfall of rain sings a welcome rhythm to the
Indian of the plains and of the southwest. There is an insistence in the
rhythm of many rain-songs that is mimetic, not only in the total effect
of rain but distinctly so in the character of metrical units. “I like
those songs,” an old man once said to me quite simply, his face quickened
with a smile. His songs had just measured the summer rain, then dropped
away through gliding syllables to a whispering echo—the wind and the
rain!
It is the natural, joyous response of the Red Man to his surroundings
that catches up these free rhythms of the out-door world and shapes his
gesture and thought in measure with them in his improvisations. In the
subtlety of its rhythms, Indian lyric poetry cannot detach itself from
these external influences; for no race of the modern world lives more
intimately with nature, sensing its most delicate expressions, its most
exquisite sounds and movements.
These natural rhythms, though constantly recurring, may appear largely
incidental; yet there are elemental laws at work determining lyric
rhythms, laws we must seek behind the poetic impulse. One law is that
poetic art, as all other arts, shall be rooted fast in the physical
surroundings which temper the race. Any effort to wrest an art from that
traditional environment breaks it off at the tap root.
NOTES
21. Burton, Frederick. American Primitive Music. Part II, p. 1. An
interpretation. Moffat, Yard. N. Y. 1909. (Now published by Dodd, Mead,
N. Y.)
22. _Ibid._, Part II, pp. 29-30. An interpretation. The Princess Tsianina
includes this song in her repertory.
23. Troyer, Carlos. Traditional Songs of the Zuñi. Theodore Presser.
Philadelphia.
25. Austin, Mary. The American Rhythm, p. 88. Harcourt, Brace & Co., N.
Y. 1923.
26. Curtis, Natalie. The Indians’ Book, p. 57. Harpers. N. Y. 1923.
27. Leland, Charles G. Algonquin Legends of New England, p. 318.
Houghton, Mifflin. Boston. 1884.
28. Burton, Frederick. American Primitive Music, Part II, p. 11. An
interpretation.
29. Curtis, Natalie. The Indians’ Book, p. 50.
30. Hale, Horatio. The Iroquois Book of Rites, pp. 153-154. Library of
Aboriginal Literature. Philadelphia. 1883.
31. Austin, Mary. Harper’s Magazine, Vol. 143, p. 78. (June, 1921). _See
also_ The American Rhythm, p. 84.
32. Eastman, Charles A. Old Indian Days, p. 32. McClure. N. Y. 1907. (Now
published by Little, Brown, Boston.)
33. Curtis, Natalie. The Indians’ Book, p. 317.
34. _Ibid._, p. 225.
35. Riggs, A. L. Dakota Songs and Music: Táh-koo Wah-kán, p. 462. Boston.
1869.
36. Dorsey, J. Owen. The Cegiha Language, p. 611. Bur. of Amer. Eth.
Washington. 1890.
37. Spinden, H. J. Home Songs of the Tewa Indians, p. 78. The American
Museum Journal. Amer. Mus. of Nat. Hist. N. Y. vol. XV, no. 2.
38. _Ibid._, p. 73.
39. Curtis, Natalie. The Indians’ Book, p. 370.
41. Goddard, Pliny Earle. Myths and Tales of the San Carlos Apache, p.
62. American Museum of Natural History. N. Y. 1918.
42. Rink, Henry. Tales and Traditions of the Eskimo, pp. 68-69.
Blackwood. London. 1875.
43. Cushing, Frank. Zuñi Folk Tales, p. 255. Putnam’s. N. Y. 1901.
44. Powell, James. Mythology of North American Indians, p. 23. Bur. of
Amer. Eth. Washington. 1881.
45. Curtis, Natalie. The Indians’ Book, p. 462.
46. Fletcher, Alice C. The Hako, p. 303. Bur. of Amer. Eth. Washington.
1904.
47. _Ibid._, pp. 305-306.
48. _Ibid._, p. 342.
49. Curtis, Natalie. The Indians’ Book, p. 317.
50. Densmore, Frances. Chippewa Music II, p. 254. Bur. of Amer. Eth.
Washington. 1913.
51. Converse, Harriet Maxwell. Myths and Legends of the New York State
Iroquois, pp. 180-183. New York State Museum. 1908.
56. La Flesche, Francis. The Osage Tribe, pp. 295-296. 36th Ann. Rep.
Bur. of Amer. Eth. Washington. 1921. In this poem, each line represents
a complete stanza in the original—a stanza built up of repetitions and
vocables.
