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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..2c08bbb --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #69419 (https://www.gutenberg.org/ebooks/69419) diff --git a/old/69419-0.txt b/old/69419-0.txt deleted file mode 100644 index 774fdf2..0000000 --- a/old/69419-0.txt +++ /dev/null @@ -1,4669 +0,0 @@ -The Project Gutenberg eBook of American Indian love lyrics and other -verse, by Nellie Barnes - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: American Indian love lyrics and other verse - From the songs of the North American Indians - -Compiler: Nellie Barnes - -Contributor: Mary Austin - -Release Date: November 24, 2022 [eBook #69419] - -Language: English - -Produced by: Tim Lindell and the Online Distributed Proofreading Team at - https://www.pgdp.net (This file was produced from images - generously made available by The Internet Archive/American - Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK AMERICAN INDIAN LOVE LYRICS -AND OTHER VERSE *** - - - - - - - American - Indian Love Lyrics - - [Illustration] - - THE MACMILLAN COMPANY - NEW YORK · BOSTON · CHICAGO · DALLAS - ATLANTA · SAN FRANCISCO - - MACMILLAN & CO., LIMITED - LONDON · BOMBAY · CALCUTTA - MELBOURNE - - THE MACMILLAN CO. OF CANADA, LTD. - TORONTO - - - - - American Indian Love - Lyrics _and_ Other Verse - - [Illustration] - - _From the Songs of the_ - North American Indians - - Selected by - Nellie Barnes - - _Foreword by_ - Mary Austin - - [Illustration] - - THE MACMILLAN COMPANY - PUBLISHERS NEW YORK - 1925 - - COPYRIGHT, 1925, BY THE MACMILLAN COMPANY. - SET UP AND ELECTROTYPED, PUBLISHED DEC., 1925. - - PRINTED IN THE UNITED STATES OF AMERICA BY - THE BERWICK & SMITH CO. - - - - -PREFACE - - -The influence of American Indian song-literature has touched both the -music and the literature of contemporary America. Those writers who use -Indian themes are legion. Mary Austin has gone farthest, perhaps, among -the writers of the day in relating her poetic work to the native rhythms -of America. - -These native rhythms pulsed through the songs of our Red Men for -centuries before our Christian era. The very beautiful Aztec and the Inca -poetry belong to the earlier and more highly developed civilizations. -Since it is the purpose of this volume to treat of the more primitive -forms of rhythm, it has seemed best to limit the illustrations to songs -from tribes north of Mexico. - -The late Mrs. Natalie Curtis Burlin’s collection of songs in _The -Indians’ Book_ makes that volume quite the most representative source -book for the study of Indian lyrics. The original texts of unusual range -in poetic patterns, the musical settings, the interlinear translations, -and the accompanying narratives add a rich context to free translations -of genuine literary merit. - -Among other contributions to Indian song-literature, the studies of -Miss Alice Cunningham Fletcher, Mr. Carlos Troyer, and Doctor Washington -Matthews hold a particular charm for the investigator. - -Mrs. Austin’s notable work, _The American Rhythm_, an analysis of the -primitive poetic impulse, with illustrations from her own translations, -came from the press after the writer’s study of Indian poetic rhythms had -been under way for some years. The conclusions for this volume have been -limited, therefore, to those about poetic forms. - -The writer is greatly indebted to Mrs. Austin for her generous interest -in earlier work and especially for her helpful criticism of this study. - - N. B. - -Santa Fe, July 29, 1925 - - - - -FOREWORD - - -The student of poetry in America enjoys an opportunity, such as has -never been practicable for the European student, to come in contact -with the source and mould of poetic form. For in Europe, the overlaying -of all native activity by the sedulously cultivated Greek and Roman -preferences, the deliberate turning of scholarly inquiry _from_ what was -self-sprung and indigenous _toward_ what had been perfected in another -environment and upon other roots, left the whole subject of the origin of -form dangling in the atmosphere of theory and surmise. To this day the -most that we know of the high forms of poesy in Europe is owed less to -authentic tradition than to the scholastic rehumation of native remains -in dance and ritual, of what was once, in the interest of the classic -ideal, discarded and buried, or at the least, permitted to survive only -among the unlettered folk. - -Fortunately for our general understanding of poetic form, the Greeks -had no such snobbish scruples as arose later throughout Europe against -admitting the origin of their most majestic poetic medium in the communal -dance around the tribal altar. Here in the United States we are, by -a turn of fortune, undeserved and underappreciated, able to watch the -evolution of poetic form from stages somewhat earlier than those recorded -by Aristotle, going on as an indigenous type of human expression. We are -face to face here with the evolution of lyric form out of the stanzaic -act, ritualistically repeated; with the approach to the ode, along the -path struck out by primitive man in the identification of himself with -the sources of high states of being. - -We confront these things as unselfconscious acts, rather than as -fragmentary and over-annotated poetic remains. We are able to refer them -directly to accompanying gestures, to generative social occasions, and -the environmental matrix. And we have to guess or to theorize, where -these things are obligatory, only in reference to minds whose movements -are influenced by factors lying open to intelligent apprehension. - -To point this out, by way of introduction to the first thoughtful attempt -to put the material for a valid conclusion as to the origin of poetic -form, in order for the unspecialized reader, is not to subtract anything -from the difficulty of the task, nor to minimize the importance of the -result. So careless has American scholarship been of our rich resources -in this direction, that merely for Miss Barnes to have realized their -richness and to have collected illustrative examples of them from the -widely scattered and occasionally obscure sources, implies not only a -general background of wide literary knowledge, but a fund of literary -intelligence and much industry. It also implies a quality of restraint -not infrequently lacking from such undertakings, in not attempting to -bridge the gaps and supply the missing links by even the most plausible -theory. Such restraint in view of the usual American demand for a -complete tabloid statement, an assumption that does away with the -necessity for further inquiry, is so much the more unusual that some of -the credit for making this inquiry accessible surely devolves not only on -the University in which it could take place, but upon the publisher who -ventures to present it. - -Merely by collecting from authentic sources, by discarding doubtful -examples and by intelligent grouping of the best translations of -Amerindian lyrics, according to their formative tendency, Miss Barnes has -done more than perhaps she herself realizes, to uncover the influences at -work on the primitive poetic impulse, to crystallize it into forms best -suited to the expression of a progressively higher poetic content. To one -who reads her simple statement of the relation of sacred numbers, fours -and sixes and sevens, to what Miss Barnes calls the “thought rhythm” -as determining the form of primitive verse, and reads it without other -knowledge of Indians than is included in these pages, it will scarcely -appear that the still profounder influence is the natural environment, -determining the force of climate, landscape line, and food succession -in the cultural life of the particular tribe. But to one familiar with -environmental distinctions between Zuñi and Iroquois and Omaha, there -will be distinctive pleasure in tracing relationships between verse forms -and the known formative features of the given landscape. To such a reader -there will also appear intimate relations between the repetitive pattern -of formal elements, the range and interdependence of dance movements, -and of decorative patterns of beadwork and textiles. It would, in fact, -be very little trouble to accompany each poem in this collection with -an appropriate design either of gesture or decorative elements, drawn -from the life of that tribe, in which the distribution of formative -elements would make a pattern recognizably that of the poem. As for -example, in the Paiute _Lament of a Man for His Son_, the gesture of the -first movement would be that inevitable to a man standing at the head -of his son’s corpse, and striving beyond his grief to descry his son’s -spirit walking the spirit road; the gesture of the second movement, the -reverent, slightly swaying tread of friends bearing the body on their -shoulders over uneven ground; and of the last movement, the final tearing -wrench of human affection. In the same manner, the _Iroquois Hymn_ on the -dissolution of the Great League, carries the gesture of up-flung arms, -and the bowing of heads that dust may be cast upon them; while in the -Navaho and Pueblo Rain Chants, there is the recurrent but always slightly -variable motif of the landscape as the determinant of the verbal pattern, -as you can see on any old Zuñi _tinaja_. It is the precision with which -Miss Barnes makes these things appear to the initiate, without at the -same time obscuring the more obvious conclusions for the average reader, -which distinguishes what she has to say above all other writings on the -subject. No one who reads her notes on Amerindian verse forms need feel -the limitation of personal knowledge a hindrance to his æsthetic and -intellectual enjoyment of the poems themselves. - -I know of but one parallel to this achievement in the current -descriptions of aboriginal culture in the United States. That is in -George Bird Grinnell’s account of Cheyenne games, in which, without -saying as much, the relation of all games to man’s aboriginal puzzlement -about the world he lives in is convincingly brought out. Mr. Grinnell’s -account should be read in connection with Miss Barnes’ work for the -further light it throws on the origin of patterns, social, decorative, -or literary, in living human impulses. In so far as any study does this, -and especially as it does it in respect to areas of literary activity -all too scantily familiar, it constitutes an indispensable service to -American scholarship. - - MARY AUSTIN. - - - - -CONTENTS - - - PAGE - - PART ONE - - Indian Love Lyrics and Other Verse selected from the songs - of the North American Indians. - - I SONGS OF LOVE AND FRIENDSHIP - - MY BARK CANOE 21 - - HER SHADOW 22 - - LOVER’S WOOING, OR BLANKET SONG 23 - - PAPAGO LOVE SONGS 25 - - LOVE SONG (DAKOTA) 26 - - THE BRIDE’S SONG 27 - - LONELY 28 - - WAR SONG 29 - - II SONGS OF GRIEF - - ONONDAGO HYMN 30 - - LAMENT OF A MAN FOR HIS SON 31 - - THE DEATH OF TALUTA 32 - - WIND SONG 33 - - BLUEBIRD SONG 34 - - SONG OF THE UNHAPPY WIFE 35 - - THE SONG OF UKIABI 36 - - A LOVER’S LAMENT (TEWA) 37 - - MY HOME OVER THERE (TEWA) 38 - - III SONGS OF NATURE (Secular) - - HUNTING SONG 39 - - A SONG OF THE DEER CEREMONY 41 - - MOUNT KOONAK: A SONG OF ARSUT 42 - - THE COYOTE AND THE LOCUST 43 - - KA-NI-GA SONG 44 - - CORN-GRINDING SONG (LAGUNA) 45 - - SONG TO THE TREES AND STREAMS 46 - - SONG TO THE MOUNTAINS 47 - - RITUAL SONG 48 - - WIND SONG 49 - - A SONG OF SPRING 50 - - DARKNESS SONG (FROM THE INVITATION RITE) 51 - - THE INVITATION SONG 52 - - THE PLANTING SONG 56 - - IV SONGS OF RAIN - - SONG OF THE RAIN CHANT 57 - - THE VOICE THAT BEAUTIFIES THE LAND 59 - - CORN-GRINDING SONG (TESUQUE) 60 - - SONG OF THE BLUE CORN DANCE 62 - - CORN-GRINDING SONG (ZUÑI) 63 - - CORN DANCE SONG (ZUÑI) 64 - - KORASTA KATZINA SONG 65 - - ANGA KATZINA SONG 66 - - HE-HEA KATZINA SONG 67 - - WUWUCHIM CHANT 68 - - A RAIN SONG OF THE SNAKE SOCIETY I 69 - - A RAIN SONG OF THE SNAKE SOCIETY II 70 - - CORN SONG 71 - - RAIN SONGS 73 - - A METATE SONG 75 - - FLUTE SONG 77 - - V SONGS OF THE SUN, MOON, AND STARS - - THE SUNRISE CALL 78 - - HYMN TO THE SUN 79 - - SUNSET SONG 82 - - INVOCATION TO THE SUN-GOD 83 - - A SONG OF GOTAL, LIII 84 - - FIRST DAYLIGHT SONG 85 - - SONG OF THE DAWN BOY 86 - - THE MORNING STAR AND THE NEW BORN DAWN 87 - - DAYLIGHT 88 - - THE BIRTH OF DAWN 89 - - SONG TO THE PLEIADES 91 - - THE SONG OF THE STARS 92 - - THE STARS DEHN-DEK AND MAH-OH-RAH 93 - - VI SONGS OF DEITIES AND HOLY PLACES - - SONG OF THE MASKED DANCERS 95 - - SONG OF THE MASKED DANCERS, III 96 - - EMERGENCE SONG 97 - - WARNING OF THE FLOOD 98 - - PROTECTION SONG 99 - - SONG OF NAYENEZGANI I 101 - - SONG OF NAYENEZGANI II 102 - - SONG OF THE HORSE 103 - - SONG OF THE HOGANS 104 - - WAR SONG (THE FLINT YOUTH) 107 - - ATSALEI YEDADIGLES (WIND BOY) 109 - - MOUNTAIN SONGS I-VI 110 - - MOUNTAIN SONG 114 - - MOUNTAIN SONG 116 - - VII SONGS OF INVOCATION FOR WELL BEING - - INVOCATION OF THE GAME 117 - - MEDICINE SONG 119 - - PRAYER OF THE FIRST DANCERS 120 - - A PRAYER OF THE SECOND DAY OF THE NIGHT CHANT 125 - - PRAYER TO DSILYI NEYÁNI (LORD OF THE MOUNTAINS) 128 - - DEDICATION OF A NEW HOUSE 129 - - PRAYER OF THE FOSTER-PARENT CHANT 131 - - HOLY SONG 132 - - INVOKING THE VISIONS 133 - - RITUAL SONG 135 - - MEDICINE SONG 136 - - SONG OF THE PRIMAL ROCK 138 - - INTRODUCTION OF THE CHILD TO THE COSMOS 142 - - SONG OF TURNING THE CHILD 144 - - SUPPLICATION OF THE TSÍZHU WASHTÁGE 145 - - THE TRIBAL PRAYER (OMAHA) 146 - - WAWAN SONG 147 - - THE MORNING SONG 148 - - PART TWO - - Poetic Forms in American Indian Lyrics 149 - - NOTES 173 - - ACKNOWLEDGMENTS 183 - - INDEX 187 - - - - -AMERICAN INDIAN LOVE LYRICS - - - - -PART ONE - -INDIAN LOVE LYRICS AND OTHER VERSE SELECTED FROM THE SONGS OF THE NORTH -AMERICAN INDIANS - - -MY BARK CANOE (_Ojibwa_) - - In the still night, the long night through, - I guide my bark canoe, - My love, to you. - While the stars shine, and falls the dew, - I seek my love in bark canoe— - I seek for you. - It is I, love, your lover true, - Who glides the stream in bark canoe. - It glides to you, - My love, to you. - - -HER SHADOW (_Ojibwa_) - - Out on the lake my canoe is gliding, - Paddle dipping soft lest she should take alarm; - Ah, hey-ah hey-ah ho, hey-ah hey-ah ho, thus I go! - Somewhere along shore she is hiding, - She is shy to yield to love’s alluring charm; - Ah, hey-ah hey-ah ho, hey-ah hey-ah, love will win, I know. - There is a shadow swiftly stealing! - Should it be her own, soon I will win the race; - Ah hey-ah hey-ah ho, hey-ah hey-ah ho, I think it is! - Will she but turn, herself revealing, - I will shout aloud when-e’er I see her face. - Ah! hey-ah hey-ah ho, hey-ah hey-ah ho, - There she is! - - -LOVER’S WOOING or BLANKET SONG (_Zuñi_) - -I - - O what happiness! - How delightful, - When together we - ’Neath one blanket walk. - We together - ’Neath one blanket walk, - We together - ’Neath one blanket walk, - We walk. - O! What happiness! - How delightful, - When together we - ’Neath one blanket walk. - We together, - ’Neath one blanket walk, - We together, - ’Neath one blanket walk, - We walk. - -II - - Can it be that - My young maiden fair - Sits awaiting, - All alone tonight? - Is she waiting - For me only? - Is she waiting - For me only? - -III - - May I hope it is - My young maiden - Sitting all alone - And awaiting me; - Will she come then? - Will she walk with me? - ’Neath one blanket - We together be, - We—we two, we two, - We two, we two— - Will she come? - - -PAPAGO LOVE SONG (_Papago_) - - Early I rose - In the blue morning; - My love was up before me, - It came running to me from the doorways of the Dawn. - - On Papago Mountain - The dying quarry - Looked at me with my love’s eyes. - - -LOVE SONG (_Dakota_) - - Many are the youths, many youths: - Thou alone art he who pleaseth me. - Over all I love thee. - Long shall be the years of parting! - - -THE BRIDE’S SONG (_Algonquin_) - - There are many men in the world, - But only one is dear to me. - He is good and brave and strong. - He swore to love none but me; - He has forgotten me. - It was an evil spirit that changed him, - But I will love none but him. - - -LONELY (_Ojibwa_) - - Fear not, he sayeth, - Though far away, - Thy lover strayeth - At break of day. - “Go not, my sweetheart,” - Vainly I cry, - “To yon far island,” - Yearning I sigh. - Thither must I go, - Sadly I moan; - Heavy my woe, - Left here alone. - - -WAR SONG (_Dakota_) - - Friend, whatever hardships threaten, - If thou call me, - I’ll befriend thee; - All enduring fearlessly, - I’ll befriend thee. - - -ONONDAGA HYMN (_Iroquois_) - - Woe! Woe! - Hearken ye! - We are diminished! - Woe! Woe! - The cleared land has become a thicket. - - Woe! Woe! - The cleared places are deserted. - - Woe! - They are in their graves— - They who established it— - Woe! - The great League. - Yet they declared - It should endure— - The great League. - Woe! - Their work has grown old. - Woe! - Thus we are become miserable. - - -LAMENT OF A MAN FOR HIS SON (_Paiute_) - - Son, my son! - I will go up to the mountain - And there I will light a fire - To the feet of my son’s spirit, - And there will I lament him; - Saying, - O my son, - What is my life to me, now you are departed! - - Son, my son, - In the deep earth - We softly laid thee - In a Chief’s robe, - In a warrior’s gear. - Surely there, - In the spirit land - Thy deeds attend thee! - Surely, - The corn comes to the ear again! - But I, here, - I am the stalk that the seed-gatherers - Descrying empty, afar, left standing. - Son, my son! - What is my life to me, now you are departed? - - -DEATH OF TALUTA (_Siouan_) - - Ah, spirit, thy flight is mysterious! - While the clouds are stirred by our wailing, - And our tears fall faster in sorrow— - - While the cold sweat of night benumbs us, - Thou goest alone on thy journey— - In the midst of the shining star people! - - Thou goest alone on thy journey— - Thy memory shall be our portion; - Until death we shall watch for the spirit. - - -WIND SONG (_Kiowa_) - - O you warriors, you have loved ones - Longing for you, longing for you; - Rich are ye. - O you lovers, you have maidens - Longing for you; none have I. - Wherefore droop ye in silence, so downcast? - Cheer your hearts with song, ho! - - -BLUEBIRD SONG (_Pima_) - - _Hai-ya, hai-ya,—hai-ya, hai-ya_— - All my song is lost and gone. - Sad at heart is the bluebird, - All my song is lost and gone, - Woe is me, alas! alas! - All my song is lost and gone! - - -SONG OF THE UNHAPPY WIFE (_Dakota_) - - Sorely I am distressed; - Sorely I am distressed; - Sorely I am distressed. - The earth alone continues long; - I speak as one not expecting to live, - Sorely I am distressed; - The earth alone continues long. - - -THE SONG OF UKIABI (_Cegiha_) - - I am walking to and fro! - I can find nothing which can heal my sorrow. - - -A LOVER’S LAMENT (_Tewa_) - - My little breath, under the willows by the water-side we used to sit, - And there the yellow cottonwood bird came and sang. - That I remember and therefore I weep. - Under the growing corn we used to sit, - And there the little leaf bird came and sang. - That I remember and therefore I weep. - There on the meadow of yellow flowers we used to walk. - Oh, my little breath! Oh, my little heart! - There on the meadow of blue flowers we used to walk. - Alas! how long ago that we two walked in that pleasant way. - Then everything was happy, but, alas! how long ago. - There on the meadow of crimson flowers we used to walk. - Oh, my little breath, now I go there alone in sorrow. - - -MY HOME OVER THERE (_Tewa_) - - My home over there, my home over there, - My home over there, now I remember it! - And when I see that mountain far away, - Why, then I weep. Alas! what can I do? - What can I do? Alas! What can I do? - My home over there, now I remember it! - - -HUNTING-SONG (_Navaho_) - - Comes the deer to my singing, - Comes the deer to my song, - Comes the deer to my singing. - - He, the blackbird, he am I, - Bird beloved of the wild deer. - Comes the deer to my singing. - - From the Mountain Black, - From the summit, - Down the trail, coming, coming now, - Comes the deer to my singing. - - Through the blossoms, - Through the flowers, coming, coming now - Comes the deer to my singing. - - Through the flower dew-drops, - Coming, coming now, - Comes the deer to my singing. - - Through the pollen, flower pollen, - Coming, coming now, - Comes the deer to my singing. - - Starting with his left fore-foot, - Stamping, turns the frightened deer. - Comes the deer to my singing. - - Quarry mine, blessed am I - In the luck of the chase. - Comes the deer to my singing. - - Comes the deer to my singing, - Comes the deer to my song, - Comes the deer to my singing. - - -A SONG OF THE DEER CEREMONY (_San Carlos Apache_) - - At the east, - Where the jet ridges of the earth lie.... - - At the south, - Where the white shell ridges of the earth lie, - Where all kinds of fruit are ripe, - We two will meet. - - From there where the coral ridges of the earth lie, - We two will meet. - Where the ripe fruits are fragrant, - We two will meet. - - -MOUNT KOONAK: A SONG OF ARSUT (_Eskimaun_) - - I look toward the south, to great Mount Koonak, - To great Mount Koonak, there to the south; - I watch the clouds that gather round him; - I contemplate their shining brightness; - They spread abroad upon great Koonak; - They climb up his seaward flanks; - See how they shift and change; - Watch them there to the south; - How one makes beautiful the other; - How they mount his southern slopes, - Hiding him from the stormy sea, - Each lending beauty to the other. - - -THE COYOTE AND THE LOCUST (_Zuñi_) - - Locust, locust, playing a flute, - Locust, locust, playing a flute! - Away up on the pine-tree bough, - Closely clinging, - Playing a flute, - Playing a flute! - - -KA-NI-GA SONG - - The poor little bee - That lives in the tree, - The poor little bee - That lives in the tree - Has only one arrow - In his quiver. - - -CORN-GRINDING SONG II (_Laguna_) - - Butterflies, butterflies, - Now fly away to the blossoms, - Fly, blue-wing, - Fly, yellow-wing, - Now fly away to the blossoms, - Fly, red-wing, - Fly white-wing, - Now fly away to the blossoms, - Butterflies, away! - Butterflies, butterflies, - Now fly away to the blossoms, - Butterflies, away! - - -SONG TO THE TREES AND STREAMS (_Pawnee_) - -I - - Dark against the sky, yonder distant line - Lies before us. Trees we see, long the line of trees, - Bending, swaying in the breeze. - -II - - Bright with flashing light yonder distant line - Runs before us, swiftly runs, swift the river runs, - Winding, flowing over the land. - -III - - Hark! O hark! A sound, yonder distant sound - Comes to greet us, singing comes, soft the river’s song, - Rippling gently beneath the trees. - - -SONG TO THE MOUNTAINS (_Pawnee_) - -I - - Mountains loom upon the path we take; - Yonder peak now rises sharp and clear; - Behold! It stands with its head uplifted, - Thither we go, since our way lies there. - -II - - Mountains loom upon the path we take; - Yonder peak now rises sharp and clear; - Behold! We climb, drawing near its summit; - Steeper grows the way and slow our steps. - -III - - Mountains loom upon the path we take; - Yonder peak that rises sharp and clear, - Behold us now on its head uplifted; - Planting there our feet, we stand secure. - -IV - - Mountains loom upon the path we take; - Yonder peak that rose so sharp and clear, - Behold us now on its head uplifted; - Resting there at last we sing our song. - - -RITUAL SONG (_Pawnee_) - -I - - Over the prairie flits, in ever widening circles, the shadow of a bird - about me as I walk; - Upward turn my eyes, _Kawas_ looks upon me, she turns with flapping - wings, and far away she flies. - -II - - Round about a tree, in ever widening circles, an eagle flies, alertly - watching over his nest; - Loudly whistles he, a challenge sending far; over the country wide it - echoes, there defying foes. - - -WIND SONG (_Pima_) - - Far on the desert ridges - Stands the cactus; - Lo, the blossoms swaying - To and fro, the blossoms swaying, swaying. - - -A SONG OF SPRING (_Chippewa_) - - As my eyes search the prairie, - I feel the summer in the spring. - - -THE DARKNESS SONG FROM THE INVITATION RITE (_Iroquois_) - -(The chief of the Invitation Rite requests all the night folk of the -forest to protect his people on their journey to the morning.) - - We wait in the darkness! - Come, all ye who listen, - Help in our night journey: - Now no sun is shining; - Now no star is glowing; - Come show us the pathway: - The night is not friendly; - She closes her eyelids; - The moon has forgot us, - We wait in the darkness! - - -THE INVITATION SONG - - -Part I (_The Song of the Whip-poor-will announced by the flute._) - -I - - So says the whip-poor-will, - Follow me, follow me! - So says the chief to him, - Yes I will follow thee! - -II - - See the night darkening; - The shadows are hiding, - No light to follow for, - So says the waterfall, - So sings the river voice! - -III - - Someone is nearing me, - Soft he comes creeping here, - Two eyes glare close to me, - Lighting the forest path— - Hear how his breath blows by! - -IV - - Fol-low me, fol-low me, - So sings the whip-poor-will! - Yes, I am following, - So the chief answers him. - - -Part II (_The Wolf and his mate are announced._) - -I - - Hark, the trees bending low, - Something is breaking them, - Not the strong north wind’s hand, - Something stalks broad and swift. - Snuffing and panting loud! - -II - - Hark! How the tangles break! - Fearless the footfalls pass, - Strong trees stretch far apart, - Great horns dividing them. - (Whip-poor-will chorus) - - -Part III (_Buck and Doe with cries enter the room._) - -I - - How the cold shivers me! - No snow is falling now, - Where does the sun’s fire hide? - Something comes roaring loud - Swift footed, warning me! - -II - - Its breath blinds the night eyes, - Like rainy vapor falls! - Now it walks close to me, - Warming and coaxing me, - Where the black forest frowns. - (Whip-poor-will chorus) - - -Part IV (_The Bear and his mate have come._) - -I - - How the wind travels now, - No one dares run with it. - Great trees bend low to it, - Rivers fight back to it, - Roaring and splashing it! - -II - - Hear its wings flapping strong - Far in the hidden skies! - Swift it flies northward high, - Whistling and calling loud, - Hunting its running prey! - -(The Hawk and its mate are announced, and all the rest of the forest -folk. Finally, at dawn, the eagle is announced by the flute.) - - -Part V (_The Eagle Song_) - -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 - - -*** END OF THE PROJECT GUTENBERG EBOOK AMERICAN INDIAN LOVE LYRICS AND -OTHER VERSE *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: American Indian love lyrics and other verse</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>From the songs of the North American Indians</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Compiler: Nellie Barnes</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Contributor: Mary Austin</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: November 24, 2022 [eBook #69419]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Tim Lindell and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK AMERICAN INDIAN LOVE LYRICS AND OTHER VERSE ***</div> - -<p><span class="pagenum"><a id="Page_1"></a>[1]</span></p> - -<p class="titlepage larger">American<br> -Indian Love Lyrics</p> - -<p><span class="pagenum"><a id="Page_2"></a>[2]</span></p> - -<div class="figcenter illowp100" style="max-width: 18.75em;"> - <img class="w100" src="images/macmillan.jpg" alt=""> -</div> - -<p class="center">THE MACMILLAN COMPANY<br> -<span class="smaller">NEW YORK · BOSTON · CHICAGO · DALLAS<br> -ATLANTA · SAN FRANCISCO</span></p> - -<p class="center"><span class="smcap">MACMILLAN & CO., Limited</span><br> -<span class="smaller">LONDON · BOMBAY · CALCUTTA<br> -MELBOURNE</span></p> - -<p class="center"><span class="smcap">THE MACMILLAN CO. OF CANADA, Ltd.</span><br> -<span class="smaller">TORONTO</span></p> - -<p><span class="pagenum"><a id="Page_3"></a>[3]</span></p> - -<hr class="chap x-ebookmaker-drop"> - -<p><span class="pagenum"><a id="Page_4"></a>[4]</span></p> - -<p class="titlepage larger">American Indian Love<br> -Lyrics <i>and</i> Other Verse</p> - -<div class="figcenter titlepage illowp75" style="max-width: 3.125em;"> - <img class="w100" src="images/swastika.jpg" alt=""> -</div> - -<p class="titlepage"><i>From the Songs of the</i><br> -<span class="mid">North American Indians</span></p> - -<p class="titlepage">Selected by<br> -<span class="mid">Nellie Barnes</span></p> - -<p class="titlepage"><i>Foreword by</i><br> -<span class="mid">Mary Austin</span></p> - -<div class="figcenter titlepage illowp75" style="max-width: 3.125em;"> - <img class="w100" src="images/swastika.jpg" alt=""> -</div> - -<p class="titlepage">THE MACMILLAN COMPANY<br> -<span class="smaller">PUBLISHERS <span class="spacer">NEW YORK</span></span><br> -1925</p> - -<p class="titlepage smaller">COPYRIGHT, 1925, BY THE MACMILLAN COMPANY.<br> -SET UP AND ELECTROTYPED, PUBLISHED DEC., 1925.</p> - -<p class="titlepage smaller">PRINTED IN THE UNITED STATES OF AMERICA BY<br> -THE BERWICK & SMITH CO.</p> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_5"></a>[5]</span></p> - -<h2 class="nobreak">PREFACE</h2> - -</div> - -<div> -<img class="pcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> -</div> - -<p class="pcap">The influence of American Indian song-literature -has touched both the music and the literature -of contemporary America. Those writers -who use Indian themes are legion. Mary Austin -has gone farthest, perhaps, among the writers of -the day in relating her poetic work to the native -rhythms of America.</p> - -<p>These native rhythms pulsed through the songs -of our Red Men for centuries before our Christian -era. The very beautiful Aztec and the Inca poetry -belong to the earlier and more highly developed -civilizations. Since it is the purpose of this volume -to treat of the more primitive forms of rhythm, -it has seemed best to limit the illustrations to -songs from tribes north of Mexico.