the fire playing against those on the other. The only requisites are
the “button” or _ga′qaä_, usually a small bit of wood, around which is
tied a piece of string or otter skin, with a pile of tally sticks, as
has been already described. Each party has a “button,” that of one
side being painted black, the other being red. The leader of one party
takes the button and endeavors to move it from one hand to the other,
or to pass it on to a partner, while those of the opposing side keep a
sharp lookout, and try to guess in which hand it is. Those having the
button try to deceive their opponents as to its whereabouts by putting
one hand over the other, by folding their arms, and by putting their
hands behind them, so as to pass the _ga′qaä_, on to a partner, all
the while keeping time to the rhythm of a gaming chorus sung by the
whole party at the top of their voices. The song is very peculiar, and
well-nigh indescribable. It is usually, but not always or entirely,
unmeaning, and jumps, halts, and staggers in a most surprising fashion,
but always in perfect time with the movements of the hands and arms
of the singers. The greatest of good-natured excitement prevails, and
every few minutes some more excitable player claps his hands over
his mouth or beats the ground with his flat palms, and gives out a
regular war-whoop. All this time the opposing players are watching the
hands of the other, or looking straight into their faces to observe
every telltale movement of their features, and when one thinks he has
discovered in which hand the button is, he throws out his thumb toward
that hand with a loud “_that!_” Should he guess aright, his side scores
a certain number of tallies, and in turn takes the button and begins
another song. Should the guess be wrong, the losing side must give up
an equivalent number of tally sticks. So the play goes on until the
small hours of the night. It is always a gambling game, and the stakes
are sometimes very large.
The first line of the song here given is an imitation of one of these
gambling songs. Among the prairie tribes each song has one or perhaps
two words with meaning bearing on the game, the rest of the song
being a succession of unmeaning syllables. Among some other tribes,
particularly among the Navaho, as described by Dr Washington Matthews,
the songs have meaning, being prayers to different animal or elemental
gods to assist the player.
As specimens of another variety of gambling songs, we give here two
heard among the Paiute of Nevada when visiting the messiah in the
winter of 1891–92. They have pretty tunes, very distinct from those of
the prairie tribes, and were borrowed by the Paiute from the Mohave, in
whose language they may have a meaning, although unintelligible to the
Paiute.
_Paiute gambling song_
[Music]
1. Yo′ho′ maho′yo owa′na,
Ha′yămă ha′yămă kăni′yowĭ′. (_Repeat._)
2. Ho′tsăni′ăni tsai′-owi′ani′,
Iha′ha′ tsima′nimina′ ha′ tsima′nimina′. (_Repeat._)
70. +Ni′qa-hu′hu′+
Ni′qa-hu′hu′, ni′qa-hu′hu′,
Hu′wĭ′säna′, hu′wĭ′säna′—
Ga′qa′ä-hu′hu′, ga′qa′ä-hu′hu′.
_Translation_
My father, my father,
I go straight to it, I go straight to it—
The _ga′qaä_, the _ga′qaä_.
This song also refers to the game of _ga′qutit_, just described. The
_ga′qaä_ is the “button.”
71. +A′hu′nawu′hu′+
A′hu′nawu′hu′-u′-u′, a′hu′nawu′hu′-u′-u′,
Hă′tani′i′bii′na—He′e′ye′!
Hă′tani′i′bii′na—He′e′ye′!
Ga′qu′tina′ni,
Ga′qu′tina′ni,
Hi′nä′ähä′k ga′qa′ä—He′e′ye′!
Hi′nä′ähä′k ga′qa′ä—He′e′ye′!
_Translation_
With red paint, with red paint,
I want to paint myself—_He′e′ye′!_
I want to paint myself—_He′e′ye′!_
When I play _ga′qutit_,
When I play _ga′qutit_.
It is the “button”—_He′e′ye′!_
It is the “button”—_He′e′ye′!_
This song refers to the same game described under songs 69 and 70, and
like them is based on the trance experience of the composer.
72. +Ani′qa naga′qu+
Ani′qa naga′qu!
Ani′qa naga′qu!
Ina′habi′ä nina′gănawa′ni,
Ina′habi′ä nina′gănawa′ni.
Awu′năni′ä—Hi′i′i′!
Awu′năni′ä—Hi′i′i′!
_Translation_
Father, the Morning Star!