57. Curtis, Natalie. The Indians’ Book, pp. 365-366.
59. Matthews, Washington. Navaho Legends, p. 27. Houghton, Mifflin. N. Y.
1877. For the American Folk Lore Society.
60. Corbin, Alice. Red Earth, pp. 27-28, with note on p. 57. R. F.
Seymour. Chicago. 1920.
62. Curtis, Natalie. The Indians’ Book, p. 432.
63. _Ibid._, p. 431.
64. _Ibid._, p. 432.
65. _Ibid._, p. 484-485.
66. _Ibid._, p. 483.
67. _Ibid._, p. 485.
68. _Ibid._, p. 479. Muyinga is the god of germination and growth.
69. Stevenson, Matilda Coxe. The Sia, p. 124. Bur. of Amer. Eth.
Washington. 1896.
70. _Ibid._, p. 124. _See also_ Mrs. Austin’s “Rain Songs from the Rio
Grande Pueblos” in The American Rhythm, pp. 92-94.
71. Russell, Frank. The Pima Indians, pp. 333-334. Bur. of Amer. Eth.
Washington. 1904-1905. “The first songs ever sung to bring rain. _Ho-oni_
was the name of the Corn God who left the Pimas for many years and then
returned to live at the mountain north of Picacho, Ta-atûkam, whence he
sang as above.”
73. _Ibid._, pp. 331-333. The vivid imagery of the original is lost in
the translation. Compare the phrases from the free translation with the
more literal rendering:
“Darkness of evening falls” and
“Blue evening drops”;
“The white light of day dawn
Yet finds us singing” and
“The white dawn rises.”
In stanzas III and IV, when the phrase _Hitciya yahina-a_ stands alone as
a line, it has been inserted. It appears in the original, but was omitted
by Mr. Russell in his translation. In fact, it concludes every sentence
in the song. Observe that the introductory phrase is the same for each
stanza. Mr. Russell does not use the full repetition of the original.
75. Lummis, Charles. The Land of Poco Tiempo, pp. 49-50. Scribner’s. N.
Y. 1902. A corn-grinding song, relating to the birth of the corn.
Line 5. The thunder.
Line 17. The tail of the pheasant.
77. Curtis, Natalie. The Indians’ Book, p. 489.
78. Troyer, Carlos. Traditional Songs of the Zuñi Indians. Lines 1 and 2,
8 and 9, 15, 20, and 21 are given as echo calls.
79. _Ibid._
82. _Ibid._
83. _Ibid._
84. Goddard, Pliny Earle. Gotal—a Mescalero Apache Ceremony, Putnam
Anniversary Volume, pp. 385-394. This is the fifty-third song, sung at
sunrise on the last morning of the ceremony.
85. Matthews, Washington. The Mountain Chant, p. 463. Bur. of Amer. Eth.
Washington. 1887.
86. Matthews, Washington. Navaho Myths, Prayers, and Songs, pp. 27-28.
University of California Publications, vol. V, no. 2. _Beauty_ is
synonymous with _happiness_ in the Navaho songs.
87. Fletcher, Alice C. The Hako, p. 323.
88. _Ibid._, p. 324.
89. _Ibid._, pp. 322-323.
91. _Ibid._, p. 330.
92. Leland, Charles G. The Algonquin Legends of New England, p. 379.
93. Barbeau, C. M. Huron and Wyandot Mythology, pp. 318-321. Dept. of
Mines. Geological Survey, Ottawa, Canada. 1915.
This song-sequence begins with the death of Mah-oh-rah. Seeking to bring
her back from the spirit world, her father rides in pursuit across the
sky. The Grandmother, guardian deity of the Wyandots, transforms the
flying group into stars, Dehn-dek’s three stags becoming the stars in the
Belt of Orion.
Line 5. The spirit world.
Line 6. _Our Grandmother_ was the daughter of the Mighty Ruler of Heaven.
The Creation myth relates her accidental fall from heaven, her rescue
by the Swans, and the creation of the Great Island (North America) for
her home. In her subterranean city, she ruled over the Wyandots with her
fiery torch given by the Thunder God. After the Wyandots came out to live
on the earth, their spirits visited her on their way to the Land of the
Little People.
95. Goddard, Pliny Earle. From the literal translation of Song V, The
Masked Dancers of the Apache, Holmes Anniversary Volume, pp. 134-136.
96. _Ibid._, Song III, p. 134.
