The prayer is addressed to the Black, Red, Blue, and White Ravens, their location at the four cardinal points not being specified, excepting in the case of the white raven of Wahilĭ, which, as already stated, is said to be a mountain in the south, and hence is used figuratively to mean the south. The ravens are each in turn declared to have put the disease into a crevice in Sanigalagi—the Cherokee name of Whiteside Mountain, at the head of Tuckasegee River, in North Carolina, and used figuratively for any high precipitous mountain—and to have left no more than a trace upon the ground where it has been. The adjective translated "evolute" (udanhĭ) is of frequent occurrence in the formulas, but has no exact equivalent in English. It signifies springing into being or life from an embryonic condition. In this instance it would imply that whatever object the enemy has put into the body of the sick man has there developed into a ghost to trouble him.

The directions are expressed in a rather vague manner, as is the case with most of A'y[n]ini's attempts at original composition. The disease is here called by another name, agi'liya unitl[n]g[n]ĭ, signifying "when they are painfully sick." The treatment consists in sucking the part most affected, the doctor having in his mouth during the operation the blossoms of Tsl-agay[n]lĭ (Nicotiana rustica), Kanasla (wild parsnip,) and Tsliyusti Usdiga (Lobelia inflata.) The first and last of these names signify "tobacco" and "tobacco-like," while the other seems to contain the same word, tsla, and the original idea may have been to counteract the witchcraft by the use of the various species of "tobacco," the herb commonly used to drive away a witch or wizard. During the sucking process four red beads lie near upon a piece of (white) cloth, which afterward becomes the perquisite of the doctor. Though not explicitly stated, it is probable that the doctor holds in his mouth a decoction of the blossoms named, rather than the blossoms themselves. On withdrawing his mouth from the spot and ejecting the liquid into a bowl, it is expected that there will be found "mixed" with it a small stick, a pebble, an insect, or something of the kind, and this the shaman then holds up to view as the cause of the disease. It is afterward buried a "hand's length" (awhil)[12] deep in the mud. No directions were given as to diet or tabu.

[Footnote 12: This word, like the expression "seven days," frequently has a figurative meaning. Thus the sun is said to be seven awhil above the earth.]

HUNTING.

GN´HIL[n]TA UG[n]WA'LĬ.

Unalelŭ eskiskal'tasĭ. Iskwalelŭ eskiskal'tasĭ. Y! Ela-Kanatĭ tsldahĭst[n], tswatsila ast[n] detsatasiga. Ts'skwlĭ udanisă'testĭ, ugwalaga uduyahetidegestĭ. Sunsiya-gw udanisă'testĭ, ts'sulti-gw niges[n]na.

Hĭkay[n]lĭ Gigage-gg, tsinetsĭ ges[n] aw'stitegestĭ. Tsăst utatiyĭ, ngwa tsăs't gas'hisă'tĭ atisgestĭ. Ha-ngwa n[n]n tsusdi tutanawa-teg diganawat[n]ta atisgestĭ. Utalĭ udanhĭ ugwalaga g[n]watuyahĭtitegestĭ, hĭlahiy[n]ta-gw [w]ust'stĭ niges[n]na. D'stiskwlĭ deudnisă'testĭ. Y!

Translation.

CONCERNING HUNTING.

Give me the wind. Give me the breeze. Y! O Great Terrestrial Hunter, I come to the edge of your spittle where you repose. Let your stomach cover itself; let it be covered with leaves. Let it cover itself at a single bend, and may you never be satisfied.

And you, O Ancient Red, may you hover above my breast while I sleep. Now let good (dreams?) develop; let my experiences be propitious. Ha! Now let my little trails be directed, as they lie down in various directions(?). Let the leaves be covered with the clotted blood, and may it never cease to be so. You two (the Water and the Fire) shall bury it in your stomachs. Y!

Explanation.