Father, the Morning Star!
Look on us, we have danced until daylight,
Look on us, we have danced until daylight.
Take pity on us—_Hi′i′i′!_
Take pity on us—_Hi′i′i′!_
This song is sung about daylight, just before the closing song,
after the dancers have danced all night and are now ready to quit
and go home. When the new doctrine came among the prairie tribes,
the Ghost dance was held at irregular and frequent intervals, almost
every other night, in fact—lasting sometimes until about midnight,
sometimes until daylight, without any rule. As the ceremonial became
crystallized, however, the messiah gave instructions that the dance
should be held only at intervals of six weeks, and should then continue
four consecutive nights, lasting the first three nights until about
midnight, but on the fourth night to continue all night until daylight
of the next morning. The original letter containing these directions is
given in chapter X. For a long time these directions were implicitly
followed, but the tendency now is to the original fashion of one-night
dances, at short intervals. This song to the morning star was sung just
before daylight on the final morning of the dance.
With all the prairie tribes the morning star is held in great reverence
and is the subject of much mythological belief and ceremony. It is
universally represented in their pictographs as a cross, usually of the
Maltese pattern. In this form it is frequently pictured on the ghost
shirts. The Arapaho name, _nagaq′_, means literally “a cross.” The
Kiowa know it as _t’aiñso_, “the cross,” or sometimes, as _dä-e′dal_,
“the great star.”
73. +Ahu′yu häthi′na+ (closing song)
[Music]
Ahu′yu häthi′na hesûna′nini hu′hu,
Ahu′yu häthi′na hesûna′nini hu′hu,
Yathû′n äta′-usä′bä—
Yathû′n äta′-usä′bä—
Nithi′na hesûna′nĭn,
Nithi′na hesûna′nĭn.
_Translation_
Thus says our father, the Crow,
Thus says our father, the Crow.
Go around five times more—
Go around five times more—
Says the father,
Says the father.
This is the closing song of the dance since the return of the great
delegation of southern Arapaho and Cheyenne who visited the messiah
in August, 1891. Before that time the closing song had been number
52, beginning _Ni′nini′tubi′na hu′hu′_. The literal rendering of the
second part is “stop five times,” the meaning and practice being that
they must make five circuits singing this song and then stop. As
already stated, in accordance with the instructions of the messiah,
the Ghost dance is now held (theoretically) at intervals of six weeks
and continues for four consecutive nights, closing about midnight,
excepting on the last night, when the believers dance until daylight.
As daylight begins to appear in the east, they sing the song to the
morning star, as just given (number 72), and then, after a short rest,
the leaders start this, the closing song, which is sung while the
dancers make five circuits, resting a few moments between circuits.
Then they unclasp hands, wave their blankets in the air to fan away
all evil influences, and go down to the river to bathe, the men in
one place and the women in another. After bathing, they resume their
clothing and disperse to their various camps, and the Ghost dance is
over.
ARAPAHO GLOSSARY
In this and the other glossaries here given it is intended only to
give a concise definition of the meaning of each word without going
into details of grammar or etymology. The Ghost dance was studied for
its mythology, psychology, ritual, and history, and language in this
connection was only the means to an end, as it was impossible in a few
months of time to devote close attention to the numerous languages
spoken by the tribes represented in the dance.
The Arapaho language, as will be seen from the specimens given, is
eminently vocalic, almost every syllable ending in a vowel, and there
being almost no double consonant sounds. Like the Cheyenne language,
it lacks _l_ and _r_. The most prominent vowel sounds are _a_, _ä_,
and _i_, and in some instances there are combinations of several vowel
sounds without any intervening consonant. The soft _th_ sound is also
prominent. The _g_ and _d_ frequently approximate to _k_ and _t_,
respectively, and _b_ in the standard dialect becomes _v_ among the
northern Arapaho. The only sound of the language (excepting the medial
_k_ and _t_) not found in English is the gutteral _q_, and the language
is entirely devoid of the hissing effect of Cheyenne or the choking
sounds of Kiowa.
In the songs it is common to prefix _a_, and to add _i_, _hi_, _hu_,
_huhu_, etc, to the ends of words in order to fill out the meter. In
a few cases changes are made in the body of the word for the same
purpose. In the glossary these unmeaning syllables are not given where
they occur at the end of words. Words beginning with a vowel sound may
sometimes be written as beginning with the breathing _h_, and _s_ is
sometimes pronounced _sh_.