</p> - -<p>The late Mrs. Natalie Curtis Burlin’s collection -of songs in <i>The Indians’ Book</i> makes that volume -quite the most representative source book for -the study of Indian lyrics. The original texts -of unusual range in poetic patterns, the musical -settings, the interlinear translations, and the -accompanying narratives add a rich context to -free translations of genuine literary merit.</p> - -<p>Among other contributions to Indian song-literature,<span class="pagenum"><a id="Page_6"></a>[6]</span> -the studies of Miss Alice Cunningham -Fletcher, Mr. Carlos Troyer, and Doctor Washington -Matthews hold a particular charm for the -investigator.</p> - -<p>Mrs. Austin’s notable work, <i>The American -Rhythm</i>, an analysis of the primitive poetic impulse, -with illustrations from her own translations, -came from the press after the writer’s study of -Indian poetic rhythms had been under way for -some years. The conclusions for this volume -have been limited, therefore, to those about poetic -forms.</p> - -<p>The writer is greatly indebted to Mrs. Austin -for her generous interest in earlier work and especially -for her helpful criticism of this study.</p> - -<p class="right">N. B.</p> - -<p>Santa Fe, July 29, 1925</p> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_7"></a>[7]</span></p> - -<h2 class="nobreak">FOREWORD</h2> - -</div> - -<div> -<img class="pcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> -</div> - -<p class="pcap">The student of poetry in America enjoys an -opportunity, such as has never been practicable -for the European student, to come in contact -with the source and mould of poetic form. For -in Europe, the overlaying of all native activity -by the sedulously cultivated Greek and Roman -preferences, the deliberate turning of scholarly -inquiry <i>from</i> what was self-sprung and indigenous -<i>toward</i> what had been perfected in another environment -and upon other roots, left the whole -subject of the origin of form dangling in the atmosphere -of theory and surmise. To this day the -most that we know of the high forms of poesy in -Europe is owed less to authentic tradition than -to the scholastic rehumation of native remains -in dance and ritual, of what was once, in the -interest of the classic ideal, discarded and buried, -or at the least, permitted to survive only among -the unlettered folk.</p> - -<p>Fortunately for our general understanding of -poetic form, the Greeks had no such snobbish -scruples as arose later throughout Europe against -admitting the origin of their most majestic poetic -medium in the communal dance around the tribal<span class="pagenum"><a id="Page_8"></a>[8]</span> -altar. Here in the United States we are, by a -turn of fortune, undeserved and underappreciated, -able to watch the evolution of poetic form from -stages somewhat earlier than those recorded by -Aristotle, going on as an indigenous type of human -expression. We are face to face here with the -evolution of lyric form out of the stanzaic act, -ritualistically repeated; with the approach to the -ode, along the path struck out by primitive man -in the identification of himself with the sources -of high states of being.</p> - -<p>We confront these things as unselfconscious -acts, rather than as fragmentary and over-annotated -poetic remains. We are able to refer them -directly to accompanying gestures, to generative -social occasions, and the environmental matrix. -And we have to guess or to theorize, where these -things are obligatory, only in reference to minds -whose movements are influenced by factors lying -open to intelligent apprehension.</p> - -<p>To point this out, by way of introduction to the -first thoughtful attempt to put the material for -a valid conclusion as to the origin of poetic form, -in order for the unspecialized reader, is not to -subtract anything from the difficulty of the task, -nor to minimize the importance of the result. -So careless has American scholarship been of our -rich resources in this direction, that merely for -Miss Barnes to have realized their richness and<span class="pagenum"><a id="Page_9"></a>[9]</span> -to have collected illustrative examples of them -from the widely scattered and occasionally obscure -sources, implies not only a general background -of wide literary knowledge, but a fund of literary -intelligence and much industry. It also implies -a quality of restraint not infrequently lacking -from such undertakings, in not attempting to -bridge the gaps and supply the missing links by -even the most plausible theory. Such restraint -in view of the usual American demand for a -complete tabloid statement, an assumption that -does away with the necessity for further inquiry, -is so much the more unusual that some of the -credit for making this inquiry accessible surely -devolves not only on the University in which it -could take place, but upon the publisher who -ventures to present it.</p> - -<p>Merely by collecting from authentic sources, -by discarding doubtful examples and by intelligent -grouping of the best translations of Amerindian -lyrics, according to their formative tendency, -Miss Barnes has done more than perhaps she -herself realizes, to uncover the influences at work -on the primitive poetic impulse, to crystallize -it into forms best suited to the expression of a -progressively higher poetic content. To one who -reads her simple statement of the relation of -sacred numbers, fours and sixes and sevens, to -what Miss Barnes calls the “thought rhythm”<span class="pagenum"><a id="Page_10"></a>[10]</span> -as determining the form of primitive verse, and -reads it without other knowledge of Indians than -is included in these pages, it will scarcely appear -that the still profounder influence is the natural -environment, determining the force of climate, -landscape line, and food succession in the cultural -life of the particular tribe. But to one familiar -with environmental distinctions between Zuñi -and Iroquois and Omaha, there will be distinctive -pleasure in tracing relationships between verse -forms and the known formative features of the -given landscape. To such a reader there will -also appear intimate relations between the repetitive -pattern of formal elements, the range and -interdependence of dance movements, and of -decorative patterns of beadwork and textiles. -It would, in fact, be very little trouble to accompany -each poem in this collection with an appropriate -design either of gesture or decorative elements, -drawn from the life of that tribe, in which -the distribution of formative elements would -make a pattern recognizably that of the poem. As -for example, in the Paiute <i>Lament of a Man for -His Son</i>, the gesture of the first movement would -be that inevitable to a man standing at the head -of his son’s corpse, and striving beyond his grief -to descry his son’s spirit walking the spirit road; -the gesture of the second movement, the reverent, -slightly swaying tread of friends bearing the body<span class="pagenum"><a id="Page_11"></a>[11]</span> -on their shoulders over uneven ground; and of the -last movement, the final tearing wrench of human -affection. In the same manner, the <i>Iroquois -Hymn</i> on the dissolution of the Great League, -carries the gesture of up-flung arms, and the -bowing of heads that dust may be cast upon them; -while in the Navaho and Pueblo Rain Chants, -there is the recurrent but always slightly variable -motif of the landscape as the determinant -of the verbal pattern, as you can see on any -old Zuñi <i>tinaja</i>. It is the precision with which -Miss Barnes makes these things appear to the -initiate, without at the same time obscuring the -more obvious conclusions for the average reader, -which distinguishes what she has to say above -all other writings on the subject. No one who -reads her notes on Amerindian verse forms need -feel the limitation of personal knowledge a hindrance -to his æsthetic and intellectual enjoyment -of the poems themselves.</p> - -<p>I know of but one parallel to this achievement -in the current descriptions of aboriginal culture -in the United States. That is in George Bird -Grinnell’s account of Cheyenne games, in which, -without saying as much, the relation of all games -to man’s aboriginal puzzlement about the world -he lives in is convincingly brought out. Mr. -Grinnell’s account should be read in connection -with Miss Barnes’ work for the further light it<span class="pagenum"><a id="Page_12"></a>[12]</span> -throws on the origin of patterns, social, decorative, -or literary, in living human impulses. In so far -as any study does this, and especially as it does -it in respect to areas of literary activity all too -scantily familiar, it constitutes an indispensable -service to American scholarship.</p> - -<p class="right"><span class="smcap">Mary Austin.</span></p> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_13"></a>[13]</span></p> - -<h2 class="nobreak">CONTENTS</h2> - -</div> - -<table> - <tr> - <td></td> - <td class="tdpg smaller">PAGE</td> - </tr> - <tr> - <td colspan="2" class="tdc"><a href="#PART_ONE">PART ONE</a></td> - </tr> - <tr> - <td colspan="2"><p>Indian Love Lyrics and Other Verse selected from - the songs of the North American Indians.</p></td> - </tr> - <tr> - <td colspan="2" class="tdc">I SONGS OF LOVE AND FRIENDSHIP</td> - </tr> - <tr> - <td>MY BARK CANOE</td> - <td class="tdpg"><a href="#Page_21">21</a></td> - </tr> - <tr> - <td>HER SHADOW</td> - <td class="tdpg"><a href="#Page_22">22</a></td> - </tr> - <tr> - <td>LOVER’S WOOING, OR BLANKET SONG</td> - <td class="tdpg"><a href="#Page_23">23</a></td> - </tr> - <tr> - <td>PAPAGO LOVE SONGS</td> - <td class="tdpg"><a href="#Page_25">25</a></td> - </tr> - <tr> - <td>LOVE SONG (DAKOTA)</td> - <td class="tdpg"><a href="#Page_26">26</a></td> - </tr> - <tr> - <td>THE BRIDE’S SONG</td> - <td class="tdpg"><a href="#Page_27">27</a></td> - </tr> - <tr> - <td>LONELY</td> - <td class="tdpg"><a href="#Page_28">28</a></td> - </tr> - <tr> - <td>WAR SONG</td> - <td class="tdpg"><a href="#Page_29">29</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">II SONGS OF GRIEF</td> - </tr> - <tr> - <td>ONONDAGO HYMN</td> - <td class="tdpg"><a href="#Page_30">30</a></td> - </tr> - <tr> - <td>LAMENT OF A MAN FOR HIS SON</td> - <td class="tdpg"><a href="#Page_31">31</a></td> - </tr> - <tr> - <td>THE DEATH OF TALUTA</td> - <td class="tdpg"><a href="#Page_32">32</a></td> - </tr> - <tr> - <td>WIND SONG</td> - <td class="tdpg"><a href="#Page_33">33</a></td> - </tr> - <tr> - <td>BLUEBIRD SONG</td> - <td class="tdpg"><a href="#Page_34">34</a></td> - </tr> - <tr> - <td>SONG OF THE UNHAPPY WIFE</td> - <td class="tdpg"><a href="#Page_35">35</a></td> - </tr> - <tr> - <td>THE SONG OF UKIABI</td> - <td class="tdpg"><a href="#Page_36">36</a><span class="pagenum"><a id="Page_14"></a>[14]</span></td> - </tr> - <tr> - <td>A LOVER’S LAMENT (TEWA)</td> - <td class="tdpg"><a href="#Page_37">37</a></td> - </tr> - <tr> - <td>MY HOME OVER THERE (TEWA)</td> - <td class="tdpg"><a href="#Page_38">38</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">III SONGS OF NATURE (Secular)</td> - </tr> - <tr> - <td>HUNTING SONG</td> - <td class="tdpg"><a href="#Page_39">39</a></td> - </tr> - <tr> - <td>A SONG OF THE DEER CEREMONY</td> - <td class="tdpg"><a href="#Page_41">41</a></td> - </tr> - <tr> - <td>MOUNT KOONAK: A SONG OF ARSUT</td> - <td class="tdpg"><a href="#Page_42">42</a></td> - </tr> - <tr> - <td>THE COYOTE AND THE LOCUST</td> - <td class="tdpg"><a href="#Page_43">43</a></td> - </tr> - <tr> - <td>KA-NI-GA SONG</td> - <td class="tdpg"><a href="#Page_44">44</a></td> - </tr> - <tr> - <td>CORN-GRINDING SONG (LAGUNA)</td> - <td class="tdpg"><a href="#Page_45">45</a></td> - </tr> - <tr> - <td>SONG TO THE TREES AND STREAMS</td> - <td class="tdpg"><a href="#Page_46">46</a></td> - </tr> - <tr> - <td>SONG TO THE MOUNTAINS</td> - <td class="tdpg"><a href="#Page_47">47</a></td> - </tr> - <tr> - <td>RITUAL SONG</td> - <td class="tdpg"><a href="#Page_48">48</a></td> - </tr> - <tr> - <td>WIND SONG</td> - <td class="tdpg"><a href="#Page_49">49</a></td> - </tr> - <tr> - <td>A SONG OF SPRING</td> - <td class="tdpg"><a href="#Page_50">50</a></td> - </tr> - <tr> - <td>DARKNESS SONG (FROM THE INVITATION RITE)</td> - <td class="tdpg"><a href="#Page_51">51</a></td> - </tr> - <tr> - <td>THE INVITATION SONG</td> - <td class="tdpg"><a href="#Page_52">52</a></td> - </tr> - <tr> - <td>THE PLANTING SONG</td> - <td class="tdpg"><a href="#Page_56">56</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">IV SONGS OF RAIN</td> - </tr> - <tr> - <td>SONG OF THE RAIN CHANT</td> - <td class="tdpg"><a href="#Page_57">57</a></td> - </tr> - <tr> - <td>THE VOICE THAT BEAUTIFIES THE LAND</td> - <td class="tdpg"><a href="#Page_59">59</a></td> - </tr> - <tr> - <td>CORN-GRINDING SONG (TESUQUE)</td> - <td class="tdpg"><a href="#Page_60">60</a></td> - </tr> - <tr> - <td>SONG OF THE BLUE CORN DANCE</td> - <td class="tdpg"><a href="#Page_62">62</a></td> - </tr> - <tr> - <td>CORN-GRINDING SONG (ZUÑI)</td> - <td class="tdpg"><a href="#Page_63">63</a></td> - </tr> - <tr> - <td>CORN DANCE SONG (ZUÑI)</td> - <td class="tdpg"><a href="#Page_64">64</a><span class="pagenum"><a id="Page_15"></a>[15]</span></td> - </tr> - <tr> - <td>KORASTA KATZINA SONG</td> - <td class="tdpg"><a href="#Page_65">65</a></td> - </tr> - <tr> - <td>ANGA KATZINA SONG</td> - <td class="tdpg"><a href="#Page_66">66</a></td> - </tr> - <tr> - <td>HE-HEA KATZINA SONG</td> - <td class="tdpg"><a href="#Page_67">67</a></td> - </tr> - <tr> - <td>WUWUCHIM CHANT</td> - <td class="tdpg"><a href="#Page_68">68</a></td> - </tr> - <tr> - <td>A RAIN SONG OF THE SNAKE SOCIETY I</td> - <td class="tdpg"><a href="#Page_69">69</a></td> - </tr> - <tr> - <td>A RAIN SONG OF THE SNAKE SOCIETY II</td> - <td class="tdpg"><a href="#Page_70">70</a></td> - </tr> - <tr> - <td>CORN SONG</td> - <td class="tdpg"><a href="#Page_71">71</a></td> - </tr> - <tr> - <td>RAIN SONGS</td> - <td class="tdpg"><a href="#Page_72">73</a></td> - </tr> - <tr> - <td>A METATE SONG</td> - <td class="tdpg"><a href="#Page_75">75</a></td> - </tr> - <tr> - <td>FLUTE SONG</td> - <td class="tdpg"><a href="#Page_77">77</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">V SONGS OF THE SUN, MOON, AND STARS</td> - </tr> - <tr> - <td>THE SUNRISE CALL</td> - <td class="tdpg"><a href="#Page_78">78</a></td> - </tr> - <tr> - <td>HYMN TO THE SUN</td> - <td class="tdpg"><a href="#Page_79">79</a></td> - </tr> - <tr> - <td>SUNSET SONG</td> - <td class="tdpg"><a href="#Page_82">82</a></td> - </tr> - <tr> - <td>INVOCATION TO THE SUN-GOD</td> - <td class="tdpg"><a href="#Page_83">83</a></td> - </tr> - <tr> - <td>A SONG OF GOTAL, LIII</td> - <td class="tdpg"><a href="#Page_84">84</a></td> - </tr> - <tr> - <td>FIRST DAYLIGHT SONG</td> - <td class="tdpg"><a href="#Page_85">85</a></td> - </tr> - <tr> - <td>SONG OF THE DAWN BOY</td> - <td class="tdpg"><a href="#Page_86">86</a></td> - </tr> - <tr> - <td>THE MORNING STAR AND THE NEW BORN DAWN</td> - <td class="tdpg"><a href="#Page_87">87</a></td> - </tr> - <tr> - <td>DAYLIGHT</td> - <td class="tdpg"><a href="#Page_88">88</a></td> - </tr> - <tr> - <td>THE BIRTH OF DAWN</td> - <td class="tdpg"><a href="#Page_89">89</a></td> - </tr> - <tr> - <td>SONG TO THE PLEIADES</td> - <td class="tdpg"><a href="#Page_91">91</a></td> - </tr> - <tr> - <td>THE SONG OF THE STARS</td> - <td class="tdpg"><a href="#Page_92">92</a></td> - </tr> - <tr> - <td>THE STARS DEHN-DEK AND MAH-OH-RAH</td> - <td class="tdpg"><a href="#Page_93">93</a><span class="pagenum"><a id="Page_16"></a>[16]</span></td> - </tr> - <tr> - <td colspan="2" class="tdc">VI SONGS OF DEITIES AND HOLY PLACES</td> - </tr> - <tr> - <td>SONG OF THE MASKED DANCERS</td> - <td class="tdpg"><a href="#Page_95">95</a></td> - </tr> - <tr> - <td>SONG OF THE MASKED DANCERS, III</td> - <td class="tdpg"><a href="#Page_96">96</a></td> - </tr> - <tr> - <td>EMERGENCE SONG</td> - <td class="tdpg"><a href="#Page_97">97</a></td> - </tr> - <tr> - <td>WARNING OF THE FLOOD</td> - <td class="tdpg"><a href="#Page_98">98</a></td> - </tr> - <tr> - <td>PROTECTION SONG</td> - <td class="tdpg"><a href="#Page_99">99</a></td> - </tr> - <tr> - <td>SONG OF NAYENEZGANI I</td> - <td class="tdpg"><a href="#Page_101">101</a></td> - </tr> - <tr> - <td>SONG OF NAYENEZGANI II</td> - <td class="tdpg"><a href="#Page_102">102</a></td> - </tr> - <tr> - <td>SONG OF THE HORSE</td> - <td class="tdpg"><a href="#Page_103">103</a></td> - </tr> - <tr> - <td>SONG OF THE HOGANS</td> - <td class="tdpg"><a href="#Page_104">104</a></td> - </tr> - <tr> - <td>WAR SONG (THE FLINT YOUTH)</td> - <td class="tdpg"><a href="#Page_107">107</a></td> - </tr> - <tr> - <td>ATSALEI YEDADIGLES (WIND BOY)</td> - <td class="tdpg"><a href="#Page_109">109</a></td> - </tr> - <tr> - <td>MOUNTAIN SONGS I-VI</td> - <td class="tdpg"><a href="#Page_110">110</a></td> - </tr> - <tr> - <td>MOUNTAIN SONG</td> - <td class="tdpg"><a href="#Page_114">114</a></td> - </tr> - <tr> - <td>MOUNTAIN SONG</td> - <td class="tdpg"><a href="#Page_116">116</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">VII SONGS OF INVOCATION FOR WELL BEING</td> - </tr> - <tr> - <td>INVOCATION OF THE GAME</td> - <td class="tdpg"><a href="#Page_117">117</a></td> - </tr> - <tr> - <td>MEDICINE SONG</td> - <td class="tdpg"><a href="#Page_119">119</a></td> - </tr> - <tr> - <td>PRAYER OF THE FIRST DANCERS</td> - <td class="tdpg"><a href="#Page_120">120</a></td> - </tr> - <tr> - <td>A PRAYER OF THE SECOND DAY OF THE NIGHT CHANT</td> - <td class="tdpg"><a href="#Page_125">125</a></td> - </tr> - <tr> - <td>PRAYER TO DSILYI NEYÁNI (LORD OF THE MOUNTAINS)</td> - <td class="tdpg"><a href="#Page_128">128</a></td> - </tr> - <tr> - <td>DEDICATION OF A NEW HOUSE</td> - <td class="tdpg"><a href="#Page_129">129</a></td> - </tr> - <tr> - <td>PRAYER OF THE FOSTER-PARENT CHANT</td> - <td class="tdpg"><a href="#Page_131">131</a><span class="pagenum"><a id="Page_17"></a>[17]</span></td> - </tr> - <tr> - <td>HOLY SONG</td> - <td class="tdpg"><a href="#Page_132">132</a></td> - </tr> - <tr> - <td>INVOKING THE VISIONS</td> - <td class="tdpg"><a href="#Page_133">133</a></td> - </tr> - <tr> - <td>RITUAL SONG</td> - <td class="tdpg"><a href="#Page_135">135</a></td> - </tr> - <tr> - <td>MEDICINE SONG</td> - <td class="tdpg"><a href="#Page_136">136</a></td> - </tr> - <tr> - <td>SONG OF THE PRIMAL ROCK</td> - <td class="tdpg"><a href="#Page_138">138</a></td> - </tr> - <tr> - <td>INTRODUCTION OF THE CHILD TO THE COSMOS</td> - <td class="tdpg"><a href="#Page_142">142</a></td> - </tr> - <tr> - <td>SONG OF TURNING THE CHILD</td> - <td class="tdpg"><a href="#Page_144">144</a></td> - </tr> - <tr> - <td>SUPPLICATION OF THE TSÍZHU WASHTÁGE</td> - <td class="tdpg"><a href="#Page_145">145</a></td> - </tr> - <tr> - <td>THE TRIBAL PRAYER (OMAHA)</td> - <td class="tdpg"><a href="#Page_146">146</a></td> - </tr> - <tr> - <td>WAWAN SONG</td> - <td class="tdpg"><a href="#Page_147">147</a></td> - </tr> - <tr> - <td>THE MORNING SONG</td> - <td class="tdpg"><a href="#Page_148">148</a></td> - </tr> - <tr> - <td colspan="2" class="tdc"><a href="#PART_TWO">PART TWO</a></td> - </tr> - <tr> - <td>Poetic Forms in American Indian Lyrics</td> - <td class="tdpg"><a href="#PART_TWO">149</a></td> - </tr> - <tr> - <td>NOTES</td> - <td class="tdpg"><a href="#NOTES">173</a></td> - </tr> - <tr> - <td>ACKNOWLEDGMENTS</td> - <td class="tdpg"><a href="#ACKNOWLEDGMENTS">183</a></td> - </tr> - <tr> - <td>INDEX</td> - <td class="tdpg"><a href="#INDEX">187</a></td> - </tr> -</table> - -<p><span class="pagenum"><a id="Page_18"></a>[18]</span></p> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_19"></a>[19]</span></p> - -<h1>AMERICAN INDIAN LOVE LYRICS</h1> - -</div> - -<p><span class="pagenum"><a id="Page_20"></a>[20]</span></p> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_21"></a>[21]</span></p> - -<h2 class="nobreak c" id="PART_ONE">PART ONE<br> -<span class="smcap smaller">Indian Love Lyrics and Other Verse -selected from the songs of the -North American Indians</span></h2> - -</div> - -<h3>MY BARK CANOE (<i>Ojibwa</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-i.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">In the still night, the long night through,</div> - <div class="verse indent0">I guide my bark canoe,</div> - <div class="verse indent0">My love, to you.</div> - <div class="verse indent0">While the stars shine, and falls the dew,</div> - <div class="verse indent0">I seek my love in bark canoe—</div> - <div class="verse indent0">I seek for you.</div> - <div class="verse indent0">It is I, love, your lover true,</div> - <div class="verse indent0">Who glides the stream in bark canoe.</div> - <div class="verse indent0">It glides to you,</div> - <div class="verse indent0">My love, to you.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_22"></a>[22]</span></p> - -<h3>HER SHADOW (<i>Ojibwa</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-o.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Out on the lake my canoe is gliding,</div> - <div class="verse indent0">Paddle dipping soft lest she should take alarm;</div> - <div class="verse indent0">Ah, hey-ah hey-ah ho, hey-ah hey-ah ho, thus I go!</div> - <div class="verse indent0">Somewhere along shore she is hiding,</div> - <div class="verse indent0">She is shy to yield to love’s alluring charm;</div> - <div class="verse indent0">Ah, hey-ah hey-ah ho, hey-ah hey-ah, love will win, I know.</div> - <div class="verse indent0">There is a shadow swiftly stealing!</div> - <div class="verse indent0">Should it be her own, soon I will win the race;</div> - <div class="verse indent0">Ah hey-ah hey-ah ho, hey-ah hey-ah ho, I think it is!</div> - <div class="verse indent0">Will she but turn, herself revealing,</div> - <div class="verse indent0">I will shout aloud when-e’er I see her face.</div> - <div class="verse indent0">Ah! hey-ah hey-ah ho, hey-ah hey-ah ho,</div> - <div class="verse indent0">There she is!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_23"></a>[23]</span></p> - -<h3>LOVER’S WOOING or BLANKET SONG (<i>Zuñi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-o.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">O what happiness!</div> - <div class="verse indent0">How delightful,</div> - <div class="verse indent0">When together we</div> - <div class="verse indent0">’Neath one blanket walk.</div> - <div class="verse indent0">We together</div> - <div class="verse indent0">’Neath one blanket walk,</div> - <div class="verse indent0">We together</div> - <div class="verse indent0">’Neath one blanket walk,</div> - <div class="verse indent0">We walk.</div> - <div class="verse indent0">O! What happiness!</div> - <div class="verse indent0">How delightful,</div> - <div class="verse indent0">When together we</div> - <div class="verse indent0">’Neath one blanket walk.</div> - <div class="verse indent0">We together,</div> - <div class="verse indent0">’Neath one blanket walk,</div> - <div class="verse indent0">We together,</div> - <div class="verse indent0">’Neath one blanket walk,</div> - <div class="verse indent0">We walk.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">Can it be that</div> - <div class="verse indent0">My young maiden fair</div><span class="pagenum"><a id="Page_24"></a>[24]</span> - <div class="verse indent0">Sits awaiting,</div> - <div class="verse indent0">All alone tonight?</div> - <div class="verse indent0">Is she waiting</div> - <div class="verse indent0">For me only?</div> - <div class="verse indent0">Is she waiting</div> - <div class="verse indent0">For me only?</div> - </div> - <div class="stanza dcap50"> - <div class="number">III</div> - <div class="verse indent0">May I hope it is</div> - <div class="verse indent0">My young maiden</div> - <div class="verse indent0">Sitting all alone</div> - <div class="verse indent0">And awaiting me;</div> - <div class="verse indent0">Will she come then?</div> - <div class="verse indent0">Will she walk with me?</div> - <div class="verse indent0">’Neath one blanket</div> - <div class="verse indent0">We together be,</div> - <div class="verse indent0">We—we two, we two,</div> - <div class="verse indent0">We two, we two—</div> - <div class="verse indent0">Will she come?</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_25"></a>[25]</span></p> - -<h3>PAPAGO LOVE SONG (<i>Papago</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-e.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Early I rose</div> - <div class="verse indent0">In the blue morning;</div> - <div class="verse indent0">My love was up before me,</div> - <div class="verse indent0">It came running to me from the doorways of the Dawn.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">On Papago Mountain</div> - <div class="verse indent0">The dying quarry</div> - <div class="verse indent0">Looked at me with my love’s eyes.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_26"></a>[26]</span></p> - -<h3>LOVE SONG (<i>Dakota</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-m.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Many are the youths, many youths:</div> - <div class="verse indent0">Thou alone art he who pleaseth me.</div> - <div class="verse indent0">Over all I love thee.</div> - <div class="verse indent0">Long shall be the years of parting!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_27"></a>[27]</span></p> - -<h3>THE BRIDE’S SONG (<i>Algonquin</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">There are many men in the world,</div> - <div class="verse indent0">But only one is dear to me.</div> - <div class="verse indent0">He is good and brave and strong.</div> - <div class="verse indent0">He swore to love none but me;</div> - <div class="verse indent0">He has forgotten me.</div> - <div class="verse indent0">It was an evil spirit that changed him,</div> - <div class="verse indent0">But I will love none but him.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_28"></a>[28]</span></p> - -<h3>LONELY (<i>Ojibwa</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-f.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Fear not, he sayeth,</div> - <div class="verse indent0">Though far away,</div> - <div class="verse indent0">Thy lover strayeth</div> - <div class="verse indent0">At break of day.</div> - <div class="verse indent0">“Go not, my sweetheart,”</div> - <div class="verse indent0">Vainly I cry,</div> - <div class="verse indent0">“To yon far island,”</div> - <div class="verse indent0">Yearning I sigh.</div> - <div class="verse indent0">Thither must I go,</div> - <div class="verse indent0">Sadly I moan;</div> - <div class="verse indent0">Heavy my woe,</div> - <div class="verse indent0">Left here alone.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_29"></a>[29]</span></p> - -<h3>WAR SONG (<i>Dakota</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-f.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Friend, whatever hardships threaten,</div> - <div class="verse indent0">If thou call me,</div> - <div class="verse indent0">I’ll befriend thee;</div> - <div class="verse indent0">All enduring fearlessly,</div> - <div class="verse indent0">I’ll befriend thee.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_30"></a>[30]</span></p> - -<h3>ONONDAGA HYMN (<i>Iroquois</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-w.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Woe! Woe!</div> - <div class="verse indent0">Hearken ye!</div> - <div class="verse indent0">We are diminished!</div> - <div class="verse indent0">Woe! Woe!</div> - <div class="verse indent0">The cleared land has become a thicket.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Woe! Woe!</div> - <div class="verse indent0">The cleared places are deserted.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Woe!</div> - <div class="verse indent0">They are in their graves—</div> - <div class="verse indent0">They who established it—</div> - <div class="verse indent0">Woe!</div> - <div class="verse indent0">The great League.</div> - <div class="verse indent0">Yet they declared</div> - <div class="verse indent0">It should endure—</div> - <div class="verse indent0">The great League.</div> - <div class="verse indent0">Woe!</div> - <div class="verse indent0">Their work has grown old.</div> - <div class="verse indent0">Woe!</div> - <div class="verse indent0">Thus we are become miserable.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_31"></a>[31]</span></p> - -<h3>LAMENT OF A MAN FOR HIS SON (<i>Paiute</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-s.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Son, my son!</div> - <div class="verse indent0">I will go up to the mountain</div> - <div class="verse indent0">And there I will light a fire</div> - <div class="verse indent0">To the feet of my son’s spirit,</div> - <div class="verse indent0">And there will I lament him;</div> - <div class="verse indent0">Saying,</div> - <div class="verse indent0">O my son,</div> - <div class="verse indent0">What is my life to me, now you are departed!</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Son, my son,</div> - <div class="verse indent0">In the deep earth</div> - <div class="verse indent0">We softly laid thee</div> - <div class="verse indent0">In a Chief’s robe,</div> - <div class="verse indent0">In a warrior’s gear.</div> - <div class="verse indent0">Surely there,</div> - <div class="verse indent0">In the spirit land</div> - <div class="verse indent0">Thy deeds attend thee!</div> - <div class="verse indent0">Surely,</div> - <div class="verse indent0">The corn comes to the ear again!</div> - <div class="verse indent0">But I, here,</div> - <div class="verse indent0">I am the stalk that the seed-gatherers</div> - <div class="verse indent0">Descrying empty, afar, left standing.</div> - <div class="verse indent0">Son, my son!</div> - <div class="verse indent0">What is my life to me, now you are departed?</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_32"></a>[32]</span></p> - -<h3>DEATH OF TALUTA (<i>Siouan</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-a.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Ah, spirit, thy flight is mysterious!