This is a hunting formula, addressed to the two great gods of the hunter, Fire and Water. The evening before starting the hunter "goes to water," as already explained, and recites the appropriate formula. In the morning he sets out, while still fasting, and travels without eating or drinking until nightfall. At sunset he again goes to water, reciting this formula during the ceremony, after which he builds his camp fire, eats his supper and lies down for the night, first rubbing his breast with ashes from the fire. In the morning he starts out to look for game.

"Give me the wind," is a prayer that the wind may be in his favor, so that the game may not scent him. The word rendered here "Great Terrestrial Hunter," is in the original "Ela-Kanatĭ." In this ela is the earth and kanatĭ is a term applied to a successful hunter. The great Kanatĭ, who, according to the myth, formerly kept all the game shut up in his underground caverns, now dwells above the sky, and is frequently invoked by hunters. The raven also is often addressed as Kanatĭ in these hunting formulas. Ela-Kanatĭ, the Great Terrestrial Hunter—as distinguished from the other two—signifies the river, the name referring to the way in which the tiny streams and rivulets search out and bring down to the great river the leaves and dbris of the mountain forests. In formulas for medicine, love, the ball play, etc., the river is always addressed as the Long Person (Y[n]wĭ Gnahita). The "spittle" referred to is the foam at the edge of the water. "Let your stomach be covered with leaves" means, let the blood-stained leaves where the stricken game shall fall be so numerous as to cover the surface of the water. The hunter prays also that sufficient game may be found in a single bend of the river to accomplish this result without the necessity of searching through the whole forest, and to that end he further prays that the river may never be satisfied, but continually longing for more. The same idea is repeated in the second paragraph. The hunter is supposed to feed the river with blood washed from the game. In like manner he feeds the fire, addressed in the second paragraph as the "Ancient Red," with a piece of meat cut from the tongue of the deer. The prayer that the fire may hover above his breast while he sleeps and brings him favorable dreams, refers to his rubbing his breast with ashes from his camp fire before lying down to sleep, in order that the fire may bring him dream omens of success for the morrow. The Fire is addressed either as the Ancient White or the Ancient Red, the allusion in the first case being to the light or the ashes of the fire; in the other case, to the color of the burning coals. "You two shall bury it in your stomachs" refers to the blood-stained leaves and the piece of meat which are cast respectively into the river and the fire. The formula was obtained from A'y[n]inĭ, who explained it in detail.

HIĂ TSISKWA GANHILIDASTI YĬ.

Tsĭgĕ! Hĭkay[n]l-Unega, tslthist[n] glithĭstaniga. Ngwa tsdant talehĭsaniga. Sgwa ignsiya ts'skwlĭ udnisatestĭ, ts'sultĭ niges[n]na. Wane(ĭ) tigigage(ĭ) talikanĕliga. [U][n]talĭ udanhĭ tsăgista'tĭ.

Hĭkay[n]l-Unega, anuya uwtatgĭ agistĭ tătsiskltanelhĭ. [U][n]talĭ udan tetlskewsiga.

Hĭkay[n]l-Unega, n[n]na(hĭ) kanatĭ skwatetstaniga. Unigwal[n]gĭ tegat[n]tsiga. N[n](hĭ) kanatĭ tatikiy[n]gwitawatisestĭ. Unigwal[n]gĭ tig[n]wattsanhĭ.

Hĭkay[n]l-Unega, Kanatĭ, sksalattitegestĭ, sa'kani ginut'tĭ niges[n]na. Sgĕ!

Translation.

THIS IS FOR HUNTING BIRDS.

Listen! O Ancient White, where you dwell in peace I have come to rest. Now let your spirit arise. Let it (the game brought down) be buried in your stomach, and may your appetite never be satisfied. The red hickories have tied themselves together. The clotted blood is your recompense.

O Ancient White, *** Accept the clotted blood (?)

O Ancient White, put me in the successful hunting trail. Hang the mangled things upon me. Let me come along the successful trail with them doubled up (under my belt). It (the road) is clothed with the mangled things.

O Ancient White, O Kanati, support me continually, that I may never become blue. Listen!

Explanation.