_Aä′ninĕ′na_—the name by which the Arapaho Grosventres of the
Prairie, one of the five principal divisions of the Arapaho,
call themselves. It is said to signify “white clay men,” from
_aäti_, “white clay,” and _hinĕ′na_, “men.” They are called
_Hitu′nĕna_, or “beggars,” by the rest of the tribe, and
are commonly known to the whites under the French name of
Grosventres, “big bellies.”
_Aanû′hawa_—another name for the Ha′nahawunĕ′na division of the
Arapaho. The meaning of the word is unknown.
_Abää′thina′hu_—for _Bääthi′na_.
_A′baha′_—for _Ba′haa′_.
_Äbäna′änahu′u′_—for _Bänaä′na_.
_Abä′nihi_—for _Bä′ni_.
_Abä′qati_—for _Bä′qăti_.
_Ächiqa′hăwa_—I am looking at him. Also _Nina′hawa_, I look at
him. _Nă′hănĭ_, Here! Look! _nahata_, look at it (imperative
singular); _ina′habi′ä_, look on us. Compare _Hätina′hawa′bä_.
_Ächĭshinĭ′qahi′na_—he was taking me around.
_A′gană′_—bed-covers of buffalo skin; singular, _a′gă′_.
_Aha′känĕ′na_—“crazy men,” one of the degrees of the Arapaho
military organization. The word is derived from _aha′ka_,
crazy, and _hinĕna_, men. The “fire moth,” which flies around
and into the fire, is called _aha′kăa′_, or “crazy,” and the
_Aha′känĕna_ are supposed to imitate the action of this moth in
the fire dance. See Arapaho song 43 and Cheyenne song 10.
_Aha′känithi′ĭ_—they are crazy. In the Indian idea “foolish” and
“crazy” are generally synonymous. Compare _Aha′känen′a_ and
_Ahaka′wŭ_.
_Ahaka′wŭ_—the crazy dance. It is called _Psam_ by the Cheyenne,
from _psa_, crazy. See Arapaho song 43 and Cheyenne song 10.
_Ahe′eye′!_—an unmeaning exclamation used in the songs.
_A′hene′heni′ăă!_—an unmeaning exclamation used in the songs.
_A′hesûna′nini_—for _Hesŭna′nĭn_.
_A′heye′ne′hene′!_—an unmeaning exclamation used in the songs.
_Ahe′yuhe′yu!_—an unmeaning exclamation used in the songs.
_Ahu′_—for _Ho_.
_Ahu′hu_—for _Ho_.
_Ahu′nä_—there it is; there he is.
_Ahu′nawu′hu_—for _Hĭnăw′_, paint. Compare _Hĭna′wûn_.
_Ahu′yu_—thus; in this way.
_Änani′nibinä′si_—for _Nani′nibinä′sĭ_.
_Anä′nisa′na_—for _Näni′sanăû_.
_Ana′wati′n-hati_—“playing wheel” (_hati_, wheel); a netted gaming
wheel. See Arapaho song 50.
_Anĕä′thibiwă′hana_—for _Nĕü′thibiwa′na_.
_Ane′na_—for _Ne′na_.
_Ani′anethahi′nani′na_—for _Ni′anĕ′hahi′nani′na_.
_Aniäsa′kua′na_—for _Ni′äsa′kua′na_.
_Ani′ätähĭ′näna_—for _Hänä′tähĭnä′na_.
_A′niesa′na_—for _Niesa′na_.
_Anihä′ya_—the yellow (paint).
_Ä′nii′nahu′gahu′nahu_—for _Häni′inĭahu′na_.
_Ani′niha′niahu′na_—for _Niniha′niahu′na_.
_Ani′qa_—for _Ni′qa_.
_Ani′qu_—for _Ni′qa_.
_Ani′qana′ga_—for _Ni′qana′ga_.
_A′nisûna′ahu_—for _Nisû′na_.
_Aqa′thinĕ′na_—“pleasant men,” from _aqa′thi_, “pleasant,” and
_hinĕ′na_, “men.” One of the five bands of the southern Arapaho.