</div> - <div class="verse indent0">While the clouds are stirred by our wailing,</div> - <div class="verse indent0">And our tears fall faster in sorrow—</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">While the cold sweat of night benumbs us,</div> - <div class="verse indent0">Thou goest alone on thy journey—</div> - <div class="verse indent0">In the midst of the shining star people!</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Thou goest alone on thy journey—</div> - <div class="verse indent0">Thy memory shall be our portion;</div> - <div class="verse indent0">Until death we shall watch for the spirit.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_33"></a>[33]</span></p> - -<h3>WIND SONG (<i>Kiowa</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-o.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">O you warriors, you have loved ones</div> - <div class="verse indent0">Longing for you, longing for you;</div> - <div class="verse indent0">Rich are ye.</div> - <div class="verse indent0">O you lovers, you have maidens</div> - <div class="verse indent0">Longing for you; none have I.</div> - <div class="verse indent0">Wherefore droop ye in silence, so downcast?</div> - <div class="verse indent0">Cheer your hearts with song, ho!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_34"></a>[34]</span></p> - -<h3>BLUEBIRD SONG (<i>Pima</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap"><i>Hai-ya, hai-ya,—hai-ya, hai-ya</i>—</div> - <div class="verse indent0">All my song is lost and gone.</div> - <div class="verse indent0">Sad at heart is the bluebird,</div> - <div class="verse indent0">All my song is lost and gone,</div> - <div class="verse indent0">Woe is me, alas! alas!</div> - <div class="verse indent0">All my song is lost and gone!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_35"></a>[35]</span></p> - -<h3>SONG OF THE UNHAPPY WIFE (<i>Dakota</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-s.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Sorely I am distressed;</div> - <div class="verse indent0">Sorely I am distressed;</div> - <div class="verse indent0">Sorely I am distressed.</div> - <div class="verse indent0">The earth alone continues long;</div> - <div class="verse indent0">I speak as one not expecting to live,</div> - <div class="verse indent0">Sorely I am distressed;</div> - <div class="verse indent0">The earth alone continues long.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_36"></a>[36]</span></p> - -<h3>THE SONG OF UKIABI (<i>Cegiha</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-i.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">I am walking to and fro!</div> - <div class="verse indent0">I can find nothing which can heal my sorrow.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_37"></a>[37]</span></p> - -<h3>A LOVER’S LAMENT (<i>Tewa</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-m.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">My little breath, under the willows by the water-side we used to sit,</div> - <div class="verse indent0">And there the yellow cottonwood bird came and sang.</div> - <div class="verse indent0">That I remember and therefore I weep.</div> - <div class="verse indent0">Under the growing corn we used to sit,</div> - <div class="verse indent0">And there the little leaf bird came and sang.</div> - <div class="verse indent0">That I remember and therefore I weep.</div> - <div class="verse indent0">There on the meadow of yellow flowers we used to walk.</div> - <div class="verse indent0">Oh, my little breath! Oh, my little heart!</div> - <div class="verse indent0">There on the meadow of blue flowers we used to walk.</div> - <div class="verse indent0">Alas! how long ago that we two walked in that pleasant way.</div> - <div class="verse indent0">Then everything was happy, but, alas! how long ago.</div> - <div class="verse indent0">There on the meadow of crimson flowers we used to walk.</div> - <div class="verse indent0">Oh, my little breath, now I go there alone in sorrow.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_38"></a>[38]</span></p> - -<h3>MY HOME OVER THERE (<i>Tewa</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-m.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">My home over there, my home over there,</div> - <div class="verse indent0">My home over there, now I remember it!</div> - <div class="verse indent0">And when I see that mountain far away,</div> - <div class="verse indent0">Why, then I weep. Alas! what can I do?</div> - <div class="verse indent0">What can I do? Alas! What can I do?</div> - <div class="verse indent0">My home over there, now I remember it!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_39"></a>[39]</span></p> - -<h3>HUNTING-SONG (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-c.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Comes the deer to my singing,</div> - <div class="verse indent4">Comes the deer to my song,</div> - <div class="verse indent4">Comes the deer to my singing.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">He, the blackbird, he am I,</div> - <div class="verse indent0">Bird beloved of the wild deer.</div> - <div class="verse indent4">Comes the deer to my singing.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">From the Mountain Black,</div> - <div class="verse indent0">From the summit,</div> - <div class="verse indent0">Down the trail, coming, coming now,</div> - <div class="verse indent4">Comes the deer to my singing.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Through the blossoms,</div> - <div class="verse indent0">Through the flowers, coming, coming now</div> - <div class="verse indent4">Comes the deer to my singing.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Through the flower dew-drops,</div> - <div class="verse indent4">Coming, coming now,</div> - <div class="verse indent4">Comes the deer to my singing.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Through the pollen, flower pollen,</div> - <div class="verse indent4">Coming, coming now,</div> - <div class="verse indent4">Comes the deer to my singing.</div><span class="pagenum"><a id="Page_40"></a>[40]</span> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Starting with his left fore-foot,</div> - <div class="verse indent0">Stamping, turns the frightened deer.</div> - <div class="verse indent4">Comes the deer to my singing.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Quarry mine, blessed am I</div> - <div class="verse indent0">In the luck of the chase.</div> - <div class="verse indent4">Comes the deer to my singing.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent4">Comes the deer to my singing,</div> - <div class="verse indent4">Comes the deer to my song,</div> - <div class="verse indent4">Comes the deer to my singing.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_41"></a>[41]</span></p> - -<h3>A SONG OF THE DEER CEREMONY (<i>San Carlos Apache</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-a.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">At the east,</div> - <div class="verse indent0">Where the jet ridges of the earth lie....</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">At the south,</div> - <div class="verse indent0">Where the white shell ridges of the earth lie,</div> - <div class="verse indent0">Where all kinds of fruit are ripe,</div> - <div class="verse indent0">We two will meet.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">From there where the coral ridges of the earth lie,</div> - <div class="verse indent0">We two will meet.</div> - <div class="verse indent0">Where the ripe fruits are fragrant,</div> - <div class="verse indent0">We two will meet.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_42"></a>[42]</span></p> - -<h3>MOUNT KOONAK: A SONG OF ARSUT (<i>Eskimaun</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-i.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">I look toward the south, to great Mount Koonak,</div> - <div class="verse indent0">To great Mount Koonak, there to the south;</div> - <div class="verse indent0">I watch the clouds that gather round him;</div> - <div class="verse indent0">I contemplate their shining brightness;</div> - <div class="verse indent0">They spread abroad upon great Koonak;</div> - <div class="verse indent0">They climb up his seaward flanks;</div> - <div class="verse indent0">See how they shift and change;</div> - <div class="verse indent0">Watch them there to the south;</div> - <div class="verse indent0">How one makes beautiful the other;</div> - <div class="verse indent0">How they mount his southern slopes,</div> - <div class="verse indent0">Hiding him from the stormy sea,</div> - <div class="verse indent0">Each lending beauty to the other.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_43"></a>[43]</span></p> - -<h3>THE COYOTE AND THE LOCUST (<i>Zuñi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-l.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Locust, locust, playing a flute,</div> - <div class="verse indent0">Locust, locust, playing a flute!</div> - <div class="verse indent0">Away up on the pine-tree bough,</div> - <div class="verse indent0">Closely clinging,</div> - <div class="verse indent4">Playing a flute,</div> - <div class="verse indent4">Playing a flute!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_44"></a>[44]</span></p> - -<h3>KA-NI-GA SONG</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">The poor little bee</div> - <div class="verse indent0">That lives in the tree,</div> - <div class="verse indent0">The poor little bee</div> - <div class="verse indent0">That lives in the tree</div> - <div class="verse indent0">Has only one arrow</div> - <div class="verse indent0">In his quiver.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_45"></a>[45]</span></p> - -<h3>CORN-GRINDING SONG II (<i>Laguna</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-b.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Butterflies, butterflies,</div> - <div class="verse indent0">Now fly away to the blossoms,</div> - <div class="verse indent0">Fly, blue-wing,</div> - <div class="verse indent0">Fly, yellow-wing,</div> - <div class="verse indent0">Now fly away to the blossoms,</div> - <div class="verse indent0">Fly, red-wing,</div> - <div class="verse indent0">Fly white-wing,</div> - <div class="verse indent0">Now fly away to the blossoms,</div> - <div class="verse indent0">Butterflies, away!</div> - <div class="verse indent0">Butterflies, butterflies,</div> - <div class="verse indent0">Now fly away to the blossoms,</div> - <div class="verse indent0">Butterflies, away!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_46"></a>[46]</span></p> - -<h3>SONG TO THE TREES AND STREAMS (<i>Pawnee</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-d.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Dark against the sky, yonder distant line</div> - <div class="verse indent0">Lies before us. Trees we see, long the line of trees,</div> - <div class="verse indent0">Bending, swaying in the breeze.</div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">Bright with flashing light yonder distant line</div> - <div class="verse indent0">Runs before us, swiftly runs, swift the river runs,</div> - <div class="verse indent0">Winding, flowing over the land.</div> - </div> - <div class="stanza dcap70"> - <div class="number">III</div> - <div class="verse indent0">Hark! O hark! A sound, yonder distant sound</div> - <div class="verse indent0">Comes to greet us, singing comes, soft the river’s song,</div> - <div class="verse indent0">Rippling gently beneath the trees.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_47"></a>[47]</span></p> - -<h3>SONG TO THE MOUNTAINS (<i>Pawnee</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-m.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Mountains loom upon the path we take;</div> - <div class="verse indent0">Yonder peak now rises sharp and clear;</div> - <div class="verse indent0">Behold! It stands with its head uplifted,</div> - <div class="verse indent0">Thither we go, since our way lies there.</div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">Mountains loom upon the path we take;</div> - <div class="verse indent0">Yonder peak now rises sharp and clear;</div> - <div class="verse indent0">Behold! We climb, drawing near its summit;</div> - <div class="verse indent0">Steeper grows the way and slow our steps.</div> - </div> - <div class="stanza dcap70"> - <div class="number">III</div> - <div class="verse indent0">Mountains loom upon the path we take;</div> - <div class="verse indent0">Yonder peak that rises sharp and clear,</div> - <div class="verse indent0">Behold us now on its head uplifted;</div> - <div class="verse indent0">Planting there our feet, we stand secure.</div> - </div> - <div class="stanza dcap70"> - <div class="number">IV</div> - <div class="verse indent0">Mountains loom upon the path we take;</div> - <div class="verse indent0">Yonder peak that rose so sharp and clear,</div> - <div class="verse indent0">Behold us now on its head uplifted;</div> - <div class="verse indent0">Resting there at last we sing our song.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_48"></a>[48]</span></p> - -<h3>RITUAL SONG (<i>Pawnee</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-o.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Over the prairie flits, in ever widening circles, the shadow of a bird about me as I walk;</div> - <div class="verse indent0">Upward turn my eyes, <i>Kawas</i> looks upon me, she turns with flapping wings, and far away she flies.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">Round about a tree, in ever widening circles, an eagle flies, alertly watching over his nest;</div> - <div class="verse indent0">Loudly whistles he, a challenge sending far; over the country wide it echoes, there defying foes.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_49"></a>[49]</span></p> - -<h3>WIND SONG (<i>Pima</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-f.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Far on the desert ridges</div> - <div class="verse indent0">Stands the cactus;</div> - <div class="verse indent0">Lo, the blossoms swaying</div> - <div class="verse indent0">To and fro, the blossoms swaying, swaying.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_50"></a>[50]</span></p> - -<h3>A SONG OF SPRING (<i>Chippewa</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-a.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">As my eyes search the prairie,</div> - <div class="verse indent0">I feel the summer in the spring.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_51"></a>[51]</span></p> - -<h3>THE DARKNESS SONG <span class="smcap">from the invitation rite</span> (<i>Iroquois</i>)</h3> - -<p>(The chief of the Invitation Rite requests all -the night folk of the forest to protect his people -on their journey to the morning.)</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-w.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">We wait in the darkness!</div> - <div class="verse indent0">Come, all ye who listen,</div> - <div class="verse indent0">Help in our night journey:</div> - <div class="verse indent0">Now no sun is shining;</div> - <div class="verse indent0">Now no star is glowing;</div> - <div class="verse indent0">Come show us the pathway:</div> - <div class="verse indent0">The night is not friendly;</div> - <div class="verse indent0">She closes her eyelids;</div> - <div class="verse indent0">The moon has forgot us,</div> - <div class="verse indent0">We wait in the darkness!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_52"></a>[52]</span></p> - -<h3>THE INVITATION SONG</h3> - -<h4>Part I (<i>The Song of the Whip-poor-will announced by the flute.</i>)</h4> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-s.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">So says the whip-poor-will,</div> - <div class="verse indent0">Follow me, follow me!</div> - <div class="verse indent0">So says the chief to him,</div> - <div class="verse indent0">Yes I will follow thee!</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">See the night darkening;</div> - <div class="verse indent0">The shadows are hiding,</div> - <div class="verse indent0">No light to follow for,</div> - <div class="verse indent0">So says the waterfall,</div> - <div class="verse indent0">So sings the river voice!</div> - </div> - <div class="stanza dcap50"> - <div class="number">III</div> - <div class="verse indent0">Someone is nearing me,</div> - <div class="verse indent0">Soft he comes creeping here,</div> - <div class="verse indent0">Two eyes glare close to me,</div> - <div class="verse indent0">Lighting the forest path—</div> - <div class="verse indent0">Hear how his breath blows by!</div><span class="pagenum"><a id="Page_53"></a>[53]</span> - </div> - <div class="stanza dcap50"> - <div class="number">IV</div> - <div class="verse indent0">Fol-low me, fol-low me,</div> - <div class="verse indent0">So sings the whip-poor-will!</div> - <div class="verse indent0">Yes, I am following,</div> - <div class="verse indent0">So the chief answers him.</div> - </div> -</div> -</div> - -<h4>Part II (<i>The Wolf and his mate are announced.</i>)</h4> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Hark, the trees bending low,</div> - <div class="verse indent0">Something is breaking them,</div> - <div class="verse indent0">Not the strong north wind’s hand,</div> - <div class="verse indent0">Something stalks broad and swift.</div> - <div class="verse indent0">Snuffing and panting loud!</div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">Hark! How the tangles break!</div> - <div class="verse indent0">Fearless the footfalls pass,</div> - <div class="verse indent0">Strong trees stretch far apart,</div> - <div class="verse indent0">Great horns dividing them.</div> - <div class="verse indent4">(Whip-poor-will chorus)</div> - </div> -</div> -</div> - -<h4>Part III (<i>Buck and Doe with cries enter the room.</i>)</h4> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">How the cold shivers me!</div> - <div class="verse indent0">No snow is falling now,</div> - <div class="verse indent0">Where does the sun’s fire hide?</div> - <div class="verse indent0">Something comes roaring loud</div> - <div class="verse indent0">Swift footed, warning me!</div><span class="pagenum"><a id="Page_54"></a>[54]</span> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">Its breath blinds the night eyes,</div> - <div class="verse indent0">Like rainy vapor falls!</div> - <div class="verse indent0">Now it walks close to me,</div> - <div class="verse indent0">Warming and coaxing me,</div> - <div class="verse indent0">Where the black forest frowns.</div> - <div class="verse indent4">(Whip-poor-will chorus)</div> - </div> -</div> -</div> - -<h4>Part IV (<i>The Bear and his mate have come.</i>)</h4> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">How the wind travels now,</div> - <div class="verse indent0">No one dares run with it.</div> - <div class="verse indent0">Great trees bend low to it,</div> - <div class="verse indent0">Rivers fight back to it,</div> - <div class="verse indent0">Roaring and splashing it!</div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">Hear its wings flapping strong</div> - <div class="verse indent0">Far in the hidden skies!</div> - <div class="verse indent0">Swift it flies northward high,</div> - <div class="verse indent0">Whistling and calling loud,</div> - <div class="verse indent0">Hunting its running prey!</div> - </div> -</div> -</div> - -<p>(The Hawk and its mate are announced, and -all the rest of the forest folk. Finally, at dawn, -the eagle is announced by the flute.)</p> - -<p><span class="pagenum"><a id="Page_55"></a>[55]</span></p> - -<h4>Part V (<i>The Eagle Song</i>)</h4> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-d.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Deep the dew water falls</div> - <div class="verse indent0">No one comes close to me!</div> - <div class="verse indent0">Where are you, whip-poor-will?</div> - <div class="verse indent0">Why I am waiting now</div> - <div class="verse indent0">Calling your voice again?</div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">Screaming the night away,</div> - <div class="verse indent0">With his great wing feathers</div> - <div class="verse indent0">Swooping the darkness up;</div> - <div class="verse indent0">I hear the Eagle bird</div> - <div class="verse indent0">Pulling the blanket back</div> - <div class="verse indent0">Off from the eastern sky.</div> - </div> - <div class="stanza dcap70"> - <div class="number">III</div> - <div class="verse indent0">How swift he flies bearing the sun to the morning.</div> - <div class="verse indent0">See how he sits down in the trails of the eastern sky!</div> - <div class="verse indent0">Whip-poor-will, Whip-poor-will, no more I follow thee!</div> - <div class="verse indent0">When the night comes again, wilt thou say, “Follow me”?</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_56"></a>[56]</span></p> - -<h3>THE PLANTING SONG (<i>Osage</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-i.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">I have made a footprint, a sacred one.</div> - <div class="verse indent0">I have made a footprint; through it the blades push upward.</div> - <div class="verse indent0">I have made a footprint; through it the blades radiate.</div> - <div class="verse indent0">I have made a footprint; over it the blades float in the wind.</div> - <div class="verse indent0">I have made a footprint; over it the ears lean toward one another.</div> - <div class="verse indent0">I have made a footprint; over it I pluck the ears.</div> - <div class="verse indent0">I have made a footprint; over it I bend the stalk to pluck the ears.</div> - <div class="verse indent0">I have made a footprint; over it the blossoms lie gray.</div> - <div class="verse indent0">I have made a footprint; smoke arises from my house.</div> - <div class="verse indent0">I have made a footprint; there is cheer in my house.</div> - <div class="verse indent0">I have made a footprint; I live in the light of day.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_57"></a>[57]</span></p> - -<h3>SONG OF THE RAIN CHANT (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-f.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Far as man can see,</div> - <div class="verse indent4">Comes the rain,</div> - <div class="verse indent4">Comes the rain with me.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">From the Rain-Mount,</div> - <div class="verse indent0">Rain-Mount far away,</div> - <div class="verse indent4">Comes the rain,</div> - <div class="verse indent4">Comes the rain with me.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">’Mid the lightnings,</div> - <div class="verse indent0">’Mid the lightning zigzag,</div> - <div class="verse indent0">’Mid the lightning flashing,</div> - <div class="verse indent4">Comes the rain,</div> - <div class="verse indent4">Comes the rain with me.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">’Mid the swallows,</div> - <div class="verse indent0">’Mid the swallows blue</div> - <div class="verse indent0">Chirping glad together,</div> - <div class="verse indent4">Comes the rain,</div> - <div class="verse indent4">Comes the rain with me.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Through the pollen,</div> - <div class="verse indent0">Through the pollen blest,</div> - <div class="verse indent0">All in pollen hidden</div><span class="pagenum"><a id="Page_58"></a>[58]</span> - <div class="verse indent4">Comes the rain,</div> - <div class="verse indent4">Comes the rain with me.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Far as man can see,</div> - <div class="verse indent4">Comes the rain,</div> - <div class="verse indent4">Comes the rain with me.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_59"></a>[59]</span></p> - -<h3>THE VOICE THAT BEAUTIFIES THE LAND (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">The voice that beautifies the land!</div> - <div class="verse indent0">The voice above,</div> - <div class="verse indent0">The voice of the thunder,</div> - <div class="verse indent0">Among the dark clouds</div> - <div class="verse indent0">Again and again it sounds,</div> - <div class="verse indent0">The voice that beautifies the land.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">The voice that beautifies the land!</div> - <div class="verse indent0">The voice below,</div> - <div class="verse indent0">The voice of the grasshopper,</div> - <div class="verse indent0">Among the flowers and grasses</div> - <div class="verse indent0">Again and again it sounds,</div> - <div class="verse indent0">The voice that beautifies the land.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_60"></a>[60]</span></p> - -<h3>CORN-GRINDING SONG (<i>Tesuque Pueblo</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">This way from the North</div> - <div class="verse indent0">Comes the cloud,</div> - <div class="verse indent0">Very blue,</div> - <div class="verse indent0">And inside the cloud is the blue corn.</div> - <div class="verse indent4">How beautiful the cloud</div> - <div class="verse indent4">Bringing corn of blue color!</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">This way from the West</div> - <div class="verse indent0">Comes the cloud</div> - <div class="verse indent0">Very yellow,</div> - <div class="verse indent0">And inside the cloud is the yellow corn.</div> - <div class="verse indent4">How beautiful the cloud</div> - <div class="verse indent4">Bringing corn of yellow color!</div> - </div> - <div class="stanza dcap50"> - <div class="number">III</div> - <div class="verse indent0">This way from the South</div> - <div class="verse indent0">Comes the cloud</div> - <div class="verse indent0">Very red,</div> - <div class="verse indent0">And inside the cloud is the red corn.</div> - <div class="verse indent4">How beautiful the cloud</div> - <div class="verse indent4">Bringing corn of red color!</div><span class="pagenum"><a id="Page_61"></a>[61]</span> - </div> - <div class="stanza dcap50"> - <div class="number">IV</div> - <div class="verse indent0">This way from the East</div> - <div class="verse indent0">Comes the cloud,</div> - <div class="verse indent0">Very white,</div> - <div class="verse indent0">And inside the cloud is the white corn.</div> - <div class="verse indent4">How beautiful the cloud</div> - <div class="verse indent4">Bringing corn of white color!</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">How beautiful the clouds</div> - <div class="verse indent0">From the North and the West</div> - <div class="verse indent0">From the South and the East</div> - <div class="verse indent0">Bringing corn of all colors!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_62"></a>[62]</span></p> - -<h3>SONG OF THE BLUE CORN DANCE (<i>Zuñi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-b.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Beautiful, lo, the summer clouds,</div> - <div class="verse indent0">Beautiful, lo, the summer clouds!</div> - <div class="verse indent0">Blossoming clouds in the sky,</div> - <div class="verse indent0">Like unto shimmering flowers,</div> - <div class="verse indent0">Blossoming clouds in the sky,</div> - <div class="verse indent0">Onward, lo, they come,</div> - <div class="verse indent0">Hither, hither bound!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_63"></a>[63]</span></p> - -<h3>CORN-GRINDING SONG (<i>Zuñi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-y.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Yonder, yonder see the fair rainbow,</div> - <div class="verse indent0">See the rainbow brightly decked and painted!</div> - <div class="verse indent0">Now the swallow bringeth glad news to your corn,</div> - <div class="verse indent0">Singing, “Hitherward, hitherward, hitherward, rain,</div> - <div class="verse indent8">Hither come!”</div> - <div class="verse indent0">Singing, “Hitherward, hitherward, hitherward, white cloud,</div> - <div class="verse indent8">Hither come!”</div> - <div class="verse indent0">Now we hear the corn-plants murmur,</div> - <div class="verse indent8">“We are growing everywhere!”</div> - <div class="verse indent8">Hi, yai, the world, how fair!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_64"></a>[64]</span></p> - -<h3>CORN DANCE SONG (<i>Zuñi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-w.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Who, ah ye know who—</div> - <div class="verse indent0">Who, ah ye know who—</div> - <div class="verse indent0">Who was’t that made a picture the first?</div> - <div class="verse indent0">It was the bright Rainbow Youth,</div> - <div class="verse indent8">Rainbow Youth—</div> - <div class="verse indent0">Ay, behold it was even thus—</div> - <div class="verse indent8">Clouds came,</div> - <div class="verse indent8">And rain came</div> - <div class="verse indent8">Close following—</div> - <div class="verse indent0">Rainbow then colored all!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_65"></a>[65]</span></p> - -<h3>KOROSTA KATZINA SONG (<i>Hopi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-y.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Yellow butterflies</div> - <div class="verse indent0">Over the blossoming virgin corn,</div> - <div class="verse indent4">With pollen-painted faces</div> - <div class="verse indent0">Chase one another in brilliant throng.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent4">Blue butterflies</div> - <div class="verse indent0">Over the blossoming virgin beans,</div> - <div class="verse indent4">With pollen-painted faces</div> - <div class="verse indent0">Chase one another in brilliant streams.</div> - </div> - <div class="stanza dcap50"> - <div class="number">III</div> - <div class="verse indent4">Over the blossoming corn,</div> - <div class="verse indent4">Over the virgin corn</div> - <div class="verse indent4">Wild bees hum;</div> - <div class="verse indent4">Over the blossoming corn,</div> - <div class="verse indent4">Over the virgin beans</div> - <div class="verse indent4">Wild bees hum.