This formula, from A'y[n]inĭ's manuscript, is recited by the bird-hunter in the morning while standing over the fire at his hunting camp before starting out for the day's hunt. A'y[n]inĭ stated that seven blowgun arrows are first prepared, including a small one only a "hand-length" (awhil) long. On rising in the morning the hunter, standing over the fire, addresses it as the "Ancient White." rubbing his hands together while repeating the prayer. He then sets out for the hunting ground, where he expects to spend the day, and on reaching it he shoots away the short arrow at random, without attempting to trace its flight. There is of course some significance attached to this action and perhaps an accompanying prayer, but no further information upon this point was obtainable. Having shot away the magic arrow, the hunter utters a peculiar hissing sound, intended to call up the birds, and then goes to work with his remaining arrows. On all hunting expeditions it is the regular practice, religiously enforced, to abstain from food until sunset.

A favorite method with the bird-hunter during the summer season is to climb a gum tree, which is much frequented by the smaller birds on account of its berries, where, taking up a convenient position amid the branches with his noiseless blowgun and arrows, he deliberately shoots down one bird after another until his shafts are exhausted, when he climbs down, draws out the arrows from the bodies of the birds killed, and climbs up again to repeat the operation. As the light darts used make no sound, the birds seldom take the alarm, and are too busily engaged with the berries to notice their comrades dropping to the ground from time to time, and pay but slight attention even to the movements of the hunter.

The prayer is addressed to the Ancient White (the Fire), the spirit most frequently invoked by the hunter, who, as before stated, rubs his hands together over the fire while repeating the words. The expressions used are obscure when taken alone, but are full of meaning when explained in the light of the hunting customs. The "clotted blood" refers to the bloodstained leaves upon which the fallen game has lain. The expression occurs constantly in the hunting formulas. The hunter gathers up these bloody leaves and casts them upon the fire, in order to draw omens for the morrow from the manner in which they burn. A part of the tongue, or some other portion of the animal, is usually cast upon the coals also for the same purpose. This subject will be treated at length in a future account of the hunting ceremonies.

"Let it be buried in your stomach" refers also to the offering made the fire. By the red hickories are meant the strings of hickory bark which the bird hunter twists about his waist for a belt. The dead birds are carried by inserting their heads under this belt. Red is, of course, symbolic of his success. "The mangled things" (unigwal[n]gĭ) are the wounded birds. Kanatĭ is here used to designate the fire, on account of its connection with the hunting ceremonies.

INAGĔHĬ AYSTI[n]YĬ.

Usĭnuliyu Selagwtsĭ Gigageĭ gets[n]neliga tsdandgihĭ aye'liyu, usĭnuliyu. Y!

Translation.

TO SHOOT DWELLERS IN THE WILDERNESS.

Instantly the Red Selagwtsĭ strike you in the very center of your soul—instantly. Y!

Explanation.

This short formula, obtained from 'wanita, is recited by the hunter while taking aim. The bowstring is let go—or, rather, the trigger is pulled—at the final Y! He was unable to explain the meaning of the word selagwtsĭ further than that it referred to the bullet. Later investigation, however, revealed the fact that this is the Cherokee name of a reed of the genus Erianthus, and the inference follows that the stalk of the plant was formerly used for arrow shafts. Red implies that the arrow is always successful in reaching the mark aimed at, and in this instance may refer also to its being bloody when withdrawn from the body of the animal. Inagĕhĭ, "dwellers in the wilderness," is the generic term for game, including birds, but A'wanita has another formula intended especially for deer.

(Y´NA TĬKANGITA.)

He+! Hayuyahaniwă, hayuyahaniwă, hayuyahaniwă, hayuyahaniwă. Tsistuyi nehanduyan, Tsistuyi nehanduyan—Yoho+! He+! Hayuyahaniwă, hayuyahaniwă, hayuyahaniwă, hayuyahaniwă. Kuwhi nehanduyan, Kuwhi nehanduyan—Yoho+! He+! Hayuyahaniwă, hayuyahaniwă, hayuyahaniwă, hayuyahaniwă. Uy'ye nehanduyan, Uyaye nehahduyan—Yoho+! He+! Hayuyahaniwă, hayuyahaniwă, hayuyahaniwă, hayuyahaniwă. Gtekw(hĭ) nehanduyan, Gtekw(hĭ) nehanduyan—Yoho+! lĕ-'n asĕhĭ tadeyastatakhĭ g[n]nage asttsĭkĭ.