+Ärä′păho+—the popular name for the Arapaho tribe. The derivation
is uncertain, but it may be, as Dunbar suggests, from the
Pawnee verb _tirapihu_ or _larapihu_, “he buys or trades,” in
allusion to the Arapaho having formerly been the trading medium
between the Pawnee, Osage, and others in the north, and the
Kiowa, Comanche, and others to the southwest (_Grinnell_). It
is worthy of note that old frontiersmen pronounce the name
Aräpihu. It is not the name by which they are called by the
Cheyenne, Sioux, Shoshoni, Kiowa, Comanche, Apache, Caddo, or
Wichita.
+Äräpa′kata+—the Crow name for the Arapaho, evidently another form
of the word Arapaho.
_Atănätähĭnä′na_—I wish to win or beat.
_Atani′tanu′newa_—I use it. _Ati′tănu′wă_, use it! (imperative
singular).
_Äta′-usä′bä_—stop _so many_ times (plural imperative). The verb
applies only to walking, etc; the generic imperative for
stopping or quitting is _nä′hinä′ni_, q. v.; _Hithĕta′-usä_,
stop! (singular imperative).
_Ate′be_—for _Tĕ′bĕ_.
_Ate′betana′-ise′ti_—for _Tĕ′bĕ‛tana′-isĕt_.
_Ätĭ′‛chäbi′näsä′nă_—let us go out gambling.
_Äti′chanĭ′na_—your pipes. _Hicha_, a pipe; _hiti′cha_, this pipe;
_sĕ′icha_, the sacred “flat pipe.” See Arapaho song 2.
_Atini′ehini′na_—for _Thĕni′ehi′nina_.
+Atsi′na+—the Blackfoot name for the _Aä′ninĕna_ or Arapaho
Grosventres. The word signifies “gut people.”
_Awawa_—for _Wa′wa_.
_Awatänani_—for _Watäna′ni_.
_Awu′năni′ä_—another form of _ne′chawu′nani_—take pity on us.
_Ba_(_-hu_)—a road or trail.
_Ba′achinĕ′na_—Another name for the _Nakasinĕ′na_ (q. v.) or
northern Arapaho. The word may mean “red willow (i. e.,
kinikinik) men,” or “blood-pudding men,” the latter etymology
being derived from _bä_, blood, and _chĭni′niki_, to put liquid
into a bladder.
_Bääku′ni_—“Red Feather,” the Arapaho name of Paul Boynton, a
Carlisle student, and formerly interpreter at Cheyenne and
Arapaho agency.
_Baa′-ni′bina_—“thunder-berries,” from _băa′_, thunder, and
_ni′bin_, berry; a wild fruit, perhaps the black haw. See
Arapaho song 51.
_Bääthi′na_—cedar tree. See Arapaho song 31.
+Bad Pipes+—one of the three bands of the northern Arapaho. Their
present chief is Sharp Nose.
_Băĕ′na_—turtle. See Arapaho song 25.
_Ba′haa′_, or _Băa′_—the Thunder. See Arapaho song 14.
_Bähibiwă′hĭna_—on their account I am made to cry (immediate
present). _Bäniwa′nă_ or _nibiwa′na_, I am crying;
_hä′nibiwăhĭna_, on its account I am made to cry, for its sake
I am crying; _nähibiwa′huna′na_, then I wept; _nähibiwa′huna_,
then I began to cry or lament; _nĕä thibiwa′na_, the place
where crying begins.
_Bä′hinänina′tä_—everything.
+Bahwetegow-eninneway+—the Ojibwa name for the _Aä′ninĕna_ or
Arapaho Grosventres (_Tanner_). It signifies “men, or people
of the falls,” from _bawitig_, “falls,” and _ininiwŭg_, “men,
or people.” They are so called on account of their former
residence at the rapids of the Saskatchewan.
_Bänaä′na_—the thunderbirds; singular _Ba′haa′_, or _Ba′awa_.
_Bä′ni_—my (male) comrade. Vocative. Used by a boy or young man
speaking to his comrade or partner of the same sex. The
corresponding female term is _hisä_.
_Bä′qati_—“great wheel,” from —— great, and _hati′_, a gaming
wheel, a wagon. An ordinary wheel is called _ni′nae′gûti_,
“turner.” See Arapaho song 49.
_Bä′qătibä_—with the _bä′qăti_, q. v.
_Bäsawunĕ′na_—one of the five divisions of the Arapaho, and
formerly a distinct tribe. The name is variously rendered “wood
lodge men” or “big lodge men,” or people, the terminal part
being derived from _hinĕ′na_ “men.”
_Bäta′hina′ni_—he makes me dance. (In the songs _when_, _where_,
etc., are sometimes understood with verbs). _Bäta′t_, a
dance; _nibä′tana_, I dance; _nitabä′tani_, we are dancing;
_bätäna′ni_, when we dance; _Thi′gûnăwa′t_, the Ghost dance.
Compare also _Hena′gana′wanĕn_.
_Bätäna′ni_—when we dance. Compare _Bäta′hina′ni_.
_Bătĭ′qtawa_—the throwing-stick used in the _bătĭ′qtûba_ game. See
Arapaho song 68.
_Bătĭ′qtûba_—the game of the “throwing-stick” or “snow-snake” among
the prairie tribes. See Arapaho song 68.
_Bena_—for _Băĕ′na_.
_Bĕni′nĕna_—“warriors,” the military organization of the Arapaho.
See Arapaho song 43.
_Bĕni′nina_—he gave it to me. _Bĕni′na_, I gave it to him;
_bĕ′ninĕ′thĭn_, I gave it to you; _niibi′nu_, I gave it to
them; _häsa-bini′na_, he has given it to us; _tabini′na_,
he (she) gave it to me; _da′chi′bini′na_, he will give me a
hawk-feather.
_Bĕtidĕĕ_—the Kiowa Apache name for the Arapaho.
_Beyi_—a (white) shell.
_Bi′ga_—night.
_Bi′gushish_—the moon, literally “night sun,” from _bi′ga_,
night, and _hishi′sh_, sun, or celestial luminary. The sun is
distinguished as _hishi-nishi′sh_, or “day sun,” from _hishĭ_,
day, and _hishi′sh_. In many Indian languages the sun and
moon have but one name, with an adjective prefix or suffix to
distinguish between day and night. See Arapaho song 66. The
morning star is called _naga′q_, “the cross;” the milky way is
_hi′thina′na-ba_, “the buffalo road,” or _thi′gûni-ba_, “the
spirit or ghost road;” the pleiades are _bä′nakŭth_, “the group
(sitting).”
_Biqăna′kaye′na_—I am crying on account of thirst. _Naka′yena_, I
am thirsty.
_Bishqa′wa_—coming into sight, approaching from a distance. (Third
person, singular.)
_Bitaa′wu_—the earth.
_Bitaha′wŭ_—the dance of the _Bita′hinĕna_. See Arapaho song 43.
_Bita′hinĕna_—“spear men;” one of the degrees of the Arapaho
military organization. The name comes from the Cheyenne word
for spear, _bitahä′na_; the Arapaho word for spear is _qawă′_.
See Arapaho song 43.
_Bi′täye_—captor, seizer; the name by which the Arapaho
_Hänä′chäthi′ăk_, “Sitting Bull,” was called when a boy.
_Chăna′ha′t_—where there is none. _Iyahu′h_, it is all gone.
_Chäniĭ′nagu′nĭt_—he wears them, he is wearing them.
_Cha′qtha_ (singular, _Chaq_)—“enemies,” the Arapaho name for the
Comanche.
_Chä′säq_—another, another of them; from _chä′saiy’_, one. See
_Yathûn_.
_Chĕbi′nk_—greasy, something greasy; figuratively used for
pemmican. See Arapaho song 46.
_Chi′bät_—a sweat-house.
_Chĭ′chita′nĕ_—literally, a target, a mark to shoot at. A boy’s
game. See Arapaho song 4.
_Chĭnachi′chibä′iha_—venerable, (memorable or ancient) priests
of the _Chĭ′nachichi′bät_, or sacred sweat-lodge, from
_chĭnachichi′bät_, the sacred sweat-lodge, and _bäiä_, old man.
See Arapaho song 43.
_Chĭ′nachichi′bät_—the sacred large sweat-house; from _chi′bät_,
sweat-house. See Arapaho song 43.
_Chĭnăchi′chibä′tĭna_—immortal, venerable, or never-to-be-forgotten
priests of the sweat-house; from _chi′bät_, sweat-house. See
Arapaho song 43.
_Chĭ′nachinĕ′na_—water-pouring men; the highest degree of the
Arapaho military organization. See Arapaho song 43.
_Dă′chäbi′hati′taniĭ′_—where there is gambling; where they
are gambling. In the Arapaho language there is no generic
term for playing for amusement only. _Chäbi′hĭnä′na_, I
am gambling; _hänĭ′chäbihĭnäna_, I am gambling with it;
_di′chäbihäti′tani′ĭ_, while or when they are gambling with it.
_Da‛chä′-ihi′na_—in order to please me.
_Da‛chi′binina_—he will give me a (chicken-) hawk feather. Compare
_Bĕni′nina_.
_‛chinathi′na_—he having come for me (participle). _Nichĭnû′ti′ha_,
I come for him.
_Da′naa′bäna′wa_—I moved it (“when” is sometimes understood).
_Dä′nasaku′tawa_—I am standing upon it.
_Dăna′tinĕnawa′ŭ_—because I longed, or wished, to see him; _da_ in
composition gives the idea of “because.”
_De′tawuni′na_—he told me. Compare _Häthi′na_.
_Di′chäbihäti′tani′ĭ_—while or when, they are gambling with it.
Compare _Dă′chäbi′hati′taniĭ_.
_Di′chin_—because. _Haka_ is also sometimes used.
_Diinĕ′tita′niĕg_—living people; human existence.
+Dog soldier+—a popular but incorrect name given by the whites to
the military organizations of the prairie tribes. See Arapaho
song 43.
_E′eye′!_—an unmeaning exclamation used in the songs.
_Ehe′eye′!_—ibid.
_E′hihänakuwu′hunĭt_—he turned into a moose. _Naku′wu_, moose;
_iwă′qu_, elk.
_Ehihä′sina′kawu′hunĭt_—for _E′hihänakuwu′hunĭt_.
_Ehihä′sĭniĕhi′nĭt_—he is beginning to be a bird, he is turning
into a bird; _ni′ĕhi_, a bird.
_E′yahe′eye′!_—an unmeaning exclamation used in the songs.
_Eye′ae′yuhe′yu!_—ibid.
_E′yehe′!_—ibid.
+Forks-of-the-river Men+—the principal of the three bands of the
northern Arapaho. Their present chief is Black Coal.
_Gaahi′na_—another form of _Ga′ahinĕ′na_.
_Ga′ahinĕ′na_—“coyote men,” from _ga′a_, coyote, and _hinĕ′na_,
men; singular, _ga′ahinĕ′n_. The camp guards or pickets of the
Arapaho. See Arapaho song 41.
_Ga′awă′_, or _ga′awăha_—a ball, used in the woman’s game of
_gû‛ga′hawa′t_ or shinny. See Arapaho song 7.
_Gaăwa′tina_—canned goods, canned fruits.
_Ga′năni′na_—he wiped me off, he cleaned me. _Ganĕ′naa_, I wipe him
off.
_Ga′qaä_—the “button” or small object hidden by the players in the
_ga′qutit_ game. See Arapaho song 69.
_Ga′qutina′ni_—when I play _ga′qutit_. See Arapaho song 69.
_Ga′qutit_—the “hunt the button” game of the western tribes. See
Arapaho song 69.
_Gasi′tu_—carrion.
_Ga′wunĕ′häna_—another form of _Gawunĕ′na_.
_Gawunĕ′na_—one of the five bands of the southern Arapaho. The name
is the same applied by the Arapaho to the Blackfeet, from whom
this band is said to be derived. It is also the Arapaho name
for the Blackfoot band of Sioux. The name is of foreign origin
and can not be explained by the Arapaho. The Blackfeet are
sometimes also called by them _Watä′nitä′si_, “black feet.”
+Greasy Faces+—one of the three bands of the northern Arapaho.
Their present chief is Spotted Horse.
+Grosventres+ (+of the Prairie+)—the name by which the _Aä′ninĕ′na_
(Arapaho division) are commonly known to the whites.
The correct French form is Gros Ventres des Prairies, “Big Bellies
of the Prairie,” to distinguish them from the Minitari′, or
Hidatsa, who were called Gros Ventres du Missouri. The term
_Gros Ventres_, as applied to this division of the Arapaho, is
derived from a misconception of the Indian gesture sign for the
tribe, which really denotes “belly people,” i. e. “spongers” or
“beggars.”
_Gû‛gă′hawa′t_—the woman’s game of shinny. See Arapaho song 7.