97. Russell, Frank. The Pima Indians, p. 280.
“On their emergence upon the surface of the earth, the Nether-World
people danced together and with Elder Brother sang this song.” Since this
is an archaic song, with its theme of the beginning of the race, we may
consider it, in the original, an example of the earlier rhythms.
98. _Ibid._, p. 274.
The last four words are added, in Mr. Russell’s own words, to show that
the original song closes with a repetition of its opening. The complete
version, in seventeen lines, uses the opening group three times. This
song is archaic; and its rhythm is undoubtedly one of the earlier types.
99. Matthews, Washington. Navaho Myths, Prayers, and Songs, p. 61.
101. Matthews, Washington. The Night Chant, pp. 280-281. Amer. Mus. of
Nat. Hist. N. Y. 1902.
102. _Ibid._, pp. 279-280.
103. Curtis, Natalie. The Indians’ Book, pp. 361-362.
104. _Ibid._, pp. 357-358. Sung to consecrate the hogans, or dwellings,
of the gods; and in later times, to consecrate the hogans of the Navahos.
107. _Ibid._, pp. 363-364.
109. Matthews, Washington. The Night Chant, p. 140.
110. Curtis, Natalie. The Indians’ Book, pp. 354-356. Each song is sung
four times, with the substitution, in the sixth line, of the name of
another mountain.
114. Matthews, Washington. The Night Chant, p. 81.
116. Curtis, Natalie. The Indians’ Book, p. 352.
117. Curtis, Natalie. The Indians’ Part in the Dedication of the New
Museum, pp. 31-32. Art and Archæology, vol. VII.
119. Curtis, Edward S. The North American Indian, vol. I, p. 37. The
North American Indian, Inc. N. Y. 1907. _Stenatliha_—woman without
parents—goddess of creation.
120. Matthews, Washington. Navaho Legends, pp. 269-275.
“This prayer is addressed to a mythic thunder-bird...; but the bird is
spoken of as a male divinity.”
125. Matthews, Washington. Navaho Myths, Prayers, and Songs, pp. 47-48.
Stanzas II, III, and IV vary chiefly in the first two lines: the
conclusion repeats four times, “It is finished in beauty.”
128. Matthews, Washington. The Mountain Chant, p. 420.
129. Mindeleff, Cosmos. Navaho Houses, pp. 504-505. 17th Ann. Rep. Part
II. Bur. of Amer. Eth. Washington. 1898.
131. Curtis, Edward S. The North American Indian, vol. III, p. 72.
132. Curtis, Natalie. The Indians’ Book, p. 53.
133. Fletcher, Alice C. The Hako, pp. 319-320.
135. _Ibid._, pp. 343-344.
136. Fletcher, Alice C. The Omaha Tribe, pp. 586-587. Bur. of Amer. Eth.
Washington. 1907.
138. _Ibid._, pp. 557-558, p. 573: “In the ritual, the primal rock, ...
that which rose from the waters, is addressed by the term ‘venerable
man.’ His assistance is called to the ‘little ones,’ the patients about
to be administered to.”
142. _Ibid._, pp. 115-117.
144. _Ibid._, pp. 119-122.
145. La Flesche, Francis. The Osage Tribe, pp. 150-151.
146. Fletcher, Alice C. The Omaha Tribe, p. 130. _See also_ A Study of
Omaha Indian Music, p. 39. Archæological and Ethnological Papers, Peabody
Museum, Harvard University. Vol. I, no. 5.
147. The Omaha Tribe, p. 394.
148. Curtis, Natalie. The Indians’ Book, p. 153. This Cheyenne song was
sung by the old men, often from the summit of the hills at dawn.
152. The recessional movement appears in _The Song of a Wolf_ in Miss
Densmore’s Teton-Sioux Music, p. 190. Bulletin 61. Bur. of Amer. Eth.
Washington. 1918.
154. Moulton, Richard G. Literary Introductions: Modern Readers’ Bible,
pp. 1457-1458.
160-1. Matthews, Washington. (1) The Night Chant, pp. 282-283. (2) Navaho
Legends, p. 269.
161. Matthews, Washington. (3) The Night Chant, pp. 294-295.
(4) _Ibid._, pp. 279-280.
162. Curtis, Natalie. The Indians’ Book, p. 10.
163. Cushing, Frank. Zuñi Folk Tales, p. 255.
164. Mr. John P. Harrington is one of the few investigators who have
taken account of the use of pitch in an Indian language. His discussion
of this element in the Tewa speech may be found in his study of the _Tiwa
Language, Dialect of Taos, New Mexico_, page 15. Papers of the School of
American Archæology, number 14; also in American Anthropologist, volume
12, number 1. 1910.