Translation.

BEAR SONG.

He! Hayuyahaniwă, hayuyahaniwă, hayuyahaniwă, hayuyahaniwă. In Rabbit Place you were conceived (repeat)—Yoho+! He! Hayuyahaniwă, hayuyahaniwă, hayuyahaniwă, hayuyahaniwă. In Mulberry Place you were conceived (repeat)—Yoho+! He! Hayuyahaniwă, hayuyahaniwă, hayuyahaniwă, hayuyahaniwă. In Uy'yĕ you were conceived (repeat)—Yoho+! He! Hayuyahaniwă, hayuyahaniwă, hayuyahaniwă, hayuyahaniwă. In the Great Swamp (?) you were conceived (repeat)—Yoho+! And now surely we and the good black things, the best of all, shall see each other.

Explanation.

This song, obtained from A'y[n]inĭ in connection with the story of the Origin of the Bear, as already mentioned, is sung by the bear hunter, in order to attract the bears, while on his way from the camp to the place where he expects to hunt during the day. It is one of those taught the Cherokees by the Ani-Tskahĭ before they lost their human shape and were transformed into bears. The melody is simple and plaintive.

The song consists of four verses followed by a short recitation. Each verse begins with a loud prolonged He+! and ends with Yoho+! uttered in the same manner. Hayuyahaniwă has no meaning. Tsistuyĭ, Kuwhĭ, Uy'yĕ, and Gtekwhĭ are four mountains, in each of which the bears have a townhouse and hold a dance before going into their dens for the winter. The first three named are high peaks in the Smoky Mountains, on the Tennessee line, in the neighborhood of Clingman's Dome and Mount Guyot. The fourth is southeast of Franklin, North Carolina, toward the South Carolina line, and may be identical with Fodderstack Mountain. In Kuwahi dwells the great bear chief and doctor, in whose magic bath the wounded bears are restored to health. They are said to originate or be conceived in the mountains named, because these are their headquarters. The "good black things" referred to in the recitation are the bears.

HIĂ ATS'TIYĬ TSUNTAN.

Sgĕ! Ngwa hitsat[n]ganiga hitsigatugĭ. Titsilawis[n]hĭ [u]wgi'lĭ tegetsts'g'lawĭstĭ. Tsulistanal lĕ waktĭ, agistĭ uneka its[n]yatanilĭstaniga. G[n]watuhwĭt n[n]nhĭ degndltsidhestĭ. [u]Whisnahĭ tigiwatsila. Tutseg'lawistĭtegestĭ. [n]talĭ deg[n]watanhĭ, uhisa'tĭ niges[n]na. Tsuwatsila dadl'tsiga. A'y A'y[n]inĭ tigwadita. Y!

Translation.

THIS IS FOR CATCHING LARGE FISH.

Listen! Now you settlements have drawn near to hearken. Where you have gathered in the foam you are moving about as one. You Blue Cat and the others, I have come to offer you freely the white food. Let the paths from every direction recognize each other. Our spittle shall be in agreement. Let them (your and my spittle) be together as we go about. They (the fish) have become a prey and there shall be no loneliness. Your spittle has become agreeable. I am called Swimmer. Y!

Explanation.

This formula, from A'y[n]inĭs' book, is for the purpose of catching large fish. According to his instructions, the fisherman must first chew a small piece of Yugwil (Venus' Flytrap—Diona muscipula) and spit it upon the bait and also upon the hook. Then, standing facing the stream, he recites the formula and puts the bait upon the hook. He will be able to pull out a fish at once, or if the fish are not about at the moment they will come in a very short time.