</div> - </div> - <div class="stanza dcap50"> - <div class="number">IV</div> - <div class="verse indent0">Over your field of growing corn</div> - <div class="verse indent0">All day shall hang the thunder-cloud;</div> - <div class="verse indent0">Over your field of growing corn</div> - <div class="verse indent0">All day shall come the rushing rain.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_66"></a>[66]</span></p> - -<h3>ANGA KATZINA SONG (<i>Hopi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-r.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Rain all over the cornfields,</div> - <div class="verse indent2">Pretty butterfly-maidens</div> - <div class="verse indent0">Chasing one another when the rain is done,</div> - <div class="verse indent2">Hither, thither, so.</div> - <div class="verse indent0">How they frolic ’mid the corn,</div> - <div class="verse indent2">Laughing, laughing, thus:</div> - <div class="verse indent4">A-ha, ha-ha,</div> - <div class="verse indent6">O-ah, e-lo!</div> - <div class="verse indent0">How they frolic ’mid the corn,</div> - <div class="verse indent2">Singing, singing, thus:</div> - <div class="verse indent4">O-o, o-ho,</div> - <div class="verse indent4">O-he, e-lo!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_67"></a>[67]</span></p> - -<h3>HE-HEA KATZINA SONG (<i>Hopi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-c.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Corn-blossom maidens</div> - <div class="verse indent0">Here in the fields,</div> - <div class="verse indent0">Patches of beans in flower,</div> - <div class="verse indent0">Fields all abloom,</div> - <div class="verse indent0">Water shining after rain,</div> - <div class="verse indent0">Blue clouds looming above.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Now behold!</div> - <div class="verse indent0">Through bright clusters of flowers</div> - <div class="verse indent0">Yellow butterflies</div> - <div class="verse indent0">Are chasing at play,</div> - <div class="verse indent0">And through the blossoming beans</div> - <div class="verse indent0">Blue butterflies</div> - <div class="verse indent0">Are chasing at play.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_68"></a>[68]</span></p> - -<h3>WUWUCHIM CHANT (<i>Hopi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Thus we, thus we,</div> - <div class="verse indent0">The night along,</div> - <div class="verse indent0">With happy hearts</div> - <div class="verse indent0">Wish well one another.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">In the chief’s kiva</div> - <div class="verse indent0">They, the fathers,</div> - <div class="verse indent0">They and Muyingwa</div> - <div class="verse indent0">Plant the double ear—</div> - <div class="verse indent0">Plant the perfect double corn-ear.</div> - <div class="verse indent0">So the fields shall shine</div> - <div class="verse indent0">With tassels white of perfect corn-ears.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Hither to them, hither come,</div> - <div class="verse indent0">Rain that stands and cloud that rushes!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_69"></a>[69]</span></p> - -<h3>A RAIN SONG OF THE SNAKE SOCIETY—I (<i>Sia</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-p.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Priests of <i>tinia</i>,</div> - <div class="verse indent0">Let the white floating clouds,</div> - <div class="verse indent0">The clouds like the plains,</div> - <div class="verse indent0">The lightning, thunder, rainbow, and cloud peoples water the earth.</div> - <div class="verse indent0">Let the people of the white floating clouds,</div> - <div class="verse indent0">The people of the clouds like the plains,</div> - <div class="verse indent0">The lightning, thunder, rainbow, and cloud peoples</div> - <div class="verse indent0">Come and work for us and water the earth.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_70"></a>[70]</span></p> - -<h3>A RAIN SONG OF THE SNAKE SOCIETY—II (<i>Sia</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-c.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Cloud priest who ascends through the heart of the spruce of the north,</div> - <div class="verse indent0">Cloud priest who ascends through the heart of the pine of the west,</div> - <div class="verse indent0">Cloud priest who ascends through the heart of the oak of the south,</div> - <div class="verse indent0">Cloud priest who ascends through the heart of the aspen of the east,</div> - <div class="verse indent0">Cloud priest who ascends through the heart of the cedar of the zenith,</div> - <div class="verse indent0">Cloud priest who ascends through the heart of the oak of the nadir,</div> - <div class="verse indent0">Send your people to work for us</div> - <div class="verse indent0">That the water of the six great springs may quicken the earth,</div> - <div class="verse indent0">That she may give to us the fruits of her being.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_71"></a>[71]</span></p> - -<h3>CORN SONG (<i>Pima</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap"><i>Hi-ilo-o ya-a-a!</i> He who sees everything</div> - <div class="verse indent0">Sees the two stalks of corn standing;</div> - <div class="verse indent0">He’s my younger brother. <i>Hi-ilo-o ya-a-a!</i></div> - <div class="verse indent4">He who sees everything, sees the two squashes;</div> - <div class="verse indent0">He’s my younger brother. <i>Hi-ilo-o ya-a-a!</i></div> - <div class="verse indent4">On the summit of <i>Ta-atûkam</i> sees the corn standing;</div> - <div class="verse indent0">He’s my younger brother. <i>Hi-ilo-o ya-a-a!</i></div> - <div class="verse indent4">On the summit of <i>Ta-atûkam</i> sees the squash standing;</div> - <div class="verse indent0">He’s my younger brother. <i>Hi-ilo-o woiha!</i></div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0"><i>Hi-ilo-o ya-a-a!</i> Over <i>Ta-atûkam</i></div> - <div class="verse indent4">Rise the clouds with their loud thundering.</div> - <div class="verse indent0"><i>Hi-ilo-o ya-a-a!</i> Over <i>Ta-atûkam</i></div> - <div class="verse indent4">Rise the clouds with their loud raining.</div> - <div class="verse indent0"><i>Hi-ilo-o ya-a-a!</i> The Bluebird is holding</div> - <div class="verse indent4">In his talons the clouds that are thundering.</div> - <div class="verse indent0"><i>Hi-ilo-o ya-a-a!</i> Yellowbird is holding</div> - <div class="verse indent4">In his talons the clouds that are raining.</div><span class="pagenum"><a id="Page_72"></a>[72]</span> - </div> - <div class="stanza dcap70"> - <div class="number">III</div> - <div class="verse indent0"><i>Hi-ilo-o ya-a-a!</i> See Elder Brother</div> - <div class="verse indent4">Breathe out the winds that over <i>Ta-atûkam</i></div> - <div class="verse indent0">Drive the clouds with their loud thundering.</div> - <div class="verse indent4"><i>Hi-ilo-o ya-a-a!</i> See Elder Brother</div> - <div class="verse indent0">Breathe out the winds that over <i>Ta-atûkam</i></div> - <div class="verse indent4">The welcome storm clouds are suspending.</div> - <div class="verse indent0"><i>Hi-ilo-o ya-a-a!</i> In the great rain clouds</div> - <div class="verse indent4">Let me sing my song of rejoicing.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_73"></a>[73]</span></p> - -<h3>RAIN SONGS (<i>Pima</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap"><i>Hi-ihiya naiho-o!</i> Let us begin our song,</div> - <div class="verse indent4">Let us begin, rejoicing. <i>Hitciya yahina-a.</i></div> - <div class="verse indent0">Let us begin our song, let us begin, rejoicing,</div> - <div class="verse indent4">Singing of the large corn. <i>Hitciya yahina-a.</i></div> - <div class="verse indent0">Singing of the small corn. <i>Hitciya yahina-a.</i></div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0"><i>Hi-ihiya naiho-o!</i> The darkness of evening</div> - <div class="verse indent4">Falls as we sing before the sacred âmĭna.</div> - <div class="verse indent0">About us on all sides corn tassels are waving.</div> - <div class="verse indent4"><i>Hitciya yahina!</i> The white light of day dawn</div> - <div class="verse indent0">Yet finds us singing, while corn tassels are waving.</div> - <div class="verse indent4"><i>Hitciya yahina-a!</i> The darkness of evening</div> - <div class="verse indent0">Falls as we sing before the sacred âmĭna.</div> - <div class="verse indent4">About us on all sides corn tassels are waving.</div> - <div class="verse indent0"><i>Hitciya yahina!</i> The white light of day dawn</div> - <div class="verse indent4">Yet finds us singing, while the squash leaves are waving.</div> - </div> - <div class="stanza dcap70"> - <div class="number">III</div> - <div class="verse indent0"><i>Hi-ihiya naiho-o!</i> The earth is rumbling</div> - <div class="verse indent4">From the beating of our basket drums.</div><span class="pagenum"><a id="Page_74"></a>[74]</span> - <div class="verse indent0">The earth is rumbling from the beating</div> - <div class="verse indent4">Of our basket drums, everywhere humming.</div> - <div class="verse indent10"><i>Hitciya yahina-a.</i></div> - <div class="verse indent0">Earth is rumbling, everywhere raining,</div> - <div class="verse indent10"><i>Hitciya yahina-a.</i></div> - </div> - <div class="stanza dcap70"> - <div class="number">IV</div> - <div class="verse indent0"><i>Hi-ihiya naiho-o!</i> Pluck out the feathers</div> - <div class="verse indent4">From the wing of the Eagle and turn them</div> - <div class="verse indent0">Toward the east where lie the large clouds.</div> - <div class="verse indent4"><i>Hitciya yahina-a!</i> Pluck out the soft down</div> - <div class="verse indent0">From the breast of the Eagle and turn it</div> - <div class="verse indent4">Toward the west where sail the small clouds.</div> - <div class="verse indent0"><i>Hitciya yahina!</i> Beneath the abode</div> - <div class="verse indent4">Of the rain gods it is thundering;</div> - <div class="verse indent0">Large corn is there. <i>Hitciya yahina!</i></div> - <div class="verse indent4">Beneath the abode of the rain gods</div> - <div class="verse indent0">It is raining; small corn is there.</div> - <div class="verse indent10"><i>Hitciya yahina.</i></div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_75"></a>[75]</span></p> - -<h3>A METATE SONG</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-i.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Is it not beautiful?</div> - <div class="verse indent0">Is it not, truly!</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Is it not beautiful?</div> - <div class="verse indent0">Is it not, truly!</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Is it not beautiful?</div> - <div class="verse indent0">Is it not, truly!</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Is it not beautiful?</div> - <div class="verse indent0">Is it not, truly!</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Is it not beautiful?</div> - <div class="verse indent0">Is it not, truly!</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">On every side They are,</div> - <div class="verse indent0">The Trues, the rain-commanders;</div> - <div class="verse indent0">Do you not hear their drum?</div> - <div class="verse indent0">Because of that you will see</div> - <div class="verse indent0">This year the vapor floating;</div> - <div class="verse indent0">Because of that you will see</div> - <div class="verse indent0">This year the drizzling rain.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">Is it not beautiful?</div> - <div class="verse indent0">Is it not truly!</div><span class="pagenum"><a id="Page_76"></a>[76]</span> - <div class="verse indent0">In all the fields the corn upspringing,</div> - <div class="verse indent0">Like the young pine it comes up;</div> - <div class="verse indent0">Like the green aspen;</div> - <div class="verse indent0">In all the fields the corn upspringing,</div> - <div class="verse indent0">Tall like the tail of the thrush!</div> - <div class="verse indent0">Tall like the road-runner’s tail,</div> - <div class="verse indent0">In all the fields the corn upspringing!</div> - </div> -</div> -</div> - -<p class="center">(Refrain of three lines of vocables.)</p> - -<p><span class="pagenum"><a id="Page_77"></a>[77]</span></p> - -<h3>FLUTE SONG (<i>Hopi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Hail, fathers, hail!</div> - <div class="verse indent0">Chieftain of the Gray Flute, hail!</div> - <div class="verse indent0">At the four world-points</div> - <div class="verse indent0">Ye call, ye summon clouds.</div> - <div class="verse indent0">From the four world-points upstarting,</div> - <div class="verse indent0">Shall the rain hither come.</div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">Hither thunder, rain-thunder here,</div> - <div class="verse indent0">Hither the rain-thunder will come;</div> - <div class="verse indent0">Hither rain, moving-rain—</div> - <div class="verse indent0">Onward now, over all the fields,</div> - <div class="verse indent0">Moving-rain.</div> - <div class="verse indent0">And the wet earth, amid the corn,</div> - <div class="verse indent0">Everywhere, far and near,</div> - <div class="verse indent0">It will shine—water-shine.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_78"></a>[78]</span></p> - -<h3>THE SUNRISE CALL (<i>Zuñi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-r.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Rise! arise! arise!</div> - <div class="verse indent0">Rise! arise, arise!</div> - <div class="verse indent0">Wake ye! arise, life is greeting thee.</div> - <div class="verse indent0">Wake ye, arise, ever watchful be.</div> - <div class="verse indent0">Mother Life-god, she is calling thee!</div> - <div class="verse indent0">Mother Life-god, she is calling thee!</div> - <div class="verse indent0">Mother Life-god, she is greeting thee.</div> - <div class="verse indent0">All arise, arise, arise!</div> - <div class="verse indent0">Rise! arise, arise!</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">Mighty Sun-god! give thy light to us,</div> - <div class="verse indent0">Let it guide us, let it aid us.</div> - <div class="verse indent0">See it rise! See it rise!</div> - <div class="verse indent0">How the heart glows, how the soul delights</div> - <div class="verse indent0">In the music of the sunlight.</div> - <div class="verse indent0">Watch it rise! Watch it rise!</div> - <div class="verse indent0">Wake ye, arise, life is greeting thee.</div> - <div class="verse indent0">Wake ye, arise, ever watchful be.</div> - <div class="verse indent0">Mother Life-god, she is calling thee!</div> - <div class="verse indent0">Mother Life-god she is greeting thee.</div> - <div class="verse indent0">All arise, arise, arise!</div> - <div class="verse indent0">Rise! arise, arise!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_79"></a>[79]</span></p> - -<h3>HYMN TO THE SUN (<i>Zuñi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-e.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Early in the morning,</div> - <div class="verse indent0">We waken, we waken.</div> - <div class="verse indent0">When mother Sun-god rises,</div> - <div class="verse indent0">We welcome her with joy.</div> - <div class="verse indent0">She greets us with a radiant face,</div> - <div class="verse indent0">She meets us with a warm embrace,</div> - <div class="verse indent0">So sweetly, so sweetly.</div> - <div class="verse indent0">Merrily we sing and dance;</div> - <div class="verse indent0">In happy spirit we advance;</div> - <div class="verse indent0">Merrily we sing and dance;</div> - <div class="verse indent0">In happy spirit we advance.</div> - <div class="verse indent0">We are children of the sun,</div> - <div class="verse indent0">Arm in arm together run,</div> - <div class="verse indent0">Round a ring we steady move:</div> - <div class="verse indent0">Our hearts will faithful prove,</div> - <div class="verse indent0">As the sun comes near to us,</div> - <div class="verse indent0">Near to us, near to us.</div> - <div class="verse indent0">Listen! just listen!</div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">What a wondrous shower of sounds,</div> - <div class="verse indent0">Countless beats in rapid rounds,</div> - <div class="verse indent0">Ever changing ever new,</div><span class="pagenum"><a id="Page_80"></a>[80]</span> - <div class="verse indent0">Constant strains of high and low.</div> - <div class="verse indent0">They are messengers of love,</div> - <div class="verse indent0">Spirit voices from above,</div> - <div class="verse indent0">Bringing light and life and joy</div> - <div class="verse indent0">Telling us of bliss on high,</div> - <div class="verse indent0">Bliss on high! Bliss on high!</div> - <div class="verse indent0">Listen! just listen!</div> - </div> - <div class="stanza dcap70"> - <div class="number">III</div> - <div class="verse indent0">Whence come all these distant sounds?</div> - <div class="verse indent0">Echoes, where the light abounds:</div> - <div class="verse indent0">Crystal streams in murmurs faint,</div> - <div class="verse indent0">Bursting forth without restraint.</div> - <div class="verse indent0">They are golden grains of thought,</div> - <div class="verse indent0">Silent whispers faintly caught,</div> - <div class="verse indent0">Filling us with joy content,</div> - <div class="verse indent0">Pathways of our souls’ ascent,</div> - <div class="verse indent0">Souls’ ascent, souls’ ascent.</div> - <div class="verse indent0">Listen! just listen!</div> - </div> - <div class="stanza dcap70"> - <div class="number">IV</div> - <div class="verse indent0">Glory to the sunlight rays,</div> - <div class="verse indent0">Glory to the Sun-god’s ways,</div> - <div class="verse indent0">Sunlight rays, Sun-god’s ways.</div> - <div class="verse indent0">They command us: to endure,</div> - <div class="verse indent0">To be silent, chaste and pure,</div> - <div class="verse indent0">To be faithful, true and brave,</div> - <div class="verse indent0">To the laws our fathers gave.</div><span class="pagenum"><a id="Page_81"></a>[81]</span> - <div class="verse indent0">O harken to the Sun-god’s voice</div> - <div class="verse indent0">Beckoning your soul to rise:</div> - <div class="verse indent0">In radiant light, the source of song,</div> - <div class="verse indent0">The origin of thought has sprung:</div> - <div class="verse indent0">As light and song in one unite,</div> - <div class="verse indent0">Let us forever seek the light,</div> - <div class="verse indent0">We seek the light, we seek the light.</div> - <div class="verse indent0">Listen! just listen!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_82"></a>[82]</span></p> - -<h3>SUNSET SONG (<i>Zuñi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-g.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Goodnight to thee, Fair Goddess,</div> - <div class="verse indent0">We thank thee for thy blessing.</div> - <div class="verse indent0">Goodnight to thee, Fair Goddess,</div> - <div class="verse indent0">We thank thee for this day.</div> - <div class="verse indent0">In glory we behold thee</div> - <div class="verse indent0">At early dawn again.</div> - <div class="verse indent0">We thank thee for thy blessing,</div> - <div class="verse indent0">To be with us this day.</div> - <div class="verse indent0">This day,</div> - <div class="verse indent0">We thank thee for this day.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_83"></a>[83]</span></p> - -<h3>INVOCATION TO THE SUN-GOD (<i>Zuñi</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-g.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Grant, O Sun-god, thy protection!</div> - <div class="verse indent0">Guard this helpless infant sleeping.</div> - <div class="verse indent0">Grant, O Sun-god, thy protection!</div> - <div class="verse indent0">Guard this helpless infant sleeping,</div> - <div class="verse indent0">Resting peaceful, resting peaceful.</div> - <div class="verse indent0">Starry guardians forever joyful,</div> - <div class="verse indent0">Faithful Moon-god forever watchful.</div> - <div class="verse indent0">Grant, O Sun-god, thy protection!</div> - <div class="verse indent0">Guard this helpless infant sleeping.</div> - <div class="verse indent0">Spirit living, Spirit resting,</div> - <div class="verse indent0">Guard us, lead us, aid us, love us.</div> - <div class="verse indent0">Sun-god forever, Spirit living, Spirit resting,</div> - <div class="verse indent0">Guard us, lead us, aid us, love us,</div> - <div class="verse indent0">Sun-god forever.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_84"></a>[84]</span></p> - -<h3>A SONG OF GOTAL LIII (<i>Mescalero Apache</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">The black turkey-gobbler, under the East, the middle of his tail; toward us it is about to dawn.</div> - <div class="verse indent0">The black turkey-gobbler, the tips of his beautiful tail; above us the dawn whitens.</div> - <div class="verse indent0">The black turkey-gobbler, the tips of his beautiful tail; above us the dawn becomes yellow.</div> - <div class="verse indent0">The sunbeams stream forward, dawn boys, with shimmering shoes of yellow;</div> - <div class="verse indent0">On top of the sunbeams that stream toward us they are dancing.</div> - <div class="verse indent0">At the East the rainbow moves forward, dawn maidens, with shimmering shoes and shirts of yellow dance over us.</div> - <div class="verse indent0">Beautifully over us it is dawning.</div> - <div class="verse indent0">Above us among the mountains the herbs are becoming green;</div> - <div class="verse indent0">Above us on the tops of the mountains the herbs are becoming yellow.</div> - <div class="verse indent0">Above us among the mountains, with shoes of yellow I go around the fruits and herbs that shimmer.</div> - <div class="verse indent0">Above us among the mountains, the shimmering fruits with shoes and shirts of yellow are bent toward him.</div> - <div class="verse indent0">On the beautiful mountains above it is daylight.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_85"></a>[85]</span></p> - -<h3>FIRST DAYLIGHT SONG (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">The curtain of daybreak is hanging,</div> - <div class="verse indent0">The Daylight Boy (it is hanging),</div> - <div class="verse indent0">From the land of day it is hanging;</div> - <div class="verse indent0">Before him, as it dawns, it is hanging.</div> - <div class="verse indent0">Behind him, as it dawns, it is hanging.</div> - <div class="verse indent0">Before him, in beauty, it is hanging;</div> - <div class="verse indent0">Behind him, in beauty, it is hanging;</div> - <div class="verse indent0">From his voice, in beauty, it is hanging.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">The Daylight Girl (it is hanging),</div> - <div class="verse indent0">From the land of yellow light, it is hanging;</div> - <div class="verse indent0">Before her, as it dawns, it is hanging;</div> - <div class="verse indent0">Behind her, as it dawns, it is hanging.</div> - <div class="verse indent0">Before her, in beauty, it is hanging;</div> - <div class="verse indent0">Behind her, in beauty, it is hanging;</div> - <div class="verse indent0">From her voice, in beauty, it is hanging.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_86"></a>[86]</span></p> - -<h3>SONG OF THE DAWN BOY (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-w.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Where my kindred dwell, there I wander.</div> - <div class="verse indent0">Child of the White Corn am I, there I wander.</div> - <div class="verse indent0">The Red Rock House, there I wander.</div> - <div class="verse indent0">Where dark <i>kethawns</i> are at the doorway, there I wander.</div> - <div class="verse indent0">At the <i>yuni</i>, the striped cotton hangs with pollen. There I wander,</div> - <div class="verse indent0">Going around with it. There I wander.</div> - <div class="verse indent0">Taking another, I depart with it. With it I wander.</div> - <div class="verse indent0">In the house of long life, there I wander.</div> - <div class="verse indent0">In the house of happiness, there I wander.</div> - <div class="verse indent0">Beauty before me, with it I wander.</div> - <div class="verse indent0">Beauty behind me, with it I wander,</div> - <div class="verse indent0">Beauty below me, with it I wander,</div> - <div class="verse indent0">Beauty above me, with it I wander.</div> - <div class="verse indent0">Beauty all around me, with it I wander,</div> - <div class="verse indent0">In old age traveling, with it I wander.</div> - <div class="verse indent0">On the beautiful trail I am, with it I wander.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_87"></a>[87]</span></p> - -<h3>THE MORNING STAR AND THE NEW BORN DAWN (<i>Pawnee</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-o.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">O Morning Star, for thee we watch!</div> - <div class="verse indent0">Dimly comes thy light from distant skies;</div> - <div class="verse indent0">We see thee, then lost art thou,</div> - <div class="verse indent0">Morning Star, thou bringest life to us.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">O Morning Star, thy form we see!</div> - <div class="verse indent0">Clad in shining garments dost thou come,</div> - <div class="verse indent0">Thy plume touched with rosy light.</div> - <div class="verse indent0">Morning Star, thou now art vanishing.</div> - </div> - <div class="stanza dcap50"> - <div class="number">III</div> - <div class="verse indent0">O youthful Dawn, for thee we watch!</div> - <div class="verse indent0">Dimly comes thy light from distant skies;</div> - <div class="verse indent0">We see thee, then lost art thou.</div> - <div class="verse indent0">Youthful Dawn, thou bringest life to us.</div> - </div> - <div class="stanza dcap50"> - <div class="number">IV</div> - <div class="verse indent0">O youthful Dawn, we see thee come!</div> - <div class="verse indent0">Bright grows thy glowing light</div> - <div class="verse indent0">As near, nearer thou dost come.</div> - <div class="verse indent0">Youthful Dawn, thou now art vanishing.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_88"></a>[88]</span></p> - -<h3>DAYLIGHT (<i>Pawnee</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-d.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Day is here! Day is here, is here!</div> - <div class="verse indent0">Arise, my son, lift thine eyes,</div> - <div class="verse indent0">Day is here! Day is here, is here!</div> - <div class="verse indent0">Day is here! Day is here, is here!</div> - <div class="verse indent0">Look up, my son, and see the day.</div> - <div class="verse indent0">Day is here! Day is here, is here!</div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">Lo, the deer! Lo, the deer, the deer</div> - <div class="verse indent0">Comes from her covert of the night!</div> - <div class="verse indent0">Day is here! Day is here, is here!</div> - <div class="verse indent0">Lo, the deer! Lo, the deer, the deer!</div> - <div class="verse indent0">All creatures wake and see the light.</div> - <div class="verse indent0">Day is here! Day is here, is here!</div> - <div class="verse indent0">Day is here! Day is here, is here!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_89"></a>[89]</span></p> - -<h3>THE BIRTH OF DAWN (<i>Pawnee</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-a.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Awake, O mother, from sleep!</div> - <div class="verse indent0">Awake! the night is far spent;</div> - <div class="verse indent0">The signs of dawn are now seen</div> - <div class="verse indent0">In east, whence cometh new life.</div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">The mother wakens from sleep;</div> - <div class="verse indent0">She wakes, for night is far spent;</div> - <div class="verse indent0">The signs of dawn are now seen</div> - <div class="verse indent0">In east, whence cometh new life.</div> - </div> - <div class="stanza dcap70"> - <div class="number">III</div> - <div class="verse indent0">Awake, O <i>Kawas</i>, from sleep!</div> - <div class="verse indent0">Awake! The night is far spent;</div> - <div class="verse indent0">The signs of dawn are now seen</div> - <div class="verse indent0">In east, whence cometh new life.</div> - </div> - <div class="stanza dcap70"> - <div class="number">IV</div> - <div class="verse indent0">Now <i>Kawas</i> wakens from sleep,</div> - <div class="verse indent0">Awakens for night is far spent;</div> - <div class="verse indent0">The signs of dawn are now seen</div> - <div class="verse indent0">In east, whence cometh new life.</div><span class="pagenum"><a id="Page_90"></a>[90]</span> - </div> - <div class="stanza dcap70"> - <div class="number">V</div> - <div class="verse indent0">Then <i>Kawas</i> stands and speaks forth:</div> - <div class="verse indent0">“A child from Night is now born;</div> - <div class="verse indent0"><i>Tirá wa</i>, father on high,</div> - <div class="verse indent0">On Darkness moving, brings Dawn.”</div> - </div> - <div class="stanza dcap70"> - <div class="number">VI</div> - <div class="verse indent0">I understand now, I know</div> - <div class="verse indent0">A child from Night has been born;</div> - <div class="verse indent0"><i>Tirá wa</i>, father on high,</div> - <div class="verse indent0">On Darkness moving, brings Dawn.</div> - </div> - <div class="stanza dcap70"> - <div class="number">VII</div> - <div class="verse indent0">O Son, awaken from sleep</div> - <div class="verse indent0">Awake! the night is far spent;</div> - <div class="verse indent0">The signs of dawn are now seen</div> - <div class="verse indent0">In east, whence cometh new life.</div> - </div> - <div class="stanza dcap70"> - <div class="number">VIII</div> - <div class="verse indent0">The Son awakens from sleep;</div> - <div class="verse indent0">He wakes, for night is far spent;</div> - <div class="verse indent0">The signs of dawn are now seen</div> - <div class="verse indent0">In east, whence cometh new life.