_Gun_—but.
_Gushi′nä_—throw it! (imperative singular). _Asegŭ′_, I throw it;
_chegŭ′_, throw it here!
_Ha′ănake′ĭ_—rock, the rock.
_Ha′anûnä_—forcibly, violently.
_Habätä′nani′hi_—for _Bätäna′ni_.
_Ha′dă′wuha′na_—we have made them desolate; we have deprived them
of all happiness.
_Hageni′stit_—he is making it across the water. Compare _Hani′stit_.
_Ha′hat_—the cottonwood tree (_Populus monilifera_).
_Ha-ina′tä_—it lies there, it lies upon it.
_Häĭ′nawa_—I know. _Ni′hawa_, I do not know.
_Ha′ka_—because. _Dichin_ has the same meaning.
_Ha′nä_—for _Ha′ănûnä_.
_Hänä′chä-thi′ă′k_—Sitting Bull, the Arapaho apostle of the ghost
dance; from _hänä′chä_, a buffalo bull, and _thi′ăk_, he is
sitting. In early youth, before going to Wyoming, he was called
_Bi′täye_, “Captor.”
_Ha′naĕ′hi_—little boy (vocative).
_Ha′nahawu′nĕn_ (singular).
_Ha′nahawunĕ′na_—one of the five divisions of the Arapaho, but now
practically extinct. The meaning of the name is unknown, but
the final syllables are from _hinĕ′na_, signifying “men,” or
“people.”
_Hänäi′säĭ_—at the boundaries.
_Hä′nänä′higu′tha-u_—for _Nä′higu′tha_.
_Häna′nawu′nănu_—those who have been taught (?).
_Hänä′tähĭnä′na_—I win the game (by means of something).
_Hä′nätä′hĭ′nät_—It will win the game. _Ä′nätähĭ′nänä_, I win.
_Hänĭ_—for _Häni′ĭnĭ_.
_Hä′nibiwă′hĭnă_—on its account I am made to cry; for its sake I am
crying. Compare _Bähibiwă′hĭna_.
_Hänĭ′chäbihĭ′näna_—I am gambling with it. Compare
_Dă′chäbi′hati′taniĭ_.
_Häni′ĭnĭ_—by this means, by its means; abbreviated to _häniĭ_ or
_häni_.
_Häni′inĭahu′na_—I fly around with it.
_Hänina′ta_—it is lying there (inanimate). _Säshĭ′năna_, I lie down.
_Häni′nihiga′huna′_—for _Häni′ĭnĭ nĭhiga′huna_,—by its means I am
running swiftly.
_Hani′stit_—he has finished it, now he has finished it. Compare
_Hageni′stit_.
_Hänĭta′quna′nĭ_—in the pitfall; from _ta′quna_, a pitfall. See
Arapaho song 47.
_Ha′qihana_—“wolves,” one of the five bands of the southern Arapaho.
_Hä′sabini′na_—he has given it to us. Compare _Bĕni′nina_.
_Hä′täi′naku′ni_—you may have it. _Näni′thana′na_, I have it.
_Hatăna′wunăni′na_—he is about to take pity on me. _Nä′awu′năna_,
I pity him; _awu′nanĭ_ or _ne′chawu′nani_, have pity on me;
_nitawu′nana_, I take pity on them. Compare _Ti′awawu′nănu_.
_Hă′tanbii′na_—I wish to paint myself with it. _Bii′nanihä′ya_, I
paint myself.
_Hă′tani′i′bii′na_—for _Ha′tanbii′na_.
_Hatăni′ina′danĕ′na_—I am about to use him to “make medicine,” i.
e., to perform a sacred ceremony (remote future). The immediate
future is _hatăni′nadanĕ′na_; _inĭ_ is the root of _to use_;
_nadanĕ′na_, is to “make medicine,” from the root _nĕ′na_,
to sing. The gesture sign for “song” and “medicine” are also
nearly the same. See Arapaho song 33.
_Hatăni′niahu′hi′na_—he is going to make me fly around.
_Hăni′niahu′na_, I am flying; _gaya′ahuha_, I make him fly.
_Ha′tani′nitani′na_—for _Hatni′tăni′na_.
_Hatĕchi′na_—the basket bowl used in the dice game. See Arapaho
song 64.
_Hä′thäbĕ′na_ (_-wa_)—I hand it to you.