The Yugwil is put upon the bait from the idea that it will enable the hook to attract and hold the fish as the plant itself seizes and holds insects in its cup. The root is much prized by the Cherokees for this purpose, and those in the West, where the plant is not found, frequently send requests for it to their friends in Carolina.

The prayer is addressed directly to the fish, who are represented as living in settlements. The same expression as has already been mentioned is sometimes used by the doctors in speaking of the tsgya or worms which are supposed to cause sickness by getting under the skin of the patient. The Blue Cat (Amiurus, genus) is addressed as the principal fish and the bait is spoken of as the "white food," an expression used also of the viands prepared at the feast of the green corn dance, to indicate their wholesome character. "Let the paths from every direction recognize each other," means let the fishes, which are supposed to have regular trails through the water, assemble together at the place where the speaker takes his station, as friends recognizing each other at a distance approach to greet each other, [u]Whisnahĭ tigiwatsila, rendered "our spittle shall be in agreement," is a peculiar archaic expression that can not be literally translated. It implies that there shall be such close sympathy between the fisher and the fish that their spittle shall be as the spittle of one individual. As before stated, the spittle is believed to exert an important influence upon the whole physical and mental being. The expression "your spittle has become agreeable" is explained by A'y[n]inĭ as an assertion or wish that the fish may prove palatable, while the words rendered "there shall be no loneliness" imply that there shall be an abundant catch.

LOVE.

(Y[n]WĔHĬ UG[n]WA'LĬ I.)

Ku! Sgĕ! Alahiyĭ tsl'dhistĭ, Higĕ'ya tsl'diyĭ, hat[n]ganiga. Elahiyĭ iy[n]ta ditsl'dahistĭ, Higĕ'ya Tsnega. Tsisa'tĭ niges[n]na. Tsduhiyĭ. Ngwa-skĭnĭ usĭnuliyu h[n]skwane'l[n]g tsisgaya aginega. Agisa'tĭ niges[n]na. Ngwa n[n]n, unega h[n]skwan[n]neliga. Uhisa'tĭ niges[n]na. Ngwa skwadetastaniga. Sa'kani utatĭ niges[n]na. N[n]n unega skiksa'[n]taneliga. Elaye'lĭ iy[n]ta skwalewistă'taniga Elatĭ ges[n] tsĭtagestĭ. Agisa'tĭ niges[n]na. Agwduhiyu. Kltste unega skiga'taniga. Uhisa'tĭ niges[n]na, g[n]kwatstitegestĭ. Tsi-sa'kani agwătatĭ niges[n]na. Usĭnuliyu h[n]skwane'l[n]g.

Ha-ngwlĕ Elahiyĭ iy[n]tă dhiyane'l[n]g a'gĕ'ya sa'kani. Ngwa n[n]nhĭ sa'kani h[n]tane'laneliga. Uhisa'tĭ-gw udan dudusagĭ tanelasĭ. N[n]nhĭ sa'kani tadetstaniga. Ngwlĕ h[n]hiyats[n]taniga. Elatĭ ges[n] tl'taniga. Dedulask[n]-gw ig[n]wa'lawĭstĭ uhisa'tiyĭ widayela'niga. Dedulask[n]-gw ig[n]wa'lawĭstĭ uhisa'tiyĭ nit[n]neliga.

Ha-sgwahiyu itsilastalagĭ + + uwăsahiyu, etsane'laneliga. Agisa'tĭ niges[n]na. Agwduhĭ. Ay agwadantgĭ aye'liyu d'ka'lanilĭ dudant, uktah[n]stĭ niges[n]na. Y[n]wĭ tsutsat[n] widudante'tĭ niges[n]na, nit[n]neliga. Sgwahĭ itsilastalagĭ, etsane'laneliga klkwgi-nasĭ iglst'lĭ gegane'lan[n].

Anisgaya anewadis[n] unihisa'tiyĭ. Tsunadaneiltiyĭ. Dĭla-gw deg[n]wănatseg'lawisdideg. Ayiseta-gw udan. Tsunadaneiltiyĭ. Utsetsti-gw deg[n]wănatseg'lawisdideg. Tsunadaneiltiyĭ. Kaga-gw deg[n]wănatseg'awisdideg. Tsunadaneiltiyĭ. Dal'ka-gw deg[n]wănatseg'lawisdideg.

Klkwgĭ iglstalagĭ unihisa'tiyu. Igeski-gw niges[n]na. Ayiseta-gw udan deg[n]wănatsn'ti-deg. K'si-gw deg[n]wănatsn'ti-deg. Ayagg tsisgaya aginega [n]gwane'lanhĭ + + N[n]dg[n]yĭ ititsa ditsidga. Agisa'tĭ niges[n]na. Agwduhiyu. Tsi-sa'kanĭ agwătatĭ niges[n]na. Kltste unega [n]nitagg gkwatsnti-deg. Agisă'tĭ niges[n]na. Ay agwadantgĭ aye'liyu glasiga tsdant, uktah[n]stĭ niges[n]na. Ay tsĭgĭ tsdanta 0 0. Sgĕ!

Translation.

CONCERNING LIVING HUMANITY (LOVE).

K! Listen! In Alahiyĭ you repose, O Terrible Woman, O you have drawn near to hearken. There in Elahiyĭ you are at rest, O White Woman. No one is ever lonely when with you. You are most beautiful. Instantly and at once you have rendered me a white man. No one is ever lonely when with me. Now you have made the path white for me. It shall never be dreary. Now you have put me into it. It shall never become blue. You have brought down to me from above the white road. There in mid-earth (mid-surface) you have placed me. I shall stand erect upon the earth. No one is ever lonely when with me. I am very handsome. You have put me into the white house. I shall be in it as it moves about and no one with me shall ever be lonely. Verily, I shall never become blue. Instantly you have caused it to be so with me.

And now there in Elahiyĭ you have rendered the woman blue. Now you have made the path blue for her. Let her be completely veiled in loneliness. Put her into the blue road. And now bring her down. Place her standing upon the earth. Where her feet are now and wherever she may go, let loneliness leave its mark upon her. Let her be marked out for loneliness where she stands.

Ha! I belong to the (Wolf) ( + + ) clan, that one alone which was allotted into for you. No one is ever lonely with me. I am handsome. Let her put her soul the very center of my soul, never to turn away. Grant that in the midst of men she shall never think of them. I belong to the one clan alone which was allotted for you when the seven clans were established.

Where (other) men live it is lonely. They are very loathsome. The common polecat has made them so like himself that they are fit only for his company. They have became mere refuse. They are very loathsome. The common opossum has made them so like himself that they are fit only to be with him. They are very loathsome. Even the crow has made them so like himself that they are fit only for his company. They are very loathsome. The miserable rain-crow has made them so like himself that they are fit only to be with him.

The seven clans all alike make one feel very lonely in their company. They are not even good looking. They go about clothed with mere refuse. They even go about covered with dung. But I—I was ordained to be a white man. I stand with my face toward the Sun Land. No one is ever lonely with me. I am very handsome. I shall certainly never become blue. I am covered by the everlasting white house wherever I go. No one is ever lonely with me. Your soul has come into the very center of my soul, never to turn away. I—(Gatigwanasti,) (0 0)—I take your soul. Sgĕ!

Explanation.

This unique formula is from one of the loose manuscript sheets of Gatigwanasti, now dead, and belongs to the class known as Y[n]wĕhĭ or love charms (literally, concerning "living humanity"), including all those referring in any way to the marital or sexual relation. No explanation accompanies the formula, which must therefore be interpreted from analogy. It appears to be recited by the lover himself—not by a hired shaman—perhaps while painting and adorning himself for the dance. (See next two formulas.)

The formula contains several obscure expressions which require further investigation. Elahiyĭ or Alahiyĭ, for it is written both ways in the manuscript, does not occur in any other formula met with thus far, and could not be explained by any of the shamans to whom it was submitted. The nominative form may be Elahĭ, perhaps from ela, "the earth," and it may be connected with Wahĭlĭ, the formulistic name for the south. The spirit invoked is the White Woman, white being the color denoting the south.