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_91"></a>[91]</span></p> - -<h3>SONG TO THE PLEIADES (<i>Pawnee</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-l.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Look as they rise, rise</div> - <div class="verse indent0">Over the line where sky meets the earth;</div> - <div class="verse indent0">Pleiades!</div> - <div class="verse indent0">Lo! They ascending, come to guide us,</div> - <div class="verse indent0">Leading us safely, keeping us one;</div> - <div class="verse indent0">Pleiades,</div> - <div class="verse indent0">Teach us to be, like you, united.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_92"></a>[92]</span></p> - -<h3>THE SONG OF THE STARS (<i>Algonquin</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-w.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">We are the stars which sing,</div> - <div class="verse indent0">We sing with our light;</div> - <div class="verse indent0">We are the birds of fire,</div> - <div class="verse indent0">We fly over the sky.</div> - <div class="verse indent0">Our light is a voice;</div> - <div class="verse indent0">We make a road for spirits,</div> - <div class="verse indent0">For the spirits to pass over.</div> - <div class="verse indent0">Among us are three hunters</div> - <div class="verse indent0">Who chase a bear;</div> - <div class="verse indent0">There never was a time</div> - <div class="verse indent0">When they were not hunting.</div> - <div class="verse indent0">We look down on the mountains.</div> - <div class="verse indent0">This is the Song of the Stars.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_93"></a>[93]</span></p> - -<h3>THE STARS DEHN-DEK AND MAH-OH-RAH (<i>Wyandot</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-d.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Dehn-dek (<i>to Oh-tsch-eh-stah, the mother</i>):</div> - <div class="verse indent4">She arises from the ground!</div> - <div class="verse indent4">In a far land Mah-oh-rah walks before us!</div> - <div class="verse indent4">She comes to the great city and stands before its gates!</div> - <div class="verse indent4">Our Grandmother looks upon her! She who fell down from heaven, ... lies upon her couch and beholds Mah-oh-rah.</div> - <div class="verse indent4">She goes to the Land of Little People; she goes through the old city in which our fathers were saved.</div> - <div class="verse indent4">Get thee down in haste and bring her again to her own people.</div> - </div> -<p class="center">(<i>Journeys forth to the city of Our Grandmother.</i>)</p> -<p class="center">(<i>Enters the royal palace in the sacred city.</i>)</p> - <div class="stanza dcap70"> - <div class="verse indent0">Dehn-dek (<i>to Our Grandmother</i>):</div> - <div class="verse indent4">Give again into my arms the daughter gone to the Land of the Little People!</div> - <div class="verse indent4">She stood here in this hour, but is gone on the lonely way to that land.</div> - <div class="verse indent4">Your children mourn for her; they cut themselves for grief!</div> - <div class="verse indent4">Let her return with me to our own land.</div><span class="pagenum"><a id="Page_94"></a>[94]</span> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Our Grandmother:</div> - <div class="verse indent4">Mah-oh-rah stood indeed before me!</div> - <div class="verse indent4">She was pale and faint from the journey!</div> - <div class="verse indent4">The Hooh-kehs drew her back in their power!</div> - <div class="verse indent4">She went out from my presence to return to her own people.</div> - <div class="verse indent4">Two torches she bore aloft to make clear the way.</div> - </div> -<p class="center">(<i>Dehn-dek goes out in pursuit of his daughter.</i>)</p> - <div class="stanza dcap70"> - <div class="verse indent0">Our Grandmother (<i>watching the pursuit</i>):</div> - <div class="verse indent4">They go into the sky!</div> - <div class="verse indent4">From that land are we cast down forever!</div> - <div class="verse indent4">And another land is made for us.</div> - <div class="verse indent4">Let them be made stars.</div> - <div class="verse indent4">Now shall they be made stars to shine forever there.</div> - <div class="verse indent4">And their journey shall never cease!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_95"></a>[95]</span></p> - -<h3>SONG OF THE MASKED DANCERS (<i>Apache</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">The day broke with slender rain.</div> - <div class="verse indent0">The place which is called “lightning’s water stands,”</div> - <div class="verse indent0">The place which is called “where the dawn strikes,”</div> - <div class="verse indent0">Four places where it is called “it dawns with life,”</div> - <div class="verse indent0">I landed there.</div> - <div class="verse indent0">I went among the sky youths.</div> - <div class="verse indent0">One came to me with long life.</div> - <div class="verse indent0">When he talked over my body with the longest life,</div> - <div class="verse indent0">The voice of the thunder spoke well four times,</div> - <div class="verse indent0">He spoke four times to me with life.</div> - <div class="verse indent0">Holy sky youth spoke to me four times.</div> - <div class="verse indent0">When he talked to me my breath became.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_96"></a>[96]</span></p> - -<h3>A SONG OF THE MASKED DANCERS III (<i>Apache</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">The living sky black-spotted;</div> - <div class="verse indent0">The living sky blue-spotted;</div> - <div class="verse indent0">The living sky yellow-spotted;</div> - <div class="verse indent0">The living sky white-spotted;</div> - <div class="verse indent0">The young spruce as girls stood up for their dance in the way of life.</div> - <div class="verse indent0">When my songs first were, they made my songs with words of jet.</div> - <div class="verse indent0">Earth when it was made,</div> - <div class="verse indent0">Sky when it was made,</div> - <div class="verse indent0">Earth to the end,</div> - <div class="verse indent0">Sky to the end,</div> - <div class="verse indent0">Black gans, black thunder, when they came toward each other,</div> - <div class="verse indent0">The various bad things that used to be vanished;</div> - <div class="verse indent0">The bad wishes which were in the world vanished.</div> - <div class="verse indent0">The lightning of the black thunder struck four times for them.</div> - <div class="verse indent0">It struck four times for me.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_97"></a>[97]</span></p> - -<h3>EMERGENCE SONG (<i>Pima</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Together we emerge with our rattles;</div> - <div class="verse indent0">Together we emerge with our rattles,</div> - <div class="verse indent0">Bright-hued feathers in our head-dresses.</div> - <div class="verse indent4">With our nyñnyirsa we went down;</div> - <div class="verse indent4">With our nyñnyirsa we went down,</div> - <div class="verse indent4">Wearing <i>Yoku</i> feathers in our head-dresses.</div> - <div class="verse indent0">This is the white land; we arrive singing,</div> - <div class="verse indent0">Head-dresses waving in the breeze.</div> - <div class="verse indent0">We have come! We have come!</div> - <div class="verse indent0">The land trembles with our dancing and singing.</div> - <div class="verse indent2">On these black mountains all are singing.</div> - <div class="verse indent4">Head-dresses waving, head-dresses waving.</div> - <div class="verse indent4">We all rejoice! We all rejoice!</div> - <div class="verse indent4">Singing, dancing, the mountains trembling.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_98"></a>[98]</span></p> - -<h3>THE WARNING OF THE FLOOD (<i>Pima</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-w.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Weep my unfortunate people!</div> - <div class="verse indent4">All this you will see take place.</div> - <div class="verse indent0">Weep my unfortunate people!</div> - <div class="verse indent4">For the waters will cover the land.</div> - <div class="verse indent0">Weep my unhappy relatives!</div> - <div class="verse indent4">You will learn all.</div> - <div class="verse indent0">Weep my unhappy relatives!</div> - <div class="verse indent4">You will learn all.</div> - <div class="verse indent4">The waters will cover the mountains.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Weep my unfortunate people!</div> - <div class="verse indent4">All this you will see take place.</div> - <div class="verse indent0">Weep my unfortunate people!</div> - <div class="verse indent4">For the waters will cover the land.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_99"></a>[99]</span></p> - -<h3>PROTECTION SONG (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-n.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Now, Slayer of the Alien Gods, among men am I.</div> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - <div class="verse indent0">Rubbed with the summits of the mountains,</div> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - <div class="verse indent0">Now upon the beautiful trail of old age,</div> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">Now, Offspring of the Water, among men am I.</div> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - <div class="verse indent0">Rubbed with the water of the summits,</div> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - <div class="verse indent0">Now upon the beautiful trail of old age,</div> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - </div> - <div class="stanza dcap50"> - <div class="number">III</div> - <div class="verse indent0">Now, Lightning of the Thunder, among men am I.</div><span class="pagenum"><a id="Page_100"></a>[100]</span> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - <div class="verse indent0">Rubbed with the summit of the sky,</div> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - <div class="verse indent0">Now upon the beautiful trail of old age,</div> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - </div> - <div class="stanza dcap50"> - <div class="number">IV</div> - <div class="verse indent0">Now, <i>Altsodoniglehi</i>, among men am I.</div> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - <div class="verse indent0">Rubbed with the summits of the earth,</div> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - <div class="verse indent0">Now upon the beautiful trail of old age,</div> - <div class="verse indent0">Now among the alien gods with weapons of magic am I.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_101"></a>[101]</span></p> - -<h3>SONG OF NAYENEZGANI I (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">The Slayer of the Alien Gods,</div> - <div class="verse indent0">That now am I.</div> - <div class="verse indent0">The Bearer of the Sun</div> - <div class="verse indent0">Arises with me,</div> - <div class="verse indent0">Journeys with me,</div> - <div class="verse indent0">Goes down with me,</div> - <div class="verse indent0">Abides with me;</div> - <div class="verse indent0">But sees me not.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">Child of the Water</div> - <div class="verse indent0">That now am I.</div> - <div class="verse indent0">The Bearer of the Moon</div> - <div class="verse indent0">Arises with me,</div> - <div class="verse indent0">Journeys with me,</div> - <div class="verse indent0">Goes down with me,</div> - <div class="verse indent0">Abides with me;</div> - <div class="verse indent0">But sees me not.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_102"></a>[102]</span></p> - -<h3>SONG OF NAYENEZGANI II (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-i.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">I am the Slayer of the Alien Gods</div> - <div class="verse indent0">Where’er I roam</div> - <div class="verse indent0">Before me</div> - <div class="verse indent0">Forests white are strewn around.</div> - <div class="verse indent0">The lightning scatters;</div> - <div class="verse indent0">But ’tis I who cause it.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">I am the Child of the Water.</div> - <div class="verse indent0">Where’er I roam</div> - <div class="verse indent0">Behind me</div> - <div class="verse indent0">Waters white are strewn around.</div> - <div class="verse indent0">The tempest scatters;</div> - <div class="verse indent0">But ’tis I who cause it.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_103"></a>[103]</span></p> - -<h3>SONG OF THE HORSE (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">How joyous his neigh!</div> - <div class="verse indent0">Lo, the Turquoise Horse of Johano-ai,</div> - <div class="verse indent2">How joyous his neigh!</div> - <div class="verse indent0">There on precious hides outspread standeth he;</div> - <div class="verse indent2">How joyous his neigh,</div> - <div class="verse indent0">There on tips of fair fresh flowers feedeth he;</div> - <div class="verse indent2">How joyous his neigh,</div> - <div class="verse indent0">There of mingled waters holy drinketh he;</div> - <div class="verse indent2">How joyous his neigh,</div> - <div class="verse indent0">There he spurneth dust of glittering grains;</div> - <div class="verse indent2">How joyous his neigh,</div> - <div class="verse indent0">There in mist of sacred pollen hidden, all hidden he;</div> - <div class="verse indent2">How joyous his neigh,</div> - <div class="verse indent0">There his offspring many grow and thrive for evermore:</div> - <div class="verse indent2">How joyous his neigh!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_104"></a>[104]</span></p> - -<h3>SONG OF THE HOGANS (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-l.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Lo, yonder the hogan,</div> - <div class="verse indent2">The hogan blessed!</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">There beneath the sunrise</div> - <div class="verse indent2">Standeth the hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Of <i>Hastyeyalti-ye</i></div> - <div class="verse indent2">The hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Built of dawn’s first light</div> - <div class="verse indent2">Standeth his hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Built of fair white corn</div> - <div class="verse indent2">Standeth his hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Built of broidered robes and hides</div> - <div class="verse indent2">Standeth his hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Built of mixed All-Waters pure</div> - <div class="verse indent2">Standeth his hogan,</div> - <div class="verse indent2">The hogan blessed.</div><span class="pagenum"><a id="Page_105"></a>[105]</span> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Built of holy pollen</div> - <div class="verse indent2">Standeth his hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Evermore enduring,</div> - <div class="verse indent0">Happy evermore,</div> - <div class="verse indent2">His hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Lo, yonder the hogan,</div> - <div class="verse indent2">The hogan blessed!</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">There beneath the sunset</div> - <div class="verse indent2">Standeth the hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Of <i>Hastyehogan-i</i></div> - <div class="verse indent2">The hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Built of afterglow</div> - <div class="verse indent2">Standeth his hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Built of yellow corn</div> - <div class="verse indent2">Standeth his hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Built of gems and shining shells</div> - <div class="verse indent2">Standeth his hogan,</div> - <div class="verse indent2">The hogan blessed.</div><span class="pagenum"><a id="Page_106"></a>[106]</span> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Built of Little-Waters</div> - <div class="verse indent2">Standeth his hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Built of holy pollen</div> - <div class="verse indent2">Standeth his hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Evermore enduring,</div> - <div class="verse indent0">Happy evermore,</div> - <div class="verse indent2">His hogan,</div> - <div class="verse indent2">The hogan blessed.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Lo, yonder the hogan,</div> - <div class="verse indent2">The hogan blessed!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_107"></a>[107]</span></p> - -<h3>WAR-SONG (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-l.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Lo, the flint youth, he am I,</div> - <div class="verse indent8">The flint youth.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0"><i>Nayenezrani</i>, Lo, behold me, he am I,</div> - <div class="verse indent4">Lo, the flint youth, he am I,</div> - <div class="verse indent8">The flint youth.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Moccasins of black flint have I;</div> - <div class="verse indent4">Lo, the flint youth, he am I,</div> - <div class="verse indent8">The flint youth.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Leggings of black flint have I;</div> - <div class="verse indent4">Lo, the flint youth, he am I,</div> - <div class="verse indent8">The flint youth.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Tunic of black flint have I;</div> - <div class="verse indent4">Lo, the flint youth, he am I,</div> - <div class="verse indent8">The flint youth.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Bonnet of black flint have I;</div> - <div class="verse indent4">Lo, the flint youth, he am I,</div> - <div class="verse indent8">The flint youth.</div><span class="pagenum"><a id="Page_108"></a>[108]</span> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Clearest, purest flint the heart</div> - <div class="verse indent0">Living strong within me—heart of flint;</div> - <div class="verse indent4">Lo, the flint youth, he am I,</div> - <div class="verse indent8">The flint youth.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Now the zig-zag lightnings four</div> - <div class="verse indent8">From me flash,</div> - <div class="verse indent0">Striking and returning,</div> - <div class="verse indent8">From me flash;</div> - <div class="verse indent4">Lo, the flint youth, he am I,</div> - <div class="verse indent8">The flint youth.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">There where’er the lightnings strike,</div> - <div class="verse indent0">Into the ground they hurl the foe—</div> - <div class="verse indent0">Ancient folk with evil charms,</div> - <div class="verse indent0">One upon another, dashed to earth;</div> - <div class="verse indent4">Lo, the flint youth, he am I,</div> - <div class="verse indent8">The flint youth.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Living evermore,</div> - <div class="verse indent0">Feared of all forevermore,</div> - <div class="verse indent4">Lo, the flint youth, he am I,</div> - <div class="verse indent8">The flint youth.</div> - </div> - <div class="stanza dcap70"> - <div class="verse indent0">Lo, the flint youth, he am I,</div> - <div class="verse indent8">The flint youth.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_109"></a>[109]</span></p> - -<h3>ATSÁLĒI YEDADIGLÉS (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-n.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Now the holy one paints his form.</div> - <div class="verse indent0">The Wind Boy, the holy one, paints his form,</div> - <div class="verse indent0">All over his body, he paints his form,</div> - <div class="verse indent0">With the dark clouds he paints his form,</div> - <div class="verse indent0">With the misty rain he paints his form,</div> - <div class="verse indent0">With the rainy bubbles he paints his form,</div> - <div class="verse indent0">To fingers and rattle he paints his form,</div> - <div class="verse indent0">To the plume on his head he paints his form.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_110"></a>[110]</span></p> - -<h3>MOUNTAIN SONGS (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-s.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Swift and far I journey.</div> - <div class="verse indent0">Swift upon the rainbow.</div> - <div class="verse indent0">Swift and far I journey.</div> - <div class="verse indent0">Lo, yonder, the Holy Place!</div> - <div class="verse indent8">Yea, swift and far I journey.</div> - <div class="verse indent0">To Sisnajinni, and beyond it,</div> - <div class="verse indent8">Yea, swift and far I journey;</div> - <div class="verse indent0">The Chief of Mountains, and beyond it,</div> - <div class="verse indent8">Yea, swift and far I journey;</div> - <div class="verse indent0">To Life Unending, and beyond it,</div> - <div class="verse indent8">Yea, swift and far I journey.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">Homeward now shall I journey,</div> - <div class="verse indent0">Homeward upon the rainbow;</div> - <div class="verse indent0">Homeward now shall I journey,</div> - <div class="verse indent0">Lo, yonder, the Holy Place!</div> - <div class="verse indent8">Yea, homeward now shall I journey.</div> - <div class="verse indent0">To <i>Sisnajinni</i>, and beyond it,</div> - <div class="verse indent8">Yea, homeward now shall I journey;</div> - <div class="verse indent0">The Chief of Mountains, and beyond it,</div> - <div class="verse indent8">Yea, homeward now shall I journey;</div><span class="pagenum"><a id="Page_111"></a>[111]</span> - <div class="verse indent0">To Life Unending, and beyond it,</div> - <div class="verse indent8">Yea, homeward now shall I journey;</div> - <div class="verse indent0">To Joy Unchanging, and beyond it,</div> - <div class="verse indent8">Yea, homeward now shall I journey.</div> - </div> - <div class="stanza dcap50"> - <div class="number">III</div> - <div class="verse indent0">Homeward behold me starting,</div> - <div class="verse indent0">Homeward upon the rainbow;</div> - <div class="verse indent0">Homeward behold me starting.</div> - <div class="verse indent0">Lo, yonder, the Holy Place!</div> - <div class="verse indent8">Yea, homeward behold me starting.</div> - <div class="verse indent0">To <i>Sisnajinni</i>, and beyond it,</div> - <div class="verse indent8">Yea, homeward behold me starting;</div> - <div class="verse indent0">The Chief of Mountains, and beyond it,</div> - <div class="verse indent8">Yea, homeward behold me starting.</div> - <div class="verse indent0">To Life Unending, and beyond it,</div> - <div class="verse indent8">Yea, homeward behold me starting;</div> - <div class="verse indent0">To Joy Unchanging, and beyond it,</div> - <div class="verse indent8">Yea, homeward behold me starting.</div> - </div> - <div class="stanza dcap50"> - <div class="number">IV</div> - <div class="verse indent0">Homeward behold me faring,</div> - <div class="verse indent0">Homeward upon the rainbow;</div> - <div class="verse indent0">Homeward behold me faring.</div> - <div class="verse indent0">Lo, yonder, the Holy Place!</div> - <div class="verse indent8">Yea, homeward behold me faring.</div> - <div class="verse indent0">To <i>Sisnajinni</i>, and beyond it,</div> - <div class="verse indent8">Yea, homeward behold me faring;</div><span class="pagenum"><a id="Page_112"></a>[112]</span> - <div class="verse indent0">The Chief of Mountains, and beyond it,</div> - <div class="verse indent8">Yea, homeward behold me faring;</div> - <div class="verse indent0">To Life Unending, and beyond it,</div> - <div class="verse indent8">Yea, homeward behold me faring;</div> - <div class="verse indent0">To Joy Unchanging, and beyond it,</div> - <div class="verse indent8">Yea, homeward behold me faring.</div> - </div> - <div class="stanza dcap50"> - <div class="number">V</div> - <div class="verse indent0">Now arrived home behold me,</div> - <div class="verse indent0">Now arrived on the rainbow;</div> - <div class="verse indent0">Now arrived home behold me,</div> - <div class="verse indent0">Lo, here, the Holy Place!</div> - <div class="verse indent8">Yea, now arrived home behold me.</div> - <div class="verse indent0">At <i>Sisnajinni</i>, and beyond it,</div> - <div class="verse indent8">Yea, now arrived home behold me;</div> - <div class="verse indent0">The Chief of Mountains, and beyond it,</div> - <div class="verse indent8">Yea, now arrived home behold me;</div> - <div class="verse indent0">In Life Unending, and beyond it,</div> - <div class="verse indent8">Yea, now arrived home behold me;</div> - <div class="verse indent0">In Joy Unchanging, and beyond it,</div> - <div class="verse indent8">Yea, now arrived home behold me.</div> - </div> - <div class="stanza dcap50"> - <div class="number">VI</div> - <div class="verse indent0">Seated at home behold me,</div> - <div class="verse indent0">Seated amid the rainbow;</div> - <div class="verse indent0">Seated at home behold me,</div> - <div class="verse indent0">Lo, here, the Holy Place!</div> - <div class="verse indent8">Yea, seated at home behold me.</div><span class="pagenum"><a id="Page_113"></a>[113]</span> - <div class="verse indent0">At <i>Sisnajinni</i>, and beyond it,</div> - <div class="verse indent8">Yea, seated at home behold me;</div> - <div class="verse indent0">The Chief of Mountains, and beyond it,</div> - <div class="verse indent8">Yea, seated at home behold me;</div> - <div class="verse indent0">In Life Unending, and beyond it,</div> - <div class="verse indent8">Yea, seated at home behold me;</div> - <div class="verse indent0">In Joy Unchanging, and beyond it,</div> - <div class="verse indent8">Yea, seated at home behold me.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_114"></a>[114]</span></p> - -<h3>MOUNTAIN SONG (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-i.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">In a holy place with a god I walk,</div> - <div class="verse indent0">In a holy place with a god I walk,</div> - <div class="verse indent0">On <i>Tsĭsnadzĭʹni</i> with a god I walk,</div> - <div class="verse indent0">On a chief of mountains with a god I walk,</div> - <div class="verse indent0">In old age wandering with a god I walk.</div> - <div class="verse indent0">On a trail of beauty with a god I walk.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">In a holy place with a god I walk,</div> - <div class="verse indent0">In a holy place with a god I walk,</div> - <div class="verse indent0">On <i>Tsótsĭl</i> with a god I walk,</div> - <div class="verse indent0">On a chief of mountains with a god I walk,</div> - <div class="verse indent0">In old age wandering with a god I walk,</div> - <div class="verse indent0">On a trail of beauty with a god I walk.</div> - </div> - <div class="stanza dcap50"> - <div class="number">III</div> - <div class="verse indent0">In a holy place with a god I walk,</div> - <div class="verse indent0">In a holy place with a god I walk,</div> - <div class="verse indent0">On <i>Dokoslíd</i> with a god I walk,</div> - <div class="verse indent0">On a chief of mountains with a god I walk,</div> - <div class="verse indent0">In old age wandering with a god I walk,</div> - <div class="verse indent0">On a trail of beauty with a god I walk.</div><span class="pagenum"><a id="Page_115"></a>[115]</span> - </div> - <div class="stanza dcap50"> - <div class="number">IV</div> - <div class="verse indent0">In a holy place with a god I walk,</div> - <div class="verse indent0">In a holy place with a god I walk,</div> - <div class="verse indent0">On <i>Depĕʹntsa</i> with a god I walk,</div> - <div class="verse indent0">On a chief of mountains with a god I walk,</div> - <div class="verse indent0">In old age wandering with a god I walk,</div> - <div class="verse indent0">On a trail of beauty with a god I walk.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_116"></a>[116]</span></p> - -<h3>MOUNTAIN SONG (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Thither go I!</div> - <div class="verse indent0">Chief of all mountains,</div> - <div class="verse indent0">Thither go I,</div> - <div class="verse indent0">Living forever,</div> - <div class="verse indent0">Thither go I,</div> - <div class="verse indent0">Blessings bestowing.</div> - <div class="verse indent0">Thither go I,</div> - <div class="verse indent0">Calling me “Son, my son.”</div> - <div class="verse indent0">Thither go I.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_117"></a>[117]</span></p> - -<h3>INVOCATION OF THE GAME (<i>San Ildefonso Pueblo</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I (North)</div> - <img class="dropcap" src="images/dropcap-y.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Yonder afar</div> - <div class="verse indent0">By the Black Mountain</div> - <div class="verse indent0">In the Valley</div> - <div class="verse indent0">The Black Chief of the Elk is standing,</div> - <div class="verse indent0">And he is our quarry.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II (West)</div> - <div class="verse indent0">Yonder afar</div> - <div class="verse indent0">By the Mountain of Deer-Trails</div> - <div class="verse indent0">In the Valley</div> - <div class="verse indent0">The Yellow Chief of the Antelope is standing,</div> - <div class="verse indent0">And he is our quarry.</div> - </div> - <div class="stanza dcap50"> - <div class="number">III (South)</div> - <div class="verse indent0">Yonder afar</div> - <div class="verse indent0">By the Mountain of Flying</div> - <div class="verse indent0">In the Valley</div> - <div class="verse indent0">The Red Chief of the Antelope is standing,</div> - <div class="verse indent0">And he is our quarry.</div><span class="pagenum"><a id="Page_118"></a>[118]</span> - </div> - <div class="stanza dcap50"> - <div class="number">IV (East)</div> - <div class="verse indent0">Yonder afar</div> - <div class="verse indent0">By the Mountain of Flowers</div> - <div class="verse indent0">In the Valley</div> - <div class="verse indent0">The White Chief of the Buffalo is standing,</div> - <div class="verse indent0">And he is our quarry.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_119"></a>[119]</span></p> - -<h3>MEDICINE SONG (<i>Apache</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-s.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Stĕnátlĭhăⁿ, you are good, I pray for long life.</div> - <div class="verse indent0">I pray for your good looks.</div> - <div class="verse indent0">I pray for good breath.</div> - <div class="verse indent0">I pray for good speech.</div> - <div class="verse indent0">I pray for feet like yours to carry me through a long life.</div> - <div class="verse indent0">I pray for a life like yours.</div> - <div class="verse indent0">I walk with people; ahead of me all is well.</div> - <div class="verse indent0">I pray for people to smile as long as I live.</div> - <div class="verse indent0">I pray to live long.</div> - <div class="verse indent0">I pray, I say, for a long life to live with you where the good people are.</div> - <div class="verse indent0">I live in poverty.</div> - <div class="verse indent0">I wish the people there to speak of goodness and to talk to me.</div> - <div class="verse indent0">I wish you to divide your good things with me as a brother.</div> - <div class="verse indent0">Ahead of me is goodness; lead me on.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_120"></a>[120]</span></p> - -<h3>PRAYER OF THE FIRST DANCERS (<i>Navaho</i>)</h3> - -<p class="center">From the ceremony of the Night Chant</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-i.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">In <i>Tseʿgíhigi</i> (oh you who dwell!)</div> - <div class="verse indent0">In the house made of the dawn,</div> - <div class="verse indent0">In the house made of the evening twilight,</div> - <div class="verse indent0">In the house made of the dark cloud,</div> - <div class="verse indent0">In the house made of the he-rain,</div> - <div class="verse indent0">In the house made of the dark mist,</div> - <div class="verse indent0">In the house made of she-rain,</div> - <div class="verse indent0">In the house made of pollen,</div> - <div class="verse indent0">In the house made of grasshoppers,</div> - <div class="verse indent0">Where the dark mist curtains the doorway,</div> - <div class="verse indent0">The path to which is on the rainbow,</div> - <div class="verse indent0">Where the zigzag lightning stands high on top,</div> - <div class="verse indent0">Where the he-rain stands high on top,</div> - <div class="verse indent0">Oh, male divinity!</div> - <div class="verse indent0">With your moccasins of dark cloud, come to us.</div> - <div class="verse indent0">With your leggings of dark cloud, come to us.</div> - <div class="verse indent0">With your shirt of dark cloud, come to us.</div> - <div class="verse indent0">With your head-dress of dark cloud, come to us.</div> - <div class="verse indent0">With your mind enveloped in dark cloud, come to us.</div> - <div class="verse indent0">With the dark thunder above you, come to us soaring.</div><span class="pagenum"><a id="Page_121"></a>[121]</span> - <div class="verse indent0">With the shapen cloud at your feet, come to us soaring.</div> - <div class="verse indent0">With the far darkness made of the dark cloud over your head, come to us soaring.</div> - <div class="verse indent0">With the far darkness made of the he-rain over your head, come to us soaring.</div> - <div class="verse indent0">With the far darkness made of the dark mist over your head, come to us soaring.</div> - <div class="verse indent0">With the far darkness made of the she-rain over your head, come to us soaring.</div> - <div class="verse indent0">With the zigzag lightning flung out on high over your head, come to us soaring.</div> - <div class="verse indent0">With the rainbow hanging high over your head, come to us soaring.</div> - <div class="verse indent0">With the far darkness made of the dark cloud on the ends of your wings, come to us soaring.</div> - <div class="verse indent0">With the far darkness made of the he-rain on the ends of your wings, come to us soaring.</div> - <div class="verse indent0">With the far darkness made of the dark mist on the ends of your wings, come to us soaring.</div> - <div class="verse indent0">With the far darkness made of the she-rain on the ends of your wings, come to us soaring.</div> - <div class="verse indent0">With the zigzag lightning flung out on high on the ends of your wings, come to us soaring.</div> - <div class="verse indent0">With the rainbow hanging high on the ends of your wings, come to us soaring.</div> - <div class="verse indent0">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.</div><span class="pagenum"><a id="Page_122"></a>[122]</span> - <div class="verse indent0">With the darkness on the earth, come to us.</div> - <div class="verse indent0">With these I wish the foam floating on the flowing water over the roots of the great corn.</div> - </div> - <div class="stanza dcap50"> - <div class="verse indent0">I have made your sacrifice.</div> - <div class="verse indent0">I have prepared a smoke for you.</div> - <div class="verse indent0">My feet restore for me.</div> - <div class="verse indent0">My limbs restore for me.</div> - <div class="verse indent0">My body restore for me.</div> - <div class="verse indent0">My mind restore for me.</div> - <div class="verse indent0">My voice restore for me.</div> - <div class="verse indent0">Today, take out your spell for me.</div> - <div class="verse indent0">Today, take away your spell for me.</div> - <div class="verse indent0">Away from me you have taken it.</div> - <div class="verse indent0">Far off from me you have taken it.</div> - <div class="verse indent0">Far off you have done it.</div> - <div class="verse indent0">Happily I recover.</div> - <div class="verse indent0">Happily my interior becomes cool.</div> - <div class="verse indent0">Happily my eyes regain their power,</div> - <div class="verse indent0">Happily my head becomes cool.</div> - <div class="verse indent0">Happily my limbs regain their power.</div> - <div class="verse indent0">Happily I hear again.</div> - <div class="verse indent0">Happily for me (the spell) is taken off.</div> - <div class="verse indent0">Happily I walk.</div> - <div class="verse indent0">Impervious to pain, I walk.</div> - <div class="verse indent0">Feeling light within, I walk.</div> - <div class="verse indent0">With lively feelings, I walk.</div> - <div class="verse indent0">Happily (or in beauty) abundant dark clouds I desire.</div><span class="pagenum"><a id="Page_123"></a>[123]</span> - <div class="verse indent0">Happily abundant dark mists I desire.</div> - <div class="verse indent0">Happily abundant passing showers I desire.</div> - <div class="verse indent0">Happily an abundance of vegetation I desire.</div> - <div class="verse indent0">Happily an abundance of pollen I desire.</div> - <div class="verse indent0">Happily abundant dew I desire.</div> - <div class="verse indent0">Happily may fair white corn, to the ends of the earth, come with you.</div> - <div class="verse indent0">Happily may fair yellow corn, to the ends of the earth, come with you.</div> - <div class="verse indent0">Happily may fair blue corn, to the ends of the earth, come with you.</div> - <div class="verse indent0">Happily may fair corn of all kinds, to the ends of the earth, come with you.</div> - <div class="verse indent0">Happily may fair plants of all kinds, to the ends of the earth, come with you.</div> - <div class="verse indent0">Happily may fair goods of all kinds, to the ends of the earth, come with you.</div> - <div class="verse indent0">Happily may fair jewels of all kinds, to the ends of the earth, come with you.</div> - <div class="verse indent0">With these before you, happily may they come with you.</div> - <div class="verse indent0">With these behind you, happily may they come with you.</div> - <div class="verse indent0">With these below you, happily may they come with you.</div> - <div class="verse indent0">With these above you, happily may they come with you.</div> - <div class="verse indent0">With these all around you, happily may they come with you.</div><span class="pagenum"><a id="Page_124"></a>[124]</span> - <div class="verse indent0">Thus happily you accomplish your task.</div> - <div class="verse indent0">Happily the old men will regard you.</div> - <div class="verse indent0">Happily the old women will regard you.</div> - <div class="verse indent0">Happily the young men will regard you.</div> - <div class="verse indent0">Happily the young women will regard you.</div> - <div class="verse indent0">Happily the boys will regard you.</div> - <div class="verse indent0">Happily the girls will regard you.</div> - <div class="verse indent0">Happily the children will regard you.</div> - <div class="verse indent0">Happily the chiefs will regard you.</div> - <div class="verse indent0">Happily, as they scatter in different directions, they will regard you.</div> - <div class="verse indent0">Happily, as they approach their homes, they will regard you.</div> - <div class="verse indent0">Happily may their roads home be on the trail of pollen (peace).</div> - <div class="verse indent0">Happily may they all get back.</div> - <div class="verse indent0">In beauty (happily) I walk.</div> - <div class="verse indent0">With beauty before me, I walk.</div> - <div class="verse indent0">With beauty behind me, I walk.</div> - <div class="verse indent0">With beauty below me, I walk.</div> - <div class="verse indent0">With beauty above me, I walk.</div> - <div class="verse indent0">With beauty all around me, I walk.</div> - <div class="verse indent0">It is finished (again) in beauty,</div> - <div class="verse indent0">It is finished in beauty,</div> - <div class="verse indent0">It is finished in beauty,</div> - <div class="verse indent0">It is finished in beauty.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_125"></a>[125]</span></p> - -<h3>A PRAYER OF THE SECOND DAY OF THE NIGHT CHANT (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-f.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">From the base of the east,</div> - <div class="verse indent0">From the base of the Pelado Peak,</div> - <div class="verse indent0">From the house made of mirage,</div> - <div class="verse indent0">From the story made of mirage,</div> - <div class="verse indent0">From the doorway of rainbow,</div> - <div class="verse indent0">The path out of which is the rainbow,</div> - <div class="verse indent0">The rainbow passed out with me.</div> - <div class="verse indent0">The rainbow raised up with me.</div> - <div class="verse indent0">Through the middle of broad fields,</div> - <div class="verse indent0">The rainbow returned with me.</div> - <div class="verse indent0">To where my house is visible,</div> - <div class="verse indent0">The rainbow returned with me.</div> - <div class="verse indent0">To the roof of my house,</div> - <div class="verse indent0">The rainbow returned with me.</div> - <div class="verse indent0">To the entrance of my house,</div> - <div class="verse indent0">The rainbow returned with me.</div> - <div class="verse indent0">To just within my house,</div> - <div class="verse indent0">The rainbow returned with me.</div> - <div class="verse indent0">To my fireside,</div> - <div class="verse indent0">The rainbow returned with me.</div> - <div class="verse indent0">To the center of my house,</div> - <div class="verse indent0">The rainbow returned with me.</div><span class="pagenum"><a id="Page_126"></a>[126]</span> - <div class="verse indent0">At the fore part of my house with the dawn,</div> - <div class="verse indent0">The Talking God sits with me.</div> - <div class="verse indent0">The House God sits with me.</div> - <div class="verse indent0">Pollen Boy sits with me.</div> - <div class="verse indent0">Grasshopper Girl sits with me.</div> - <div class="verse indent0">In beauty <i>Estsánatlehi</i>, my mother, for her I return.</div> - <div class="verse indent0">Beautifully my fire to me is restored.</div> - <div class="verse indent0">Beautifully my possessions are to me restored.</div> - <div class="verse indent0">Beautifully my soft goods to me are restored.</div> - <div class="verse indent0">Beautifully my hard goods to me are restored.</div> - <div class="verse indent0">Beautifully my horses to me are restored.</div> - <div class="verse indent0">Beautifully my sheep to me are restored.</div> - <div class="verse indent0">Beautifully my old men to me are restored.</div> - <div class="verse indent0">Beautifully my old women to me are restored.</div> - <div class="verse indent0">Beautifully my young men to me are restored.</div> - <div class="verse indent0">Beautifully my women are restored.</div> - <div class="verse indent0">Beautifully my children to me are restored.</div> - <div class="verse indent0">Beautifully my wife to me is restored.</div> - <div class="verse indent0">Beautifully my chiefs to me are restored.</div> - <div class="verse indent0">Beautifully my country to me is restored.</div> - <div class="verse indent0">Beautifully my fields to me are restored.</div> - <div class="verse indent0">Beautifully my house to me is restored.</div> - <div class="verse indent0">Talking God sits with me.</div> - <div class="verse indent0">House God sits with me.</div> - <div class="verse indent0">Pollen Boy sits with me.</div> - <div class="verse indent0">Grasshopper Girl sits with me.</div> - <div class="verse indent0">Beautifully white corn to me is restored.</div> - <div class="verse indent0">Beautifully yellow corn to me is restored.</div> - <div class="verse indent0">Beautifully blue corn to me is restored.</div><span class="pagenum"><a id="Page_127"></a>[127]</span> - <div class="verse indent0">Beautifully corn of all kinds to me is restored.</div> - <div class="verse indent0">In beauty may I walk.</div> - <div class="verse indent0">All day long may I walk.</div> - <div class="verse indent0">Through the returning seasons may I walk.</div> - <div class="verse indent0">Beautifully will I possess again.</div> - <div class="verse indent0">On the trail marked with pollen may I walk.</div> - <div class="verse indent0">With grasshoppers about my feet may I walk.</div> - <div class="verse indent0">With dew about my feet may I walk.</div> - <div class="verse indent0">With beauty may I walk.</div> - <div class="verse indent0">With beauty before me, may I walk.</div> - <div class="verse indent0">With beauty behind me, may I walk.</div> - <div class="verse indent0">With beauty above me, may I walk.</div> - <div class="verse indent0">With beauty below me, may I walk.</div> - <div class="verse indent0">With beauty all around me, may I walk.</div> - <div class="verse indent0">In old age wandering on a trail of beauty, lively, may I walk.</div> - <div class="verse indent0">In old age wandering on a trail of beauty, living again, may I walk.</div> - <div class="verse indent0">It is finished in beauty.</div> - <div class="verse indent0">It is finished in beauty.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_128"></a>[128]</span></p> - -<h3>PRAYER TO DSILYI NEYÁNI (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-r.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Reared Within the Mountains!</div> - <div class="verse indent0">Lord of the Mountains!</div> - <div class="verse indent0">Young Man!</div> - <div class="verse indent0">Chieftain!</div> - <div class="verse indent0">I have made your sacrifice.</div> - <div class="verse indent0">I have prepared a smoke for you.</div> - <div class="verse indent0">My feet restore thou for me.</div> - <div class="verse indent0">My legs restore thou for me.</div> - <div class="verse indent0">My body restore thou for me.</div> - <div class="verse indent0">My mind restore thou for me.</div> - <div class="verse indent0">My voice restore thou for me.</div> - <div class="verse indent0">Restore all for me in beauty.</div> - <div class="verse indent0">Make beautiful all that is before me.</div> - <div class="verse indent0">Make beautiful all that is behind me.</div> - <div class="verse indent0">Make beautiful my words.</div> - <div class="verse indent0">It is done in beauty.</div> - <div class="verse indent0">It is done in beauty.</div> - <div class="verse indent0">It is done in beauty.</div> - <div class="verse indent0">It is done in beauty.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_129"></a>[129]</span></p> - -<h3>DEDICATION OF A NEW HOUSE (<i>Navaho</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> -<p class="center">Man (<i>scattering white cornmeal about the circumference of the room</i>):</p> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-m.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">May it be delightful, my house;</div> - <div class="verse indent0">From my head may it be delightful;</div> - <div class="verse indent0">To my feet may it be delightful;</div> - <div class="verse indent0">Where I lie may it be delightful;</div> - <div class="verse indent0">Above me may it be delightful;</div> - <div class="verse indent0">All around me may it be delightful.</div> - </div> -<p class="center">(<i>flinging meal into the fire</i>)</p> - <div class="stanza dcap70"> - <div class="verse indent0">May it be delightful and well, my fire.</div> - </div> -<p class="center">(<i>flinging meal up the smoke-hole</i>)</p> - <div class="stanza dcap70"> - <div class="verse indent0">May it be delightful, Sun, my mother’s ancestor, for this gift;</div> - <div class="verse indent0">May it be delightful as I walk around my house.</div> - </div> -<p class="center">(<i>sprinkling meal out the doorway</i>)</p> - <div class="stanza dcap70"> - <div class="verse indent0">May it be delightful, this road of light (the path of the Sun) my mother’s ancestor.</div><span class="pagenum"><a id="Page_130"></a>[130]</span> - </div> -<p class="center">Woman (<i>making meal, offering to the fire, says quietly</i>):</p> - <div class="stanza dcap70"> - <div class="verse indent0">May it be delightful, my fire;</div> - <div class="verse indent0">May it be delightful for my children; may all be well;</div> - <div class="verse indent0">May it be delightful with my food and theirs; may all be well;</div> - <div class="verse indent0">All my possessions well may they be made.</div> - <div class="verse indent0">All my flocks well may they be made.</div> - <div class="verse indent4">(That is, may they all be healthy and increase.)</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_131"></a>[131]</span></p> - -<h3>PRAYER OF THE FOSTER-PARENT CHANT (<i>Teton-Sioux</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-g.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Great Mystery, you have existed from the first;</div> - <div class="verse indent0">This sky and this earth you created.</div> - <div class="verse indent0">Wing flapper (Thunder Bird), you have existed from the first,</div> - <div class="verse indent0">Your nation is half soldiers and half chiefs, so they say.</div> - <div class="verse indent0">Lend me a good day; I borrow it.</div> - <div class="verse indent0">Me, the Indian race, you have uplifted.</div> - <div class="verse indent0">But now I am in despair;</div> - <div class="verse indent0">Yet this good boy will renew the life of his people.</div> - <div class="verse indent0">So, Great Mystery, look upon me; pity me,</div> - <div class="verse indent0">That the nation may live—</div> - <div class="verse indent0">Before the face of the North, the nation may live.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_132"></a>[132]</span></p> - -<h3>HOLY SONG (<i>Dakota</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-o.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">O ye people, be ye healed;</div> - <div class="verse indent0">Life anew I bring unto ye.</div> - <div class="verse indent0">O ye people, be ye healed;</div> - <div class="verse indent0">Life anew I bring unto ye.</div> - <div class="verse indent0">Through the Father over all</div> - <div class="verse indent0">Do I thus.</div> - <div class="verse indent0">Life anew I bring unto ye.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_133"></a>[133]</span></p> - -<h3>INVOKING THE VISIONS (<i>Pawnee</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Holy visions!</div> - <div class="verse indent0">Hither come, we pray you, come unto us,</div> - <div class="verse indent0">Bringing with you joy;</div> - <div class="verse indent0">Come, O come to us, holy visions,</div> - <div class="verse indent0">Bringing with you joy.</div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">Holy visions!</div> - <div class="verse indent0">Near are they approaching, near to us here,</div> - <div class="verse indent0">Bringing with them joy;</div> - <div class="verse indent0">Nearer still they come—holy visions—</div> - <div class="verse indent0">Bringing with them joy.</div> - </div> - <div class="stanza dcap70"> - <div class="number">III</div> - <div class="verse indent0">Holy visions!</div> - <div class="verse indent0">Lo! Before the doorway pause they, waiting,</div> - <div class="verse indent0">Bearing gifts of joy;</div> - <div class="verse indent0">Pausing there they wait—holy visions—</div> - <div class="verse indent0">Bearing gifts of joy.</div> - </div> - <div class="stanza dcap70"> - <div class="number">IV</div> - <div class="verse indent0">Holy visions!</div> - <div class="verse indent0">Now they cross the threshold, gliding softly</div><span class="pagenum"><a id="Page_134"></a>[134]</span> - <div class="verse indent0">Toward the space within;</div> - <div class="verse indent0">Softly gliding on—holy visions—</div> - <div class="verse indent0">Toward the space within.</div> - </div> - <div class="stanza dcap70"> - <div class="number">V</div> - <div class="verse indent0">Holy visions!</div> - <div class="verse indent0">They the lodge are filling with their presence,</div> - <div class="verse indent0">Fraught with hope and peace;</div> - <div class="verse indent0">Filling all the lodge—holy visions—</div> - <div class="verse indent0">Fraught with hope and peace.</div> - </div> - <div class="stanza dcap70"> - <div class="number">VI</div> - <div class="verse indent0">Holy visions!</div> - <div class="verse indent0">Now they touch the children, gently touch them,</div> - <div class="verse indent0">Giving dreams of joy;</div> - <div class="verse indent0">Gently touch each one—holy visions—</div> - <div class="verse indent0">Giving dreams of joy.</div> - </div> - <div class="stanza dcap70"> - <div class="number">VII</div> - <div class="verse indent0">Holy visions!</div> - <div class="verse indent0">Ended now their mission, pass they outward,</div> - <div class="verse indent0">Yet they leave us joy;</div> - <div class="verse indent0">Pass they all from us—holy visions—</div> - <div class="verse indent0">Yet they leave us joy.</div> - </div> - <div class="stanza dcap70"> - <div class="number">VIII</div> - <div class="verse indent0">Holy visions!</div> - <div class="verse indent0">They, the sky ascending, reach their dwelling;</div> - <div class="verse indent0">There they rest above;</div> - <div class="verse indent0">They their dwelling reach—holy visions—</div> - <div class="verse indent0">There they rest above.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_135"></a>[135]</span></p> - -<h3>RITUAL SONG (<i>Pawnee</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-i.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">I know not if the voice of man can reach to the sky;</div> - <div class="verse indent0">I know not if the mighty one will hear as I pray;</div> - <div class="verse indent0">I know not if the gifts I ask will all granted be;</div> - <div class="verse indent0">I know not if the word of old we truly can hear;</div> - <div class="verse indent0">I know not what will come to pass in our future days;</div> - <div class="verse indent0">I hope that only good will come, my children, to you.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">I now know that the voice of man can reach the sky;</div> - <div class="verse indent0">I now know that the mighty one has heard as I prayed;</div> - <div class="verse indent0">I now know that the gifts I asked have all granted been.</div> - <div class="verse indent0">I now know that the word of old we truly have heard;</div> - <div class="verse indent0">I now know that <i>Tirá wa</i> hearkens unto man’s prayer;</div> - <div class="verse indent0">I know that only good has come, my children, to you.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_136"></a>[136]</span></p> - -<h3>MEDICINE SONG (<i>Omaha</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Ho! Aged One, <i>eçka</i>,</div> - <div class="verse indent0">At a time when there were gathered together seven persons,</div> - <div class="verse indent0">You sat in the seventh place, it is said,</div> - <div class="verse indent0">And of the Seven you alone possessed knowledge of all things,</div> - <div class="verse indent0">Aged One, <i>eçka</i>.</div> - <div class="verse indent0">When in their longing for protection and guidance,</div> - <div class="verse indent0">The people sought in their minds for a way,</div> - <div class="verse indent0">They beheld you sitting with assured permanency and endurance</div> - <div class="verse indent0">In the center where converged the paths,</div> - <div class="verse indent0">There, exposed to the violence of the four winds, you sat,</div> - <div class="verse indent0">Possessed with power to receive supplications,</div> - <div class="verse indent0">Aged One, <i>eçka</i>.</div> - <div class="verse indent0">Where is his mouth, by which there may be utterance of speech?</div> - <div class="verse indent0">Where is his heart, to which there may come knowledge and understanding?</div> - <div class="verse indent0">Where are his feet, whereby he may move from place to place?</div> - <div class="verse indent0">We question in wonder,</div><span class="pagenum"><a id="Page_137"></a>[137]</span> - <div class="verse indent0">Yet verily it is said you alone have power to receive supplications,</div> - <div class="verse indent0">Aged One, <i>eçka</i>.</div> - <div class="verse indent0">I have desired to go yet farther in the path of life with my little ones,</div> - <div class="verse indent0">Without pain, without sickness,</div> - <div class="verse indent0">Beyond the second, third, and fourth period of life’s pathway,</div> - <div class="verse indent0">Aged One, <i>eçka</i>.</div> - <div class="verse indent0">O hear! This is my prayer,</div> - <div class="verse indent0">Although uttered in words poorly put together,</div> - <div class="verse indent0">Aged One, <i>eçka</i>.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_138"></a>[138]</span></p> - -<h3>SONG OF THE PRIMAL ROCK (<i>Omaha</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-o.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Oh! Aged One, <i>eçka</i>,</div> - <div class="verse indent0">Oh! thou recumbent Rock, <i>eçka</i>,</div> - <div class="verse indent0">Aged One, <i>eçka</i>,</div> - <div class="verse indent0">To thee I shall pray, <i>eçka</i>,</div> - <div class="verse indent0">Aged One, <i>eçka</i>,</div> - <div class="verse indent0">Oh! Aged One, <i>eçka</i>,</div> - <div class="verse indent0">The great water that lies impossible to traverse, <i>eçka</i>,</div> - <div class="verse indent0">Aged One, <i>eçka</i>,</div> - <div class="verse indent0">In the midst of the waters thou came and sat, <i>eçka</i>,</div> - <div class="verse indent0">Aged One, <i>eçka</i>,</div> - <div class="verse indent0">Thou, of whom one may think, whence camest thou? <i>eçka</i>,</div> - <div class="verse indent0">Aged One, <i>eçka</i>,</div> - <div class="verse indent0">From midst the waters camest thou, and sat, <i>eçka</i>.</div> - <div class="verse indent0">It is said that thou sittest crying: “Iⁿ! Iⁿ! <i>eçka</i>,</div> - <div class="verse indent0">Though I shall carry these my little ones, <i>eçka</i>,</div> - <div class="verse indent0">Though I shall sit and listen to their words, <i>eçka</i>,</div> - <div class="verse indent0">Because,” they say, you have said, <i>eçka</i>,</div> - <div class="verse indent0">“If one shall go astray in his speech, although here lies one on whom one’s footsteps may seem impossible to stumble, <i>eçka</i>,</div><span class="pagenum"><a id="Page_139"></a>[139]</span> - <div class="verse indent0">Upon this, the earth, very suddenly he shall stumble,” they say you have said, <i>eçka</i>,</div> - <div class="verse indent0">Aged One, <i>eçka</i>,</div> - <div class="verse indent0">The impurities, <i>eçka</i>,</div> - <div class="verse indent0">Shall not enter within, <i>eçka</i>,</div> - <div class="verse indent0">Shall drift, like filth, as thou sittest, <i>eçka</i>,</div> - <div class="verse indent0">Aged One, <i>eçka</i></div> - <div class="verse indent0">Oh! Aged One, <i>eçka</i>,</div> - <div class="verse indent0">“If one of mine prays to me properly,” <i>eçka</i>,</div> - <div class="verse indent0">Aged One, <i>eçka</i>,</div> - <div class="verse indent0">“I shall be with him, <i>eçka</i>,</div> - <div class="verse indent0">Further along he shall go,” <i>eçka</i>.</div> - <div class="verse indent0">Aged One, <i>eçka</i>,</div> - <div class="verse indent0">“The fourth hill, <i>eçka</i>,</div> - <div class="verse indent0">The third, the fourth, <i>eçka</i>,</div> - <div class="verse indent0">Even in going they shall appear thereon,” they say you have said, <i>eçka</i>,</div> - <div class="verse indent0">Aged One, <i>eçka</i>,</div> - <div class="verse indent0">Oh! Aged One, <i>eçka</i>,</div> - <div class="verse indent0">Thou sittest as though longing for something, <i>eçka</i>,</div> - <div class="verse indent0">Thou sittest like one with wrinkled loins, <i>eçka</i>,</div> - <div class="verse indent0">Thou sittest like one with furrowed brow, <i>eçka</i>,</div> - <div class="verse indent0">Thou sittest like one with flabby arms, <i>eçka</i>,</div> - <div class="verse indent0">“The little ones shall be as I am, whoever shall pray to me properly,” <i>eçka</i>,</div> - <div class="verse indent0">Oh! Aged One, <i>eçka</i>,</div> - <div class="verse indent0">Oh! Thou Pole of the Tent, <i>eçka</i>,</div> - <div class="verse indent0">Along the banks of the streams, <i>eçka</i>,</div><span class="pagenum"><a id="Page_140"></a>[140]</span> - <div class="verse indent0">With head drooping over, there thou sittest, <i>eçka</i>,</div> - <div class="verse indent0">Thy topmost branches, <i>eçka</i>,</div> - <div class="verse indent0">Dipping again and again, verily, into the water, <i>eçka</i>,</div> - <div class="verse indent0">Thou Pole of the Tent, <i>eçka</i>,</div> - <div class="verse indent0">“One of these little ones, <i>eçka</i>,</div> - <div class="verse indent0">I shall sit upon one, <i>eçka</i>,</div> - <div class="verse indent0">The impurities, eçka,</div> - <div class="verse indent0">All I shall wash away from them, <i>eçka</i>,</div> - <div class="verse indent0">To the end, without one obstacle, they shall appear thereon,” they say you have said, <i>eçka</i>,</div> - <div class="verse indent0">Aged One, <i>eçka</i>,</div> - <div class="verse indent0">It is said that you have commanded us to say to you, “Our Father, <i>eçka</i>,</div> - <div class="verse indent0">Thou Water, <i>eçka</i>,</div> - <div class="verse indent0">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, <i>eçka</i>,</div> - <div class="verse indent0">Not entering within,” <i>eçka</i>.</div> - <div class="verse indent0">Aged One, <i>eçka</i>,</div> - <div class="verse indent0">“Whosoever touches me with face or lips, <i>eçka</i>,</div> - <div class="verse indent0">All the impurities, <i>eçka</i>,</div> - <div class="verse indent0">I shall cause to be cleansed,” it is said, you have said, <i>eçka</i>.</div> - <div class="verse indent0">“The four apertures of the body, <i>eçka</i>,</div> - <div class="verse indent0">And all within the body I shall purify,” it is said, you have said, <i>eçka</i>.</div><span class="pagenum"><a id="Page_141"></a>[141]</span> - <div class="verse indent0">“Little ones, <i>eçka</i>,</div> - <div class="verse indent0">Through and through shall appear, <i>eçka</i>,</div> - <div class="verse indent0">Against the wind, in the midst of air, they shall appear and stand,” <i>eçka</i>,</div> - <div class="verse indent0">It is said you have said, <i>eçka</i>,</div> - <div class="verse indent0">Aged One, <i>eçka</i>.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_142"></a>[142]</span></p> - -<h3>INTRODUCTION OF THE CHILD TO THE COSMOS (<i>Omaha</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Ho! Ye Sun, Moon, Stars, all ye that move in the heavens,</div> - <div class="verse indent4">I bid you hear me!</div> - <div class="verse indent0">Into your midst has come a new life.</div> - <div class="verse indent4">Consent ye, I implore!</div> - <div class="verse indent0">Make its path smooth, that it may reach the brow of the first hill!</div> - </div> - <div class="stanza dcap70"> - <div class="number">II</div> - <div class="verse indent0">Ho! Ye Winds, Clouds, Rain, Mist, all ye that move in the air,</div> - <div class="verse indent4">I bid ye hear me!</div> - <div class="verse indent0">Into your midst has come a new life.</div> - <div class="verse indent4">Consent ye, I implore!</div> - <div class="verse indent0">Make its path smooth, that it may reach the brow of the second hill!</div> - </div> - <div class="stanza dcap70"> - <div class="number">III</div> - <div class="verse indent0">Ho! Ye Hills, Valleys, Rivers, Lakes, Trees, Grasses, all ye of the earth,</div> - <div class="verse indent4">I bid you hear me!</div><span class="pagenum"><a id="Page_143"></a>[143]</span> - <div class="verse indent0">Into your midst has come a new life.</div> - <div class="verse indent4">Consent ye, I implore!</div> - <div class="verse indent0">Make its path smooth, that it may reach the brow of the third hill!</div> - </div> - <div class="stanza dcap70"> - <div class="number">IV</div> - <div class="verse indent0">Ho! Ye Birds, great and small, that fly in the air,</div> - <div class="verse indent0">Ho! Ye Animals, great and small, that dwell in the forest,</div> - <div class="verse indent0">Ho! Ye Insects that creep among the grasses and burrow in the ground,</div> - <div class="verse indent4">I bid you hear me!</div> - <div class="verse indent0">Into your midst has come a new life.</div> - <div class="verse indent4">Consent ye, I implore!</div> - <div class="verse indent0">Make its path smooth, that it may reach the brow of the fourth hill!</div> - </div> - <div class="stanza dcap70"> - <div class="number">V</div> - <div class="verse indent0">Ho! All ye of the heavens, all ye of the air, all ye of the earth,</div> - <div class="verse indent4">I bid you all to hear me.</div> - <div class="verse indent0">Into your midst has come a new life.</div> - <div class="verse indent4">Consent ye, consent ye all, I implore!</div> - <div class="verse indent0">Make its path smooth—then shall it travel beyond the four hills!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_144"></a>[144]</span></p> - -<h3>SONG OF TURNING THE CHILD (<i>Omaha</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <div class="number">I</div> - <img class="dropcap" src="images/dropcap-y.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">Ye four, come hither and stand, near shall ye stand;</div> - <div class="verse indent0">In four groups shall ye stand;</div> - <div class="verse indent0">Here shall ye stand, in this place stand.</div> - </div> - <div class="stanza dcap50"> - <div class="number">II</div> - <div class="verse indent0">Turned by the winds goes the one I send yonder;</div> - <div class="verse indent0">Yonder he goes who is whirled by the winds;</div> - <div class="verse indent0">Goes, where the four hills of life and the four winds are standing;</div> - <div class="verse indent0">There, in the midst of the winds do I send him,</div> - <div class="verse indent0">Into the midst of the winds, standing there.</div> - </div> - <div class="stanza dcap50"> - <div class="number">III</div> - <div class="verse indent0">Here unto you has been spoken the truth;</div> - <div class="verse indent0">Because of this truth you shall stand.</div> - <div class="verse indent0">Here, declared is the truth.</div> - <div class="verse indent0">Here in this place has been shown you the truth.</div> - <div class="verse indent0">Therefore, arise! Go forth in its strength!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_145"></a>[145]</span></p> - -<h3>SUPPLICATION OF THE TSÍZHU WASHTÁGE (<i>Osage</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-w.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Wakonda will cause the coming days to be calm and peaceful,</div> - <div class="verse indent0">The Tsízhu have called upon Wakonda to make the days calm and peaceful,</div> - <div class="verse indent0">That little ones may come to us in unbroken succession and we become a people.</div> - <div class="verse indent0">Wakonda will make the days beautiful.</div> - <div class="verse indent0">Toward the winds of the rising of the sun the days will surely be calm and peaceful.</div> - <div class="verse indent0">Toward the winds of the south Wakonda will make the days to be calm and peaceful.</div> - <div class="verse indent0">Toward the winds of the setting sun Wakonda will make the days to be calm and peaceful.</div> - <div class="verse indent0">Toward the winds of the land of cedars (the north) Wakonda will make the days to be calm and peaceful.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_146"></a>[146]</span></p> - -<h3>THE TRIBAL PRAYER (<i>Omaha</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-f.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">Father, a needy one before Thee stands.</div> - <div class="verse indent4">I am he!</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_147"></a>[147]</span></p> - -<h3>WAWAN SONG (<i>Omaha</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap50"> - <img class="dropcap" src="images/dropcap-t.jpg" width="50" height="50" alt=""> - <div class="verse dropcap">The clear sky,</div> - <div class="verse indent2">The green fruitful earth is good;</div> - <div class="verse indent0">But peace among men is better.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_148"></a>[148]</span></p> - -<h3>THE MORNING SONG (<i>Cheyenne</i>)</h3> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza dcap70"> - <img class="dropcap" src="images/dropcap-h.jpg" width="70" height="50" alt=""> - <div class="verse dropcap">He, our Father,</div> - <div class="verse indent2">He hath shown His mercy unto me.</div> - <div class="verse indent0">In peace I walk the straight road.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_149"></a>[149]</span></p> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_150"></a>[150]</span></p> - -<h2 class="nobreak c" id="PART_TWO">PART TWO<br> -<span class="smcap smaller">Poetic Forms in American Indian Lyrics</span></h2> - -</div> - -<p><span class="pagenum"><a id="Page_151"></a>[151]</span></p> - -<h3>POETIC FORMS IN AMERICAN INDIAN LYRICS</h3> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_152"></a>[152]</span> -an increasing number of printed studies and of -records gathered by our great museums.</p> - -<p>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 <i>thought-movement</i> of -this body of poetry before we approach the -whole subject of <i>thought-rhythm</i>, with the questions -of <i>repetition</i> and of <i>stanzaic</i> and <i>metrical -structure</i>.</p> - -<p>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 <i>Song of the -Coyote and Locust</i>; others which move in slow -processional to stately chants, as in the odes of -<i>The Night Chant</i>.</p> - -<p>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.<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a> It perceptibly -intensifies the haunting, melancholy effect in -which the lyric usually finds voice. The <i>motif</i> -appears at the opening of the song, with the -emotional intensity or emphasis gradually dying -away toward the close. This movement commonly<span class="pagenum"><a id="Page_153"></a>[153]</span> -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 -<i>pitch</i> and <i>accent</i>, as well as varying <i>quantity</i>, mark -the repetitions and lessen their monotony.</p> - -<p>As a modification of the recessional movement, -there is the poem which opens with the -<i>motif</i> 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.</p> - -<p>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.</p> - -<p>To a less extent, the processional, or forward, -thought-movement appears in lyric form. It -may progress toward an emotional climax at<span class="pagenum"><a id="Page_154"></a>[154]</span> -the end of a song or a sequence. In the songs -before sunrise, as the <i>Daylight Song</i> in <i>The Hako</i>, -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.</p> - -<p>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 -<i>Mount Koonak: A Song of Arsut</i>. In characteristics, -this type approaches the lyric which -Doctor Moulton has classified as the <i>free sonnet</i>.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_155"></a>[155]</span> -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 <i>motif</i> 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.</p> - -<p>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 <i>Mountain Song</i> and <i>The Omaha Tribal -Prayer</i> 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.</p> - -<p>The alternating rhythm offers the Indian<span class="pagenum"><a id="Page_156"></a>[156]</span> -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 <i>Katzina Songs</i> 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 <i>Invocation to the -Sun-God</i>, 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.</p> - -<p>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<span class="pagenum"><a id="Page_157"></a>[157]</span> -the rare use of parallelism. The ancient lament -of the Onondagas, preserved in <i>The Iroquois -Book of Rites</i>, remains one of the most beautifully -wrought poems of this type brought -down to our time.</p> - -<p>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 <i>The Morning Star and the New Born Dawn</i>, -from <i>The Hako</i>. 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 -<i>Song of the Horse</i> shows a studied picture, framing -each detail with repetitions; while the same -incremental use of repetition carries forward -the narrative in the <i>Navaho Rain Chant</i>.</p> - -<p>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<span class="pagenum"><a id="Page_158"></a>[158]</span> -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.</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0"><i>Noⁿ-we shka-dse, noⁿ-we shka-dse</i>;</div> - <div class="verse indent4">Ha-ha! e he tha, Ha-ha! we</div> - <div class="verse indent8">Ha-ha! e he tha.</div> - <div class="verse indent4">Ha-ha! e he tha tha. Ho-ga!</div> - <div class="verse indent0"><i>Noⁿ-we shka-dse, noⁿ-we shka-dse</i>;</div> - <div class="verse indent4">Ha-ha! e he tha.</div> - </div> -</div> -</div> - -<p class="noindent">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.</p> - -<p>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<span class="pagenum"><a id="Page_159"></a>[159]</span> -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.</p> - -<p>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 <i>Prayer of the First Dancers</i> in the Navaho -<i>Night Chant</i>. 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.</p> - -<p>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<span class="pagenum"><a id="Page_160"></a>[160]</span> -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.</p> - -<p>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 <i>The Night Chant</i>, particularly -in the internal and end rhymes. In the <i>Song -of the Meal Rubbing</i><a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[1]</a> the second element in -the internal rhyme scheme binds the lines together:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Bĭtsísi ...</div> - <div class="verse indent0">Estsanatléhisi ...</div> - <div class="verse indent0">Alkaíye ...</div> - <div class="verse indent0">Bikenagádbe ...</div> - <div class="verse indent0">Bitalataibe ...</div> - <div class="verse indent0">Bĭdatóʿbe ...</div> - <div class="verse indent0">Biselataíbe ...</div> - <div class="verse indent0">Bĭthadĭtínbe ...</div><span class="pagenum"><a id="Page_161"></a>[161]</span> - <div class="verse indent0">Bĭdetsébe ...</div> - <div class="verse indent0">Sána-nogaíbe ...</div> - <div class="verse indent0">Biké-hozóbe ...</div> - </div> -</div> -</div> - -<p class="noindent">A simpler and more characteristic internal rhyme -scheme is found in the <i>Prayer of the First Dancers</i>,<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[2]</a> -<i>aaa</i> <i>bbb</i>, in lines 14 to 21:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">... nĭkégo ...</div> - <div class="verse indent0">... nĭsklégo ...</div> - <div class="verse indent0">... niégo ...</div> - <div class="verse indent0">... nitságo ...</div> - <div class="verse indent0">... bininĭnlágo ...</div> - <div class="verse indent0">... dahitágo ...</div> - </div> -</div> -</div> - -<p class="noindent">Two further illustrations show the Navaho command -of end rhymes. In the <i>Daylight Song</i>,<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[3]</a> -there is easy inversion of pattern, <i>abba</i>:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">... dóla aní,</div> - <div class="verse indent0">... bĭźa holó,</div> - <div class="verse indent0">... bĭźa hozó,</div> - <div class="verse indent0">... hwí he inlí.</div> - </div> -</div> -</div> - -<p class="noindent">In <i>Slayer of the Alien Gods</i>,<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[4]</a> the rhyme <i>aaaaa</i> -achieves a definite tone color, rounding with a -full open syllable:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">... sĭnĭsnlígo,</div> - <div class="verse indent0">... hánatahasgo,</div> - <div class="verse indent0">... nítatahasgo,</div> - <div class="verse indent0">... ínatahasgo,</div> - <div class="verse indent0">... nínatahasgo.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_162"></a>[162]</span></p> - -<p class="noindent">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.</p> - -<p>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 <i>Dance-Song</i>:<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[1]</a></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Kive-hiu-wha-ni-ho</div> - <div class="verse indent4">Ya hi ye</div> - <div class="verse indent0">Kive-hiu-wha-ni-yo</div> - <div class="verse indent4">Ya hi ye</div> - <div class="verse indent4">Ya hi ye</div> - <div class="verse indent0">Kshi-te-ka-mo-tikʹlo</div> - <div class="verse indent4">Ya hi ye</div> - <div class="verse indent4">Ya hi ye</div> - <div class="verse indent2">Pilsh-kwe-sis-tokʹlo</div> - <div class="verse indent6">Ya hi ye</div> - <div class="verse indent2">Kshi-te-ka-mo-tikʹlo</div> - <div class="verse indent6">Ya hi ye</div> - <div class="verse indent2">Twa, twa, twa, twa!</div> - </div> -</div> -</div> - -<p class="noindent">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.<span class="pagenum"><a id="Page_163"></a>[163]</span> -Long, slow, even lines breathe the lament -of the <i>Death of Taluta</i> and the reflective cadences -of <i>Mount Koonak: A Song of Arsut</i>.</p> - -<p>The variation of the lyric line shows technical -skill. The <i>Dance-Song</i> just quoted beats out -only a simple alteration of long and short lines. -<i>The Song of the Coyote and the Locust</i> begins -with long flowing lines, but snaps off with a -gay quick ending:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Tchumali, tchumali, shohkoya,</div> - <div class="verse indent0">Tchumali, tchumali, shohkoya,</div> - <div class="verse indent0">Yaamii heeshoo taatani tchupatchiute</div> - <div class="verse indent12">Shohkoya,</div> - <div class="verse indent12">Shohkoya!</div> - </div> -</div> -</div> - -<p class="noindent">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 <i>The Song of the Rain -Chant</i>. The line of verse sweeps outward and -the thought recedes at the ebb, as clearly as -a <i>Hiroshige</i> wave crest lifts and the waters return -to their level.</p> - -<p>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<span class="pagenum"><a id="Page_164"></a>[164]</span> -interchanged with other patterns of corresponding -values. They are sometimes of amazing complexity, -yet form a compact unity of design.</p> - -<p>Few correspondences appear in the versification -of the white race; but the Indians’ use of -pitch<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[1]</a> 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.</p> - -<p>Miss Natalie Curtis once asked an Indian singer, -“Which came first, the words or the music?”</p> - -<p>“They came at the same moment,” he answered.</p> - -<p>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<span class="pagenum"><a id="Page_165"></a>[165]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_166"></a>[166]</span> -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.</p> - -<p>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 <i>e</i>, 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.</p> - -<p>The oral rendition of a poem brings us to some -unexpected turns in versification. A scholar -observes that one must have an Indian throat<span class="pagenum"><a id="Page_167"></a>[167]</span> -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.</p> - -<p>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 <i>Pledge Song</i> of the Chippewa: -<i>nín-da-ca-mi-gog</i> | <i>éya</i>. Another pattern -has the recurring metrical phrase of three, six, -and five syllables: <i>í e ba</i> | <i>bá-pi-ni-si-wa-gûn</i> | <i>gé-non-de-ci-nan</i>. -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:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">O-kú-wah-tsá, úm weh dah án,</div> - <div class="verse indent0">Hang wén bo wú u wán moon pí,</div> - <div class="verse indent0">Han wán bo hí wut di ún wéh dah án,</div> - <div class="verse indent0">É yan ne <i>yá</i> ah né yáh na án.</div> - <div class="verse indent0">Ah é yan ne yáh ah né yáh na án.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_168"></a>[168]</span></p> - -<p>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.</p> - -<p>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 <i>b</i>, <i>t</i>, <i>g</i>, and -<i>k</i> 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 <i>e-ye-e-e-e-e-e-e-e-</i>, receding in delicate -sound waves and requiring no effort in enunciation.<span class="pagenum"><a id="Page_169"></a>[169]</span> -These sound waves may occur as a scarcely -perceptible double pulsation within the long -unit, in such syllables as <i>e-ya</i>, <i>ai-ya</i>, 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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 -<i>Sunset Song</i>; the contrasting gaiety of light,<span class="pagenum"><a id="Page_170"></a>[170]</span> -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.</p> - -<p>It is not an incidental play-motif that the -Zuñi children sing in the <i>Hymn to the Sun</i>, “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.</p> - -<p>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<span class="pagenum"><a id="Page_171"></a>[171]</span> -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 <i>Lover’s Wooing</i>, the crest words -are most distinct: blanket, maiden, awaiting, -alone, walk, come. The rhythm bends to them.</p> - -<p>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.</p> - -<p>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!</p> - -<p><span class="pagenum"><a id="Page_172"></a>[172]</span></p> - -<p>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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_173"></a>[173]</span></p> - -<h2 class="nobreak" id="NOTES">NOTES</h2> - -</div> - -<p class="note"><a href="#Page_21">21.</a> Burton, Frederick. American Primitive Music. -Part II, p. 1. An interpretation. Moffat, Yard. -N. Y. 1909. (Now published by Dodd, Mead, -N. Y.)</p> - -<p class="note"><a href="#Page_22">22.</a> <i>Ibid.</i>, Part II, pp. 29-30. An interpretation. The -Princess Tsianina includes this song in her repertory.</p> - -<p class="note"><a href="#Page_23">23.</a> Troyer, Carlos. Traditional Songs of the Zuñi. -Theodore Presser. Philadelphia.</p> - -<p class="note"><a href="#Page_25">25.</a> Austin, Mary. The American Rhythm, p. 88. -Harcourt, Brace & Co., N. Y. 1923.</p> - -<p class="note"><a href="#Page_26">26.</a> Curtis, Natalie. The Indians’ Book, p. 57. Harpers. -N. Y. 1923.</p> - -<p class="note"><a href="#Page_27">27.</a> Leland, Charles G. Algonquin Legends of New England, -p. 318. Houghton, Mifflin. Boston. 1884.</p> - -<p class="note"><a href="#Page_28">28.</a> Burton, Frederick. American Primitive Music, -Part II, p. 11. An interpretation.</p> - -<p class="note"><a href="#Page_29">29.</a> Curtis, Natalie. The Indians’ Book, p. 50.</p> - -<p class="note"><a href="#Page_30">30.</a> Hale, Horatio. The Iroquois Book of Rites, -pp. 153-154. Library of Aboriginal Literature. -Philadelphia. 1883.</p> - -<p class="note"><a href="#Page_31">31.</a> Austin, Mary. Harper’s Magazine, Vol. 143, p. 78. -(June, 1921). <i>See also</i> The American Rhythm, -p. 84.</p> - -<p class="note"><a href="#Page_32">32.</a> Eastman, Charles A. Old Indian Days, p. 32. -McClure. N. Y. 1907. (Now published by Little, -Brown, Boston.)</p> - -<p><span class="pagenum"><a id="Page_174"></a>[174]</span></p> - -<p class="note"><a href="#Page_33">33.</a> Curtis, Natalie. The Indians’ Book, p. 317.</p> - -<p class="note"><a href="#Page_34">34.</a> <i>Ibid.</i>, p. 225.</p> - -<p class="note"><a href="#Page_35">35.</a> Riggs, A. L. Dakota Songs and Music: Táh-koo -Wah-kán, p. 462. Boston. 1869.</p> - -<p class="note"><a href="#Page_36">36.</a> Dorsey, J. Owen. The Cegiha Language, p. 611. -Bur. of Amer. Eth. Washington. 1890.</p> - -<p class="note"><a href="#Page_37">37.</a> 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.</p> - -<p class="note"><a href="#Page_38">38.</a> <i>Ibid.</i>, p. 73.</p> - -<p class="note"><a href="#Page_39">39.</a> Curtis, Natalie. The Indians’ Book, p. 370.</p> - -<p class="note"><a href="#Page_41">41.</a> Goddard, Pliny Earle. Myths and Tales of the -San Carlos Apache, p. 62. American Museum -of Natural History. N. Y. 1918.</p> - -<p class="note"><a href="#Page_42">42.</a> Rink, Henry. Tales and Traditions of the Eskimo, -pp. 68-69. Blackwood. London. 1875.</p> - -<p class="note"><a href="#Page_43">43.</a> Cushing, Frank. Zuñi Folk Tales, p. 255. Putnam’s. -N. Y. 1901.</p> - -<p class="note"><a href="#Page_44">44.</a> Powell, James. Mythology of North American Indians, -p. 23. Bur. of Amer. Eth. Washington. 1881.</p> - -<p class="note"><a href="#Page_45">45.</a> Curtis, Natalie. The Indians’ Book, p. 462.</p> - -<p class="note"><a href="#Page_46">46.</a> Fletcher, Alice C. The Hako, p. 303. Bur. of -Amer. Eth. Washington. 1904.</p> - -<p class="note"><a href="#Page_47">47.</a> <i>Ibid.</i>, pp. 305-306.</p> - -<p class="note"><a href="#Page_48">48.</a> <i>Ibid.</i>, p. 342.</p> - -<p class="note"><a href="#Page_49">49.</a> Curtis, Natalie. The Indians’ Book, p. 317.</p> - -<p class="note"><a href="#Page_50">50.</a> Densmore, Frances. Chippewa Music II, p. 254. -Bur. of Amer. Eth. Washington. 1913.</p> - -<p class="note"><a href="#Page_51">51.</a> Converse, Harriet Maxwell. Myths and Legends -of the New York State Iroquois, pp. 180-183. -New York State Museum. 1908.</p> - -<p><span class="pagenum"><a id="Page_175"></a>[175]</span></p> - -<p class="note"><a href="#Page_56">56.</a> 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.</p> - -<p class="note"><a href="#Page_57">57.</a> Curtis, Natalie. The Indians’ Book, pp. 365-366.</p> - -<p class="note"><a href="#Page_59">59.</a> Matthews, Washington. Navaho Legends, p. 27. -Houghton, Mifflin. N. Y. 1877. For the American -Folk Lore Society.</p> - -<p class="note"><a href="#Page_60">60.</a> Corbin, Alice. Red Earth, pp. 27-28, with note -on p. 57. R. F. Seymour. Chicago. 1920.</p> - -<p class="note"><a href="#Page_62">62.</a> Curtis, Natalie. The Indians’ Book, p. 432.</p> - -<p class="note"><a href="#Page_63">63.</a> <i>Ibid.</i>, p. 431.</p> - -<p class="note"><a href="#Page_64">64.</a> <i>Ibid.</i>, p. 432.</p> - -<p class="note"><a href="#Page_65">65.</a> <i>Ibid.</i>, p. 484-485.</p> - -<p class="note"><a href="#Page_66">66.</a> <i>Ibid.</i>, p. 483.</p> - -<p class="note"><a href="#Page_67">67.</a> <i>Ibid.</i>, p. 485.</p> - -<p class="note"><a href="#Page_68">68.</a> <i>Ibid.</i>, p. 479. Muyinga is the god of germination -and growth.</p> - -<p class="note"><a href="#Page_69">69.</a> Stevenson, Matilda Coxe. The Sia, p. 124. Bur. -of Amer. Eth. Washington. 1896.</p> - -<p class="note"><a href="#Page_70">70.</a> <i>Ibid.</i>, p. 124. <i>See also</i> Mrs. Austin’s “Rain Songs -from the Rio Grande Pueblos” in The American -Rhythm, pp. 92-94.</p> - -<p class="note"><a href="#Page_71">71.</a> Russell, Frank. The Pima Indians, pp. 333-334. -Bur. of Amer. Eth. Washington. 1904-1905. -“The first songs ever sung to bring rain. <i>Ho-oni</i> -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.”</p> - -<p><span class="pagenum"><a id="Page_176"></a>[176]</span></p> - -<p class="note"><a href="#Page_73">73.</a> <i>Ibid.</i>, 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:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">“Darkness of evening falls” and</div> - <div class="verse indent0">“Blue evening drops”;</div> - </div> - <div class="stanza"> - <div class="verse indent0">“The white light of day dawn</div> - <div class="verse indent0">Yet finds us singing” and</div> - <div class="verse indent0">“The white dawn rises.”</div> - </div> -</div> -</div> - -<p class="note-sub">In stanzas III and IV, when the phrase <i>Hitciya -yahina-a</i> 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.</p> - -<p class="note"><a href="#Page_75">75.</a> 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.</p> - -<p class="note-sub">Line 5. The thunder.</p> - -<p class="note-sub">Line 17. The tail of the pheasant.</p> - -<p class="note"><a href="#Page_77">77.</a> Curtis, Natalie. The Indians’ Book, p. 489.</p> - -<p class="note"><a href="#Page_78">78.</a> Troyer, Carlos. Traditional Songs of the Zuñi -Indians. Lines 1 and 2, 8 and 9, 15, 20, and -21 are given as echo calls.</p> - -<p class="note"><a href="#Page_79">79.</a> <i>Ibid.</i></p> - -<p class="note"><a href="#Page_82">82.</a> <i>Ibid.</i></p> - -<p class="note"><a href="#Page_83">83.</a> <i>Ibid.</i></p> - -<p><span class="pagenum"><a id="Page_177"></a>[177]</span></p> - -<p class="note"><a href="#Page_84">84.</a> 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.</p> - -<p class="note"><a href="#Page_85">85.</a> Matthews, Washington. The Mountain Chant, -p. 463. Bur. of Amer. Eth. Washington. 1887.</p> - -<p class="note"><a href="#Page_86">86.</a> Matthews, Washington. Navaho Myths, Prayers, -and Songs, pp. 27-28. University of California -Publications, vol. V, no. 2. <i>Beauty</i> is synonymous -with <i>happiness</i> in the Navaho songs.</p> - -<p class="note"><a href="#Page_87">87.</a> Fletcher, Alice C. The Hako, p. 323.</p> - -<p class="note"><a href="#Page_88">88.</a> <i>Ibid.</i>, p. 324.</p> - -<p class="note"><a href="#Page_89">89.</a> <i>Ibid.</i>, pp. 322-323.</p> - -<p class="note"><a href="#Page_91">91.</a> <i>Ibid.</i>, p. 330.</p> - -<p class="note"><a href="#Page_92">92.</a> Leland, Charles G. The Algonquin Legends of -New England, p. 379.</p> - -<p class="note"><a href="#Page_93">93.</a> Barbeau, C. M. Huron and Wyandot Mythology, -pp. 318-321. Dept. of Mines. Geological -Survey, Ottawa, Canada. 1915.</p> - -<p class="note-sub">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.</p> - -<p class="note-sub">Line 5. The spirit world.</p> - -<p class="note-sub">Line 6. <i>Our Grandmother</i> 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<span class="pagenum"><a id="Page_178"></a>[178]</span> -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.</p> - -<p class="note"><a href="#Page_95">95.