166. See Dr. E. W. Scripture’s discussion of oral verse, _Die Verskunst
und die experimental Phonetik, Wiener Medizenische Wochenschrift_, 1922.
172. _See_ Mrs. Mary Austin’s The American Rhythm, pp. 3-65.
ACKNOWLEDGMENTS
Acknowledgments are due to the following persons, societies, and
companies for their courteous permission to quote poems on which they
hold the copyright:
Austin, Mary:
The American Rhythm, Harcourt, Brace & Co.; Harper’s Magazine.
Barbeau, C. M.:
Huron and Wyandot Mythology. Dept. of Mines, Geological Survey,
Ottawa, Canada.
Burton, Frederick:
American Primitive Music. Moffat, Yard. Now published by Dodd,
Mead.
Converse, Harriet M.:
Myths and Legends of the New York State Iroquois. New York
State Museum.
Corbin, Alice:
Red Earth. R. F. Seymour, Chicago.
Curtis, Edward S.:
The North American Indian. The North American Indian, Inc., N.
Y.
Curtis, Natalie:
The Indians’ Book. Harper’s. (Mr. Bridgham Curtis, executor.)
The Indians’ Part in The Dedication of The New Museum, Art and
Archæology.
Cushing, Frank:
Zuñi Folk Tales. G. P. Putnam’s Sons.
Densmore, Frances:
Chippewa Music. Bureau of American Ethnology.
Dorsey, J. Owen:
The Ȼegiha Language. Bureau of American Ethnology.
Eastman, Charles A.:
Old Indian Days: McClure. Now published by Little, Brown.
Fletcher, Alice C.:
The Hako; The Omaha Tribe. Bureau of American Ethnology.
A Study of Omaha Indian Music. Peabody Museum, Harvard.
Goddard, Pliny Earle:
Gotal, a Mescalero Apache Ceremony, Putnam Anniversary Volume.
The Masked Dancers of the Apache, Holmes Anniversary Volume.
Myths and Tales of the San Carlos Apache. American Museum of
Natural History.
Hale, Horatio:
The Iroquois Book of Rites. Library of Aboriginal Literature,
Philadelphia. (Mrs. Daniel Brinton.)
La Flesche, Francis:
The Osage Tribe. Bureau of American Ethnology.
Leland, Charles G.:
Algonquin Legends of New England. Houghton, Mifflin.
Lummis, Charles:
The Land of Poco Tiempo. Chas. Scribner’s Sons.
Matthews, Dr. Washington:
Navaho Legends. Houghton, Mifflin (for Amer. Folk-Lore Society).
The Mountain Chant. Bur. Amer. Eth.
The Night Chant. Amer. Mus. Nat. Hist.
Navaho Myths, Prayers, and Songs. Univ. of Cal.
Mindeleff, Cosmos:
Navaho Houses. Bur. of Amer. Ethnology.
Powell, James:
Mythology of North American Indians. Bur. Amer. Ethnology.
Riggs, A. L.:
Dakota Songs and Music: Táh-koo Wah-kán. Boston. 1869.
Rink, Henry:
Tales and Traditions of the Eskimo. Blackwood. London. 1875.
Russell, Frank:
The Pima Indians. Bur. Amer. Eth.
Spinden, Herbert J.:
Home Songs of the Tewa. Amer. Mus. of Nat. Hist.
Stevenson, Matilda:
The Sia. Bur. Amer. Eth.
Troyer, Carlos:
The Sunrise Call, Hymn to the Sun, Sunset Song, Invocation to
the Sun God, Lover’s Wooing, or Blanket Song. From “Traditional
Songs of the Zuñi.” Theodore Presser Co., Philadelphia.
INDEX
Algonquin, _The Bride’s Song_, 27;
_The Song of the Stars_, 92
_Anga Katzina Song_, 66
Apache, _Medicine Song_, 119;
_Song of the Masked Dancers_, 95;
_Song of the Masked Dancers III_, 96
Apache, Mescalero, _A Song of Gotal LIII_, 84
Apache, San Carlos, _A Song of the Deer Ceremony_, 41
_Atsalei Yedadigles_, 109
Austin, Mary, 5, 6, 7-12, 25, 31, 172
Barbeau, C. M., 93-94
_Birth of Dawn, The_, 89-90
_Bluebird Song_, 34
_Bride’s Song, The_, 27
Burton, Frederick, 21-22, 28
Ȼegiha, _The Song of Ukiabi_, 36
Cheyenne, _The Morning Song_, 148
Chippewa, _see_ Ojibwa, _A Song of Spring_, 50, 168
Converse, Harriet Maxwell, 51-55
Corbin, Alice, 60-61
_Corn Song_, 71-72
_Corn Dance Song_, 64
_Corn Grinding Song_, 45, 60-61, 63
_Coyote and the Locust, The_, 43, 152, 163
Curtis, Edward S., 119, 131
Curtis, Natalie, 6, 26, 29, 33-34, 39, 45, 49, 57, 62-68, 77,
103-108, 110-113, 116-118, 132, 148, 162
Cushing, Frank, 43, 163
Dakota, _Holy Song_, 132;
_Love Song_, 26;
_Song of the Unhappy Wife_, 35;
_War Song_, 29
_Darkness Song, The_, 51-55
_Daylight_, 88
_Death of Taluta, The_, 32, 163
_Dedication of a New House_, 129-130
Densmore, Frances, 50
Dorsey, J. Owen, 36
_Eagle Song, The_, 55
Eastman, Chas. A., 32
_Emergence Song_, 97
Eskimo, _Mount Koonak; a Song of Arsut_, 42
_First Daylight Song_, 85, 154
Fletcher, Alice Cunningham, 6, 46-48, 87-91, 133-144, 146-147
_Flute Song_, 77
Goddard, Pliny Earle, 41, 84, 95-96
_Hako, The_, 87-88
Hale, Horatio, 30
Harrington, John Peabody, 164
_He-hea Katzina Song_, 67
_Her Shadow_, 22
_Holy Song_, 132
Hopi, _Anga Katzina Song_, 66;
_Flute Song_, 77;
_He-hea Katzina Song_, 67;
_Korasta Katzina Song_, 65;
Wuwuchim Chant, 68
_Hunting Song_, 39-40
_Hymn to the Sun_, 79-81, 170
_Introduction of the Child to the Cosmos_, 142-143
_Invitation Song, The_, 52
_Invocation to the Sun-God_, 83, 156
_Invocation of the Game_, 117-118
_Invoking the Visions_, 133-134
_Iroquois Book of Rites_, 11, 30, 157
Iroquois, _The Darkness Song_, 51-55;
_The Invitation Song_, 52;
_Onondaga Hymn_, 11, 30, 157
_Ka-ni-ga Song_, 44
_Katzina Song_, 66-67
Kiowa, _Wind Song_, 33, 171
_Korasta Katzina Song_, 65
La Flesche, Francis, 56, 145
Laguna Pueblo, _Corn Grinding Song II_, 45
_Lament of a Man For His Son_, 10, 31
Leland, Charles G., 27, 92
_Lonely_, 28
_Love Song_, 26
_Lover’s Lament, A_, 37
_Lover’s Wooing_, or _Blanket Song_, 23-24, 171
Lummis, Charles, 75-76
Maliseet, _Dance Song_, 162
Matthews, Washington, 6, 59, 85-86, 99-102, 109, 114-115, 120-128,
161
_Medicine Song_, 119, 136-137
_Metate Song, A_, 75-76
Meter, 163-171
Mindeleff, Cosmos, 129-130
_Morning Song, The_, 148
_Morning Star and the New Born Dawn, The_, 87, 157
_Mount Koonak: a Song of Arsut_, 42, 154, 163
_Mountain Song_, 115-116
_Mountain Songs_, 111-113
_My Bark Canoe_, 21
_My Home Over There_, 38
Navaho, _Atsalei Yedadigles_, 109;
_Dedication of a New House_, 129-130;
_First Daylight Song_, 85, 154;
_Hunting Song_, 39-40;
_Mountain Song_, 115, 116;
_Mountain Songs_, 111-113;
_Prayer of the First Dancers_, 120-124;
_Prayer of the Second Day of the Night Chant_, 125-127;
_Prayer to Dsilyi Neyáni_, 128;
_Protection Song_, 99-100;
_Song of the Dawn Boy_, 86;
_Song of the Hogans_, 104-106;
_Song of the Horse_, 103;
_Song of Nayenezgani I_, 101;
_Song of Nayenezgani II_, 102;
_Song of the Rain Chant_, 57-58, 157;
_The Voice That Beautifies the Land_, 59;
_War-Song_, 107-108
Ojibwa, _see_ Chippewa;
_Her Shadow_, 22;
_Lonely_, 28;
_My Bark Canoe_, 21
Omaha, _Introduction of the Child to the Cosmos_, 142-143;
_Medicine Song_, 136-137;
_Song of the Primal Rock_, 138-141;
_Song of Turning the Child_, 144;
_Tribal Prayer_, 146, 155;
_Wawan Song_, 147
_Onondaga Hymn_, 11, 30, 157
Osage, _The Planting Song_, 56;
_Supplication of the Tsízhu Washtáge_, 145
Paiute, _The Lament of a Man For His Son_, 10, 31
_Papago Love Song_, 25;
_Harvest Song_, 168
Pawnee, _The Birth of Dawn_, 89-90;
_Daylight Song_, 88;
_Invoking the Visions_, 133-134;
_The Morning Star and The New Born Dawn_, 87;
_Ritual Song_, 48, 135;
_Song to the Mountains_, 47;
_Song to the Pleiades_, 91;
_Song to the Trees and Streams_, 46
Pima, _Bluebird Song_, 34;
_Corn Song_, 71-72;
_Emergence Song_, 97;
_Rain Songs_, 73-74;
_Warning of the Flood_, 98;
_Wind Song_, 49
_Planting Song, The_, 56
Powell, James, 44
_Prayer to Dsilyi Neyáni_, 128
_Prayer of the Foster-Parent Chant_, 131
_Prayer of the First Dancers_, 120-124, 159
_Prayer of the Second Day of the Night Chant_, 125-127
_Protection Song_, 99-100
_Rain Songs_, 73-74
_Rain Song of the Snake Dance Society, A_, _I_, 69;
_II_, 70
Rhyme, 160-162
Rhythm, _see_ _Poetic Forms in American Indian Lyrics_, 151-172
Rigs, A. L., 35
Rink, Henry, 42, 154
_Ritual Song_, 48, 135
Russell, Frank, 71-72, 73-74, 97, 98
San Ildefonso Pueblo, _Invocation of the Game_, 117-118
Scripture, E. W., 166
Sia, _A Rain Song of the Snake Dance Society I_, 69;
_II_, 70
Sioux, _The Death of Taluta_, 32, 163
_Song of the Blue-Corn Dance_, 62
_Song of the Dawn Boy_, 86
_Song of the Deer Ceremony, A_, 41
_Song of Gotal LIII_, 84
_Song of the Hogans_, 104-106
_Song of the Horse_, 103, 157
_Song of the Masked Dancers, A_, 95;
_III_, 96
_Song of Nayenezgani I_, 101;
_II_, 102
_Song to the Pleiades_, 91
_Song of the Primal Rock_, 138-141
_Song of the Rain Chant_, 57-58, 163
_Song of Spring, A_, 50
_Song of the Stars, The_, 92
_Song of Turning the Child_, 144
_Song to the Mountains_, 47
_Song to the Trees and Streams_, 46
_Song of Ukiabi, The_, 36
_Song of the Unhappy Wife_, 35
Spinden, Herbert J., 37, 38
Stanza, The, 157-163
_Stars Dehn-dek and Mah-oh-rah, The_, 93-94
Stevenson, Matilda Coxe, 69, 70
_Sunset Song_, 82, 169
_Supplication of the Tsízhu Washtáge_, 145
Tesuque Pueblo, _Corn Grinding Song_, 60-61
Teton-Sioux, _Prayer of the Foster-Parent Chant_, 131
Tewa, _A Lover’s Lament_, 37;
_My Home Over There_, 38
Thought-movement, 152-154
Thought-rhythm, 9-10, 154-157
Troyer, Carlos, 23, 78, 79-81, 82, 83
_Voice That Beautifies the Land, The_, 59
_War Song_, 29, 107-108
_Warning of the Flood, The_, 98
_Wawan Song_, 147
_Wind Song_, 33, 49, 171
_Wuwuchim Chant_, 68
Wyandot, _The Stars Dehn-dek and Mah-oh-rah_, 93-94
Zuñi, _Corn Dance Song_, 64;
_Corn Grinding Song_, 63;
_The Coyote and the Locust_, 43;
_Hymn to the Sun_, 79-81;
_Invocation to the Sun-God_, 83, 156;
_Lover’s Wooing_, or _The Blanket Song_, 23-24;
_The Song of the Blue-Corn Dance_, 62;
_The Sunrise Call_, 78;
_Sunset Song_, 82