Uhisa'tĭ, rendered here "lonely," is a very expressive word to a Cherokee and is of constant recurrence in the love formulas. It refers to that intangible something characteristic of certain persons which inevitably chills and depresses the spirits of all who may be so unfortunate as to come within its influence. Agisa'tĭ niges[n]na, "I never render any one lonely," is an intensified equivalent for, "I am the best company in the world," and to tell a girl that a rival lover is uhisa'tĭ is to hold out to her the sum of all dreary prospects should she cast in her lot with him.

The speaker, who evidently has an exalted opinion of himself, invokes the aid of the White Woman, who is most beautiful and is never uhisa'tĭ. She at once responds by making him a white—that is, a happy—man, and placing him in the white road of happiness, which shall never become blue with grief or despondency. She then places him standing in the middle of the earth, that he may be seen and admired by the whole world, especially by the female portion. She finally puts him into the white house, where happiness abides forever. The verb implies that the house shelters him like a cloak and goes about with him wherever he may go.

There is something comical in the extreme self-complacency with which he asserts that he is very handsome and will never become blue and no one with him is ever lonely. As before stated, white signifies peace and happiness, while blue is the emblem of sorrow and disappointment.

Having thus rendered himself attractive to womankind, he turns his attention to the girl whom he particularly desires to win. He begins by filling her soul with a sense of desolation and loneliness. In the beautiful language of the formula, her path becomes blue and she is veiled in loneliness. He then asserts, and reiterates, that he is of the one only clan which was allotted for her when the seven clans were established.

He next pays his respects to his rivals and advances some very forcible arguments to show that she could never be happy with any of them. He says that they are all "lonesome" and utterly loathsome—the word implies that they are mutually loathsome—and that they are the veriest trash and refuse. He compares them to so many polecats, opossums, and crows, and finally likens them to the rain-crow (cuckoo; Coccygus), which is regarded with disfavor on account of its disagreeable note. He grows more bitter in his denunciations as he proceeds and finally disposes of the matter by saying that all the seven clans alike are uhisa'tĭ and are covered with filth. Then follows another glowing panegyric of himself, closing with the beautiful expression, "your soul has come into the very center of mine, never to turn away," which reminds one forcibly of the sentiment in the German love song, "Du liegst mir im Herzen." The final expression, "I take your soul," implies that the formula has now accomplished its purpose in fixing her thoughts upon himself.

When successful, a ceremony of this kind has the effect of rendering the victim so "blue" or lovesick that her life is in danger until another formula is repeated to make her soul "white" or happy again. Where the name of the individual or clan is mentioned in these formulas the blank is indicated in the manuscript by crosses + + or ciphers 0 0 or by the word iyustĭ, "like."

HĬĂ ĂMAYĬ ĂTAWASTIYĬ KAN´HEH.

Sgĕ! Ha-ngwa usĭnuliyu hat[n]ganiga Higĕ'yaguga, tswatsila gigage tsiyela skĭnad'laniga. 0 0 digwadita. Sa'kanĭ tgwadnelhĭ. Atsan[n]gĭ gigage skwshisa'taniga. + + klstălagĭ + sa'kanĭ nutatan[n]ta. Ditun[n]ngĭ dagwlask[n]-gw deganuy'tasiga. Galn[n]tseta-gw dagwadnelidisestĭ. Sgĕ!

Translation.

THIS TELLS ABOUT GOING INTO THE WATER.

Listen! O, now instantly, you have drawn near to hearken, O Agĕ'yaguga. You have come to put your red spittle upon my body. My name is (Gatigwanasti.) The blue had affected me. You have come and clothed me with a red dress. She is of the (Deer) clan. She has become blue. You have directed her paths straight to where I have my feet, and I shall feel exultant. Listen!

Explanation.