</a> Goddard, Pliny Earle. From the literal translation -of Song V, The Masked Dancers of the -Apache, Holmes Anniversary Volume, pp. 134-136.</p> - -<p class="note"><a href="#Page_96">96.</a> <i>Ibid.</i>, Song III, p. 134.</p> - -<p class="note"><a href="#Page_97">97.</a> Russell, Frank. The Pima Indians, p. 280.</p> - -<p class="note-sub">“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.</p> - -<p class="note"><a href="#Page_98">98.</a> <i>Ibid.</i>, p. 274.</p> - -<p class="note-sub">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.</p> - -<p class="note"><a href="#Page_99">99.</a> Matthews, Washington. Navaho Myths, Prayers, -and Songs, p. 61.</p> - -<p class="note"><a href="#Page_101">101.</a> Matthews, Washington. The Night Chant, pp. -280-281. Amer. Mus. of Nat. Hist. N. Y. 1902.</p> - -<p class="note"><a href="#Page_102">102.</a> <i>Ibid.</i>, pp. 279-280.</p> - -<p><span class="pagenum"><a id="Page_179"></a>[179]</span></p> - -<p class="note"><a href="#Page_103">103.</a> Curtis, Natalie. The Indians’ Book, pp. 361-362.</p> - -<p class="note"><a href="#Page_104">104.</a> <i>Ibid.</i>, pp. 357-358. Sung to consecrate the hogans, -or dwellings, of the gods; and in later times, -to consecrate the hogans of the Navahos.</p> - -<p class="note"><a href="#Page_107">107.</a> <i>Ibid.</i>, pp. 363-364.</p> - -<p class="note"><a href="#Page_109">109.</a> Matthews, Washington. The Night Chant, p. 140.</p> - -<p class="note"><a href="#Page_110">110.</a> 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.</p> - -<p class="note"><a href="#Page_114">114.</a> Matthews, Washington. The Night Chant, p. 81.</p> - -<p class="note"><a href="#Page_116">116.</a> Curtis, Natalie. The Indians’ Book, p. 352.</p> - -<p class="note"><a href="#Page_117">117.</a> Curtis, Natalie. The Indians’ Part in the Dedication -of the New Museum, pp. 31-32. Art -and Archæology, vol. VII.</p> - -<p class="note"><a href="#Page_119">119.</a> Curtis, Edward S. The North American Indian, -vol. I, p. 37. The North American Indian, -Inc. N. Y. 1907. <i>Stenatliha</i>—woman without -parents—goddess of creation.</p> - -<p class="note"><a href="#Page_120">120.</a> Matthews, Washington. Navaho Legends, pp. -269-275.</p> - -<p class="note-sub">“This prayer is addressed to a mythic thunder-bird...; -but the bird is spoken of as a -male divinity.”</p> - -<p class="note"><a href="#Page_125">125.</a> Matthews, Washington. Navaho Myths, Prayers, -and Songs, pp. 47-48.</p> - -<p class="note-sub">Stanzas II, III, and IV vary chiefly in the -first two lines: the conclusion repeats four times, -“It is finished in beauty.”</p> - -<p class="note"><a href="#Page_128">128.</a> Matthews, Washington. The Mountain Chant, -p. 420.</p> - -<p><span class="pagenum"><a id="Page_180"></a>[180]</span></p> - -<p class="note"><a href="#Page_129">129.</a> Mindeleff, Cosmos. Navaho Houses, pp. 504-505. -17th Ann. Rep. Part II. Bur. of Amer. -Eth. Washington. 1898.</p> - -<p class="note"><a href="#Page_131">131.</a> Curtis, Edward S. The North American Indian, -vol. III, p. 72.</p> - -<p class="note"><a href="#Page_132">132.</a> Curtis, Natalie. The Indians’ Book, p. 53.</p> - -<p class="note"><a href="#Page_133">133.</a> Fletcher, Alice C. The Hako, pp. 319-320.</p> - -<p class="note"><a href="#Page_135">135.</a> <i>Ibid.</i>, pp. 343-344.</p> - -<p class="note"><a href="#Page_136">136.</a> Fletcher, Alice C. The Omaha Tribe, pp. 586-587. -Bur. of Amer. Eth. Washington. 1907.</p> - -<p class="note"><a href="#Page_138">138.</a> <i>Ibid.</i>, 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.”</p> - -<p class="note"><a href="#Page_142">142.</a> <i>Ibid.</i>, pp. 115-117.</p> - -<p class="note"><a href="#Page_144">144.</a> <i>Ibid.</i>, pp. 119-122.</p> - -<p class="note"><a href="#Page_145">145.</a> La Flesche, Francis. The Osage Tribe, pp. 150-151.</p> - -<p class="note"><a href="#Page_146">146.</a> Fletcher, Alice C. The Omaha Tribe, p. 130. <i>See -also</i> A Study of Omaha Indian Music, p. 39. -Archæological and Ethnological Papers, Peabody -Museum, Harvard University. Vol. I, no. 5.</p> - -<p class="note"><a href="#Page_147">147.</a> The Omaha Tribe, p. 394.</p> - -<p class="note"><a href="#Page_148">148.</a> 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.</p> - -<p class="note" id="Footnote_1"><a href="#Page_152">152.</a> The recessional movement appears in <i>The Song -of a Wolf</i> in Miss Densmore’s Teton-Sioux Music, -p. 190. Bulletin 61. Bur. of Amer. Eth. Washington. -1918.</p> - -<p><span class="pagenum"><a id="Page_181"></a>[181]</span></p> - -<p class="note"><a href="#Page_154">154.</a> Moulton, Richard G. Literary Introductions: -Modern Readers’ Bible, pp. 1457-1458.</p> - -<p class="note" id="Footnote_2"><a href="#Page_160">160-1.</a> Matthews, Washington. (1) The Night Chant, -pp. 282-283. <span id="Footnote_3">(2)</span> Navaho Legends, p. 269.</p> - -<p class="note" id="Footnote_4"><a href="#Page_161">161.</a> Matthews, Washington. (3) The Night Chant, -pp. 294-295.</p> - -<p class="note-sub" id="Footnote_5">(4) <i>Ibid.</i>, pp. 279-280.</p> - -<p class="note" id="Footnote_6"><a href="#Page_162">162.</a> Curtis, Natalie. The Indians’ Book, p. 10.</p> - -<p class="note"><a href="#Page_163">163.</a> Cushing, Frank. Zuñi Folk Tales, p. 255.</p> - -<p class="note" id="Footnote_7"><a href="#Page_164">164.</a> 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 <i>Tiwa Language, Dialect of -Taos, New Mexico</i>, page 15. Papers of the School -of American Archæology, number 14; also in -American Anthropologist, volume 12, number -1. 1910.</p> - -<p class="note"><a href="#Page_166">166.</a> See Dr. E. W. Scripture’s discussion of oral -verse, <i>Die Verskunst und die experimental Phonetik, -Wiener Medizenische Wochenschrift</i>, 1922.</p> - -<p class="note"><a href="#Page_172">172.</a> <i>See</i> Mrs. Mary Austin’s The American Rhythm, -pp. 3-65.</p> - -<p><span class="pagenum"><a id="Page_182"></a>[182]</span></p> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_183"></a>[183]</span></p> - -<h2 class="nobreak" id="ACKNOWLEDGMENTS">ACKNOWLEDGMENTS</h2> - -</div> - -<p>Acknowledgments are due to the following persons, -societies, and companies for their courteous permission -to quote poems on which they hold the copyright:</p> - -<p class="author">Austin, Mary:</p> - -<p class="author-book">The American Rhythm, Harcourt, Brace & Co.; -Harper’s Magazine.</p> - -<p class="author">Barbeau, C. M.:</p> - -<p class="author-book">Huron and Wyandot Mythology. Dept. of -Mines, Geological Survey, Ottawa, Canada.</p> - -<p class="author">Burton, Frederick:</p> - -<p class="author-book">American Primitive Music. Moffat, Yard. Now -published by Dodd, Mead.</p> - -<p class="author">Converse, Harriet M.:</p> - -<p class="author-book">Myths and Legends of the New York State -Iroquois. New York State Museum.</p> - -<p class="author">Corbin, Alice:</p> - -<p class="author-book">Red Earth. R. F. Seymour, Chicago.</p> - -<p class="author">Curtis, Edward S.:</p> - -<p class="author-book">The North American Indian. The North American -Indian, Inc., N. Y.</p> - -<p class="author">Curtis, Natalie:</p> - -<p class="author-book">The Indians’ Book. Harper’s. (Mr. Bridgham -Curtis, executor.)</p> - -<p class="author-book">The Indians’ Part in The Dedication of The -New Museum, Art and Archæology.</p> - -<p><span class="pagenum"><a id="Page_184"></a>[184]</span></p> - -<p class="author">Cushing, Frank:</p> - -<p class="author-book">Zuñi Folk Tales. G. P. Putnam’s Sons.</p> - -<p class="author">Densmore, Frances:</p> - -<p class="author-book">Chippewa Music. Bureau of American Ethnology.</p> - -<p class="author">Dorsey, J. Owen:</p> - -<p class="author-book">The Ȼegiha Language. Bureau of American Ethnology.</p> - -<p class="author">Eastman, Charles A.:</p> - -<p class="author-book">Old Indian Days: McClure. Now published -by Little, Brown.</p> - -<p class="author">Fletcher, Alice C.:</p> - -<p class="author-book">The Hako; The Omaha Tribe. Bureau of American -Ethnology.</p> - -<p class="author-book">A Study of Omaha Indian Music. Peabody -Museum, Harvard.</p> - -<p class="author">Goddard, Pliny Earle:</p> - -<p class="author-book">Gotal, a Mescalero Apache Ceremony, Putnam -Anniversary Volume.</p> - -<p class="author-book">The Masked Dancers of the Apache, Holmes -Anniversary Volume.</p> - -<p class="author-book">Myths and Tales of the San Carlos Apache. -American Museum of Natural History.</p> - -<p class="author">Hale, Horatio:</p> - -<p class="author-book">The Iroquois Book of Rites. Library of Aboriginal -Literature, Philadelphia. (Mrs. Daniel -Brinton.)</p> - -<p class="author">La Flesche, Francis:</p> - -<p class="author-book">The Osage Tribe. Bureau of American Ethnology.</p> - -<p class="author">Leland, Charles G.:</p> - -<p class="author-book">Algonquin Legends of New England. Houghton, -Mifflin.</p> - -<p><span class="pagenum"><a id="Page_185"></a>[185]</span></p> - -<p class="author">Lummis, Charles:</p> - -<p class="author-book">The Land of Poco Tiempo. Chas. Scribner’s Sons.</p> - -<p class="author">Matthews, Dr. Washington:</p> - -<p class="author-book">Navaho Legends. Houghton, -Mifflin (for Amer. Folk-Lore Society).</p> - -<p class="author-book">The Mountain Chant. Bur. Amer. Eth.</p> - -<p class="author-book">The Night Chant. Amer. Mus. Nat. Hist.</p> - -<p class="author-book">Navaho Myths, Prayers, and Songs. Univ. of -Cal.</p> - -<p class="author">Mindeleff, Cosmos:</p> - -<p class="author-book">Navaho Houses. Bur. of Amer. Ethnology.</p> - -<p class="author">Powell, James:</p> - -<p class="author-book">Mythology of North American Indians. Bur. -Amer. Ethnology.</p> - -<p class="author">Riggs, A. L.:</p> - -<p class="author-book">Dakota Songs and Music: Táh-koo Wah-kán. -Boston. 1869.</p> - -<p class="author">Rink, Henry:</p> - -<p class="author-book">Tales and Traditions of the Eskimo. Blackwood. -London. 1875.</p> - -<p class="author">Russell, Frank:</p> - -<p class="author-book">The Pima Indians. Bur. Amer. Eth.</p> - -<p class="author">Spinden, Herbert J.:</p> - -<p class="author-book">Home Songs of the Tewa. Amer. Mus. of Nat. -Hist.</p> - -<p class="author">Stevenson, Matilda:</p> - -<p class="author-book">The Sia. Bur. Amer. Eth.</p> - -<p class="author">Troyer, Carlos:</p> - -<p class="author-book">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.</p> - -<p><span class="pagenum"><a id="Page_186"></a>[186]</span></p> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_187"></a>[187]</span></p> - -<h2 class="nobreak" id="INDEX">INDEX</h2> - -</div> - -<ul> - -<li class="ifrst">Algonquin, <i>The Bride’s Song</i>, <a href="#Page_27">27</a>;</li> -<li class="isub1"><i>The Song of the Stars</i>, <a href="#Page_92">92</a></li> - -<li class="indx"><i>Anga Katzina Song</i>, <a href="#Page_66">66</a></li> - -<li class="indx">Apache, <i>Medicine Song</i>, <a href="#Page_119">119</a>;</li> -<li class="isub1"><i>Song of the Masked Dancers</i>, <a href="#Page_95">95</a>;</li> -<li class="isub1"><i>Song of the Masked Dancers III</i>, <a href="#Page_96">96</a></li> - -<li class="indx">Apache, Mescalero, <i>A Song of Gotal LIII</i>, <a href="#Page_84">84</a></li> - -<li class="indx">Apache, San Carlos, <i>A Song of the Deer Ceremony</i>, <a href="#Page_41">41</a></li> - -<li class="indx"><i>Atsalei Yedadigles</i>, <a href="#Page_109">109</a></li> - -<li class="indx">Austin, Mary, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_7">7-12</a>, <a href="#Page_25">25</a>, <a href="#Page_31">31</a>, <a href="#Page_172">172</a></li> - -<li class="ifrst">Barbeau, C. M., <a href="#Page_93">93-94</a></li> - -<li class="indx"><i>Birth of Dawn, The</i>, <a href="#Page_89">89-90</a></li> - -<li class="indx"><i>Bluebird Song</i>, <a href="#Page_34">34</a></li> - -<li class="indx"><i>Bride’s Song, The</i>, <a href="#Page_27">27</a></li> - -<li class="indx">Burton, Frederick, <a href="#Page_21">21-22</a>, <a href="#Page_28">28</a></li> - -<li class="ifrst">Ȼegiha, <i>The Song of Ukiabi</i>, <a href="#Page_36">36</a></li> - -<li class="indx">Cheyenne, <i>The Morning Song</i>, <a href="#Page_148">148</a></li> - -<li class="indx" id="Chippewa">Chippewa, <i>see</i> <a href="#Ojibwa">Ojibwa</a>, <i>A Song of Spring</i>, <a href="#Page_50">50</a>, <a href="#Page_168">168</a></li> - -<li class="indx">Converse, Harriet Maxwell, <a href="#Page_51">51-55</a></li> - -<li class="indx">Corbin, Alice, <a href="#Page_60">60-61</a></li> - -<li class="indx"><i>Corn Song</i>, <a href="#Page_71">71-72</a></li> - -<li class="indx"><i>Corn Dance Song</i>, <a href="#Page_64">64</a></li> - -<li class="indx"><i>Corn Grinding Song</i>, <a href="#Page_45">45</a>, <a href="#Page_60">60-61</a>, <a href="#Page_63">63</a></li> - -<li class="indx"><i>Coyote and the Locust, The</i>, <a href="#Page_43">43</a>, <a href="#Page_152">152</a>, <a href="#Page_163">163</a></li> - -<li class="indx">Curtis, Edward S., <a href="#Page_119">119</a>, <a href="#Page_131">131</a></li> - -<li class="indx">Curtis, Natalie, <a href="#Page_6">6</a>, <a href="#Page_26">26</a>, <a href="#Page_29">29</a>, <a href="#Page_33">33-34</a>, <a href="#Page_39">39</a>, <a href="#Page_45">45</a>, <a href="#Page_49">49</a>, <a href="#Page_57">57</a>, <a href="#Page_62">62-68</a>, <a href="#Page_77">77</a>, <a href="#Page_103">103-108</a>, <a href="#Page_110">110-113</a>, <a href="#Page_116">116-118</a>, <a href="#Page_132">132</a>, <a href="#Page_148">148</a>, <a href="#Page_162">162</a></li> - -<li class="indx">Cushing, Frank, <a href="#Page_43">43</a>, <a href="#Page_163">163</a></li> - -<li class="ifrst">Dakota, <i>Holy Song</i>, <a href="#Page_132">132</a>;</li> -<li class="isub1"><i>Love Song</i>, <a href="#Page_26">26</a>;</li> -<li class="isub1"><i>Song of the Unhappy Wife</i>, <a href="#Page_35">35</a>;</li> -<li class="isub1"><i>War Song</i>, <a href="#Page_29">29</a></li> - -<li class="indx"><i>Darkness Song, The</i>, <a href="#Page_51">51-55</a></li> - -<li class="indx"><i>Daylight</i>, <a href="#Page_88">88</a></li> - -<li class="indx"><i>Death of Taluta, The</i>, <a href="#Page_32">32</a>, <a href="#Page_163">163</a></li> - -<li class="indx"><i>Dedication of a New House</i>, <a href="#Page_129">129-130</a></li> - -<li class="indx">Densmore, Frances, <a href="#Page_50">50</a></li> - -<li class="indx">Dorsey, J. Owen, <a href="#Page_36">36</a></li> - -<li class="ifrst"><i>Eagle Song, The</i>, <a href="#Page_55">55</a></li> - -<li class="indx">Eastman, Chas. A., <a href="#Page_32">32</a></li> - -<li class="indx"><i>Emergence Song</i>, <a href="#Page_97">97</a></li> - -<li class="indx">Eskimo, <i>Mount Koonak; a Song of Arsut</i>, <a href="#Page_42">42</a></li> - -<li class="ifrst"><i>First Daylight Song</i>, <a href="#Page_85">85</a>, <a href="#Page_154">154</a></li> - -<li class="indx">Fletcher, Alice Cunningham, <a href="#Page_6">6</a>, <a href="#Page_46">46-48</a>, <a href="#Page_87">87-91</a>, <a href="#Page_133">133-144</a>, <a href="#Page_146">146-147</a></li> - -<li class="indx"><i>Flute Song</i>, <a href="#Page_77">77</a></li> - -<li class="ifrst">Goddard, Pliny Earle, <a href="#Page_41">41</a>, <a href="#Page_84">84</a>, <a href="#Page_95">95-96</a></li> - -<li class="ifrst"><i>Hako, The</i>, <a href="#Page_87">87-88</a></li> - -<li class="indx">Hale, Horatio, <a href="#Page_30">30</a></li> - -<li class="indx">Harrington, John Peabody, <a href="#Page_164">164</a></li> - -<li class="indx"><span class="pagenum"><a id="Page_188"></a>[188]</span><i>He-hea Katzina Song</i>, <a href="#Page_67">67</a></li> - -<li class="indx"><i>Her Shadow</i>, <a href="#Page_22">22</a></li> - -<li class="indx"><i>Holy Song</i>, <a href="#Page_132">132</a></li> - -<li class="indx">Hopi, <i>Anga Katzina Song</i>, <a href="#Page_66">66</a>;</li> -<li class="isub1"><i>Flute Song</i>, <a href="#Page_77">77</a>;</li> -<li class="isub1"><i>He-hea Katzina Song</i>, <a href="#Page_67">67</a>;</li> -<li class="isub1"><i>Korasta Katzina Song</i>, <a href="#Page_65">65</a>;</li> -<li class="isub1">Wuwuchim Chant, <a href="#Page_68">68</a></li> - -<li class="indx"><i>Hunting Song</i>, <a href="#Page_39">39-40</a></li> - -<li class="indx"><i>Hymn to the Sun</i>, <a href="#Page_79">79-81</a>, <a href="#Page_170">170</a></li> - -<li class="ifrst"><i>Introduction of the Child to the Cosmos</i>, <a href="#Page_142">142-143</a></li> - -<li class="indx"><i>Invitation Song, The</i>, <a href="#Page_52">52</a></li> - -<li class="indx"><i>Invocation to the Sun-God</i>, <a href="#Page_83">83</a>, <a href="#Page_156">156</a></li> - -<li class="indx"><i>Invocation of the Game</i>, <a href="#Page_117">117-118</a></li> - -<li class="indx"><i>Invoking the Visions</i>, <a href="#Page_133">133-134</a></li> - -<li class="indx"><i>Iroquois Book of Rites</i>, <a href="#Page_11">11</a>, <a href="#Page_30">30</a>, <a href="#Page_157">157</a></li> - -<li class="indx">Iroquois, <i>The Darkness Song</i>, <a href="#Page_51">51-55</a>;</li> -<li class="isub1"><i>The Invitation Song</i>, <a href="#Page_52">52</a>;</li> -<li class="isub1"><i>Onondaga Hymn</i>, <a href="#Page_11">11</a>, <a href="#Page_30">30</a>, <a href="#Page_157">157</a></li> - -<li class="ifrst"><i>Ka-ni-ga Song</i>, <a href="#Page_44">44</a></li> - -<li class="indx"><i>Katzina Song</i>, <a href="#Page_66">66-67</a></li> - -<li class="indx">Kiowa, <i>Wind Song</i>, <a href="#Page_33">33</a>, <a href="#Page_171">171</a></li> - -<li class="indx"><i>Korasta Katzina Song</i>, <a href="#Page_65">65</a></li> - -<li class="ifrst">La Flesche, Francis, <a href="#Page_56">56</a>, <a href="#Page_145">145</a></li> - -<li class="indx">Laguna Pueblo, <i>Corn Grinding Song II</i>, <a href="#Page_45">45</a></li> - -<li class="indx"><i>Lament of a Man For His Son</i>, <a href="#Page_10">10</a>, <a href="#Page_31">31</a></li> - -<li class="indx">Leland, Charles G., <a href="#Page_27">27</a>, <a href="#Page_92">92</a></li> - -<li class="indx"><i>Lonely</i>, <a href="#Page_28">28</a></li> - -<li class="indx"><i>Love Song</i>, <a href="#Page_26">26</a></li> - -<li class="indx"><i>Lover’s Lament, A</i>, <a href="#Page_37">37</a></li> - -<li class="indx"><i>Lover’s Wooing</i>, or <i>Blanket Song</i>, <a href="#Page_23">23-24</a>, <a href="#Page_171">171</a></li> - -<li class="indx">Lummis, Charles, <a href="#Page_75">75-76</a></li> - -<li class="ifrst">Maliseet, <i>Dance Song</i>, <a href="#Page_162">162</a></li> - -<li class="indx">Matthews, Washington, <a href="#Page_6">6</a>, <a href="#Page_59">59</a>, <a href="#Page_85">85-86</a>, <a href="#Page_99">99-102</a>, <a href="#Page_109">109</a>, <a href="#Page_114">114-115</a>, <a href="#Page_120">120-128</a>, <a href="#Page_161">161</a></li> - -<li class="indx"><i>Medicine Song</i>, <a href="#Page_119">119</a>, <a href="#Page_136">136-137</a></li> - -<li class="indx"><i>Metate Song, A</i>, <a href="#Page_75">75-76</a></li> - -<li class="indx">Meter, <a href="#Page_163">163-171</a></li> - -<li class="indx">Mindeleff, Cosmos, <a href="#Page_129">129-130</a></li> - -<li class="indx"><i>Morning Song, The</i>, <a href="#Page_148">148</a></li> - -<li class="indx"><i>Morning Star and the New Born Dawn, The</i>, <a href="#Page_87">87</a>, <a href="#Page_157">157</a></li> - -<li class="indx"><i>Mount Koonak: a Song of Arsut</i>, <a href="#Page_42">42</a>, <a href="#Page_154">154</a>, <a href="#Page_163">163</a></li> - -<li class="indx"><i>Mountain Song</i>, <a href="#Page_115">115-116</a></li> - -<li class="indx"><i>Mountain Songs</i>, <a href="#Page_111">111-113</a></li> - -<li class="indx"><i>My Bark Canoe</i>, <a href="#Page_21">21</a></li> - -<li class="indx"><i>My Home Over There</i>, <a href="#Page_38">38</a></li> - -<li class="ifrst">Navaho, <i>Atsalei Yedadigles</i>, <a href="#Page_109">109</a>;</li> -<li class="isub1"><i>Dedication of a New House</i>, <a href="#Page_129">129-130</a>;</li> -<li class="isub1"><i>First Daylight Song</i>, <a href="#Page_85">85</a>, <a href="#Page_154">154</a>;</li> -<li class="isub1"><i>Hunting Song</i>, <a href="#Page_39">39-40</a>;</li> -<li class="isub1"><i>Mountain Song</i>, <a href="#Page_115">115</a>, <a href="#Page_116">116</a>;</li> -<li class="isub1"><i>Mountain Songs</i>, <a href="#Page_111">111-113</a>;</li> -<li class="isub1"><i>Prayer of the First Dancers</i>, <a href="#Page_120">120-124</a>;</li> -<li class="isub1"><i>Prayer of the Second Day of the Night Chant</i>, <a href="#Page_125">125-127</a>;</li> -<li class="isub1"><i>Prayer to Dsilyi Neyáni</i>, <a href="#Page_128">128</a>;</li> -<li class="isub1"><i>Protection Song</i>, <a href="#Page_99">99-100</a>;</li> -<li class="isub1"><i>Song of the Dawn Boy</i>, <a href="#Page_86">86</a>;</li> -<li class="isub1"><i>Song of the Hogans</i>, <a href="#Page_104">104-106</a>;</li> -<li class="isub1"><i>Song of the Horse</i>, <a href="#Page_103">103</a>;</li> -<li class="isub1"><i>Song of Nayenezgani I</i>, <a href="#Page_101">101</a>;</li> -<li class="isub1"><i>Song of Nayenezgani II</i>, <a href="#Page_102">102</a>;</li> -<li class="isub1"><i>Song of the Rain Chant</i>, <a href="#Page_57">57-58</a>, <a href="#Page_157">157</a>;</li> -<li class="isub1"><i>The Voice That Beautifies the Land</i>, <a href="#Page_59">59</a>;</li> -<li class="isub1"><i>War-Song</i>, <a href="#Page_107">107-108</a></li> - -<li class="ifrst" id="Ojibwa">Ojibwa, <i>see</i> <a href="#Chippewa">Chippewa</a>;</li> -<li class="isub1"><i>Her Shadow</i>, <a href="#Page_22">22</a>;</li> -<li class="isub1"><i>Lonely</i>, <a href="#Page_28">28</a>;</li> -<li class="isub1"><i>My Bark Canoe</i>, <a href="#Page_21">21</a></li> - -<li class="indx">Omaha, <i>Introduction of the Child to the Cosmos</i>, <a href="#Page_142">142-143</a>;</li> -<li class="isub1"><i>Medicine Song</i>, <a href="#Page_136">136-137</a>;</li> -<li class="isub1"><i>Song of the Primal Rock</i>, <a href="#Page_138">138-141</a>;</li> -<li class="isub1"><i>Song of Turning the Child</i>, <a href="#Page_144">144</a>;</li> -<li class="isub1"><span class="pagenum"><a id="Page_189"></a>[189]</span><i>Tribal Prayer</i>, <a href="#Page_146">146</a>, <a href="#Page_155">155</a>;</li> -<li class="isub1"><i>Wawan Song</i>, <a href="#Page_147">147</a></li> - -<li class="indx"><i>Onondaga Hymn</i>, <a href="#Page_11">11</a>, <a href="#Page_30">30</a>, <a href="#Page_157">157</a></li> - -<li class="indx">Osage, <i>The Planting Song</i>, <a href="#Page_56">56</a>;</li> -<li class="isub1"><i>Supplication of the Tsízhu Washtáge</i>, <a href="#Page_145">145</a></li> - -<li class="ifrst">Paiute, <i>The Lament of a Man For His Son</i>, <a href="#Page_10">10</a>, <a href="#Page_31">31</a></li> - -<li class="indx"><i>Papago Love Song</i>, <a href="#Page_25">25</a>;</li> -<li class="isub1"><i>Harvest Song</i>, <a href="#Page_168">168</a></li> - -<li class="indx">Pawnee, <i>The Birth of Dawn</i>, <a href="#Page_89">89-90</a>;</li> -<li class="isub1"><i>Daylight Song</i>, <a href="#Page_88">88</a>;</li> -<li class="isub1"><i>Invoking the Visions</i>, <a href="#Page_133">133-134</a>;</li> -<li class="isub1"><i>The Morning Star and The New Born Dawn</i>, <a href="#Page_87">87</a>;</li> -<li class="isub1"><i>Ritual Song</i>, <a href="#Page_48">48</a>, <a href="#Page_135">135</a>;</li> -<li class="isub1"><i>Song to the Mountains</i>, <a href="#Page_47">47</a>;</li> -<li class="isub1"><i>Song to the Pleiades</i>, <a href="#Page_91">91</a>;</li> -<li class="isub1"><i>Song to the Trees and Streams</i>, <a href="#Page_46">46</a></li> - -<li class="indx">Pima, <i>Bluebird Song</i>, <a href="#Page_34">34</a>;</li> -<li class="isub1"><i>Corn Song</i>, <a href="#Page_71">71-72</a>;</li> -<li class="isub1"><i>Emergence Song</i>, <a href="#Page_97">97</a>;</li> -<li class="isub1"><i>Rain Songs</i>, <a href="#Page_73">73-74</a>;</li> -<li class="isub1"><i>Warning of the Flood</i>, <a href="#Page_98">98</a>;</li> -<li class="isub1"><i>Wind Song</i>, <a href="#Page_49">49</a></li> - -<li class="indx"><i>Planting Song, The</i>, <a href="#Page_56">56</a></li> - -<li class="indx">Powell, James, <a href="#Page_44">44</a></li> - -<li class="indx"><i>Prayer to Dsilyi Neyáni</i>, <a href="#Page_128">128</a></li> - -<li class="indx"><i>Prayer of the Foster-Parent Chant</i>, <a href="#Page_131">131</a></li> - -<li class="indx"><i>Prayer of the First Dancers</i>, <a href="#Page_120">120-124</a>, <a href="#Page_159">159</a></li> - -<li class="indx"><i>Prayer of the Second Day of the Night Chant</i>, <a href="#Page_125">125-127</a></li> - -<li class="indx"><i>Protection Song</i>, <a href="#Page_99">99-100</a></li> - -<li class="ifrst"><i>Rain Songs</i>, <a href="#Page_73">73-74</a></li> - -<li class="indx"><i>Rain Song of the Snake Dance Society, A</i>, <i>I</i>, <a href="#Page_69">69</a>;</li> -<li class="isub1"><i>II</i>, <a href="#Page_70">70</a></li> - -<li class="indx">Rhyme, <a href="#Page_160">160-162</a></li> - -<li class="indx">Rhythm, <i>see</i> <i>Poetic Forms in American Indian Lyrics</i>, <a href="#Page_151">151-172</a></li> - -<li class="indx">Rigs, A. L., <a href="#Page_35">35</a></li> - -<li class="indx">Rink, Henry, <a href="#Page_42">42</a>, <a href="#Page_154">154</a></li> - -<li class="indx"><i>Ritual Song</i>, <a href="#Page_48">48</a>, <a href="#Page_135">135</a></li> - -<li class="indx">Russell, Frank, <a href="#Page_71">71-72</a>, <a href="#Page_73">73-74</a>, <a href="#Page_97">97</a>, <a href="#Page_98">98</a></li> - -<li class="ifrst">San Ildefonso Pueblo, <i>Invocation of the Game</i>, <a href="#Page_117">117-118</a></li> - -<li class="indx">Scripture, E. W., <a href="#Page_166">166</a></li> - -<li class="indx">Sia, <i>A Rain Song of the Snake Dance Society I</i>, <a href="#Page_69">69</a>;</li> -<li class="isub1"><i>II</i>, <a href="#Page_70">70</a></li> - -<li class="indx">Sioux, <i>The Death of Taluta</i>, <a href="#Page_32">32</a>, <a href="#Page_163">163</a></li> - -<li class="indx"><i>Song of the Blue-Corn Dance</i>, <a href="#Page_62">62</a></li> - -<li class="indx"><i>Song of the Dawn Boy</i>, <a href="#Page_86">86</a></li> - -<li class="indx"><i>Song of the Deer Ceremony, A</i>, <a href="#Page_41">41</a></li> - -<li class="indx"><i>Song of Gotal LIII</i>, <a href="#Page_84">84</a></li> - -<li class="indx"><i>Song of the Hogans</i>, <a href="#Page_104">104-106</a></li> - -<li class="indx"><i>Song of the Horse</i>, <a href="#Page_103">103</a>, <a href="#Page_157">157</a></li> - -<li class="indx"><i>Song of the Masked Dancers, A</i>, <a href="#Page_95">95</a>;</li> -<li class="isub1"><i>III</i>, <a href="#Page_96">96</a></li> - -<li class="indx"><i>Song of Nayenezgani I</i>, <a href="#Page_101">101</a>;</li> -<li class="isub1"><i>II</i>, <a href="#Page_102">102</a></li> - -<li class="indx"><i>Song to the Pleiades</i>, <a href="#Page_91">91</a></li> - -<li class="indx"><i>Song of the Primal Rock</i>, <a href="#Page_138">138-141</a></li> - -<li class="indx"><i>Song of the Rain Chant</i>, <a href="#Page_57">57-58</a>, <a href="#Page_163">163</a></li> - -<li class="indx"><i>Song of Spring, A</i>, <a href="#Page_50">50</a></li> - -<li class="indx"><i>Song of the Stars, The</i>, <a href="#Page_92">92</a></li> - -<li class="indx"><i>Song of Turning the Child</i>, <a href="#Page_144">144</a></li> - -<li class="indx"><i>Song to the Mountains</i>, <a href="#Page_47">47</a></li> - -<li class="indx"><i>Song to the Trees and Streams</i>, <a href="#Page_46">46</a></li> - -<li class="indx"><i>Song of Ukiabi, The</i>, <a href="#Page_36">36</a></li> - -<li class="indx"><i>Song of the Unhappy Wife</i>, <a href="#Page_35">35</a></li> - -<li class="indx">Spinden, Herbert J., <a href="#Page_37">37</a>, <a href="#Page_38">38</a></li> - -<li class="indx">Stanza, The, <a href="#Page_157">157-163</a></li> - -<li class="indx"><i>Stars Dehn-dek and Mah-oh-rah, The</i>, <a href="#Page_93">93-94</a></li> - -<li class="indx">Stevenson, Matilda Coxe, <a href="#Page_69">69</a>, <a href="#Page_70">70</a></li> - -<li class="indx"><i>Sunset Song</i>, <a href="#Page_82">82</a>, <a href="#Page_169">169</a></li> - -<li class="indx"><span class="pagenum"><a id="Page_190"></a>[190]</span><i>Supplication of the Tsízhu Washtáge</i>, <a href="#Page_145">145</a></li> - -<li class="ifrst">Tesuque Pueblo, <i>Corn Grinding Song</i>, <a href="#Page_60">60-61</a></li> - -<li class="indx">Teton-Sioux, <i>Prayer of the Foster-Parent Chant</i>, <a href="#Page_131">131</a></li> - -<li class="indx">Tewa, <i>A Lover’s Lament</i>, <a href="#Page_37">37</a>;</li> -<li class="isub1"><i>My Home Over There</i>, <a href="#Page_38">38</a></li> - -<li class="indx">Thought-movement, <a href="#Page_152">152-154</a></li> - -<li class="indx">Thought-rhythm, <a href="#Page_9">9-10</a>, <a href="#Page_154">154-157</a></li> - -<li class="indx">Troyer, Carlos, <a href="#Page_23">23</a>, <a href="#Page_78">78</a>, <a href="#Page_79">79-81</a>, <a href="#Page_82">82</a>, <a href="#Page_83">83</a></li> - -<li class="ifrst"><i>Voice That Beautifies the Land, The</i>, <a href="#Page_59">59</a></li> - -<li class="ifrst"><i>War Song</i>, <a href="#Page_29">29</a>, <a href="#Page_107">107-108</a></li> - -<li class="indx"><i>Warning of the Flood, The</i>, <a href="#Page_98">98</a></li> - -<li class="indx"><i>Wawan Song</i>, <a href="#Page_147">147</a></li> - -<li class="indx"><i>Wind Song</i>, <a href="#Page_33">33</a>, <a href="#Page_49">49</a>, <a href="#Page_171">171</a></li> - -<li class="indx"><i>Wuwuchim Chant</i>, <a href="#Page_68">68</a></li> - -<li class="indx">Wyandot, <i>The Stars Dehn-dek and Mah-oh-rah</i>, <a href="#Page_93">93-94</a></li> - -<li class="ifrst">Zuñi, <i>Corn Dance Song</i>, <a href="#Page_64">64</a>;</li> -<li class="isub1"><i>Corn Grinding Song</i>, <a href="#Page_63">63</a>;</li> -<li class="isub1"><i>The Coyote and the Locust</i>, <a href="#Page_43">43</a>;</li> -<li class="isub1"><i>Hymn to the Sun</i>, <a href="#Page_79">79-81</a>;</li> -<li class="isub1"><i>Invocation to the Sun-God</i>, <a href="#Page_83">83</a>, <a href="#Page_156">156</a>;</li> -<li class="isub1"><i>Lover’s Wooing</i>, or <i>The Blanket Song</i>, <a href="#Page_23">23-24</a>;</li> -<li class="isub1"><i>The Song of the Blue-Corn Dance</i>, <a href="#Page_62">62</a>;</li> -<li class="isub1"><i>The Sunrise Call</i>, <a href="#Page_78">78</a>;</li> -<li class="isub1"><i>Sunset Song</i>, <a href="#Page_82">82</a></li> - -</ul> - -<div style='display:block; 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