This formula, from Gatigwanasti's book, is also of the Y[n]wĕhĭ class, and is repeated by the lover when about to bathe in the stream preparatory to painting himself for the dance. The services of a shaman are not required, neither is any special ceremony observed. The technical word used in the heading, ătawastiyĭ, signifies plunging or going entirely into a liquid. The expression used for the ordinary "going to water," where the water is simply dipped up with the hand, is ămyĭ dita'tiyĭ, "taking them to water."

The prayer is addressed to Agĕ'yaguga, a formulistic name for the moon, which is supposed to exert a great influence in love affairs, because the dances, which give such opportunities for love making, always take place at night. The shamans can not explain the meaning of the term, which plainly contains the word agĕ'ya, "woman," and may refer to the moon's supposed influence over women. In Cherokee mythology the moon is a man. The ordinary name is n[n]d, or more fully, n[n]d s[n]nyĕhĭ, "the sun living in the night," while the sun itself is designated as n[n]d igĕhĭ, "the sun living in the day."

By the red spittle of Agĕ'yaguga and the red dress with which the lover is clothed are meant the red paint which he puts upon himself. This in former days was procured from a deep red clay known as ela-wtĭ, or "reddish brown clay." The word red as used in the formula is emblematic of success in attaining his object, besides being the actual color of the paint. Red, in connection with dress or ornamentation, has always been a favorite color with Indians throughout America, and there is some evidence that among the Cherokees it was regarded also as having a mysterious protective power. In all these formulas the lover renders the woman blue or disconsolate and uneasy in mind as a preliminary to fixing her thoughts upon himself. (See next formula.)

(Y[n]WĔHĬ UG[n]WA'LĬ II.)

Y[n]wĕhĭ, y[n]wĕhĭ, y[n]wĕhĭ, y[n]wĕhĭ. Gal[n]latĭ, datsilaĭ— Y[n]wĕhĭ, y[n]wĕhĭ, y[n]wĕhĭ, y[n]wĕhĭ. N[n]dg[n]yĭ gatlaahĭ— Y[n]wĕhĭ. Ge'yaguga Gigage, tswatsila gigage tsiyela skĭnad'laniga— Y[n]wĕhĭ, y[n]wĕhĭ, y[n]wĕhĭ. Hiă-'n ataweladiyĭ kanhĕh gal[n]ltitla.

Translation.

SONG FOR PAINTING.

Y[n]wĕhĭ, y[n]wĕhĭ, y[n]wĕhĭ, y[n]wĕhĭ. I am come from above— Y[n]wĕhĭ, y[n]wĕhĭ, y[n]wĕhĭ, y[n]wĕhĭ. I am come down from the Sun Land— Y[n]wĕhĭ. O Red Agĕ'yaguga, you have come and put your red spittle upon my body— Y[n]wĕhĭ, y[n]wĕhĭ, y[n]wĕhĭ.

And this above is to recite while one is painting himself.

Explanation.

This formula, from Gatigwanasti, immediately follows the one last given, in the manuscript book, and evidently comes immediately after it also in practical use. The expressions used have been already explained. The one using the formula first bathes in the running stream, reciting at the same time the previous formula "Amyĭ Ătawastiyĭ." He then repairs to some convenient spot with his paint, beads, and other paraphernalia and proceeds to adorn himself for the dance, which usually begins about an hour after dark, but is not fairly under way until nearly midnight. The refrain, y[n]wĕhĭ, is probably sung while mixing the paint, and the other portion is recited while applying the pigment, or vice versa. Although these formula are still in use, the painting is now obsolete, beyond an occasional daubing of the face, without any plan or pattern, on the occasion of a dance or ball play.

ADALANISTA'TIYĬ. Ĭ.

Sgĕ! Ha-ngwa hat[n]ganiga nihĭ— —Tsawatsil tsĭkĭ tsĭk ay. —Hiyel tsĭkĭ tsĭk ay. —Tsăwiy tsĭkĭ tsĭk ay. —Tsnahu tsĭkĭ tsĭk ay.

Sgĕ! Ngwa hat[n]ganiga, Hĭkay[n]lige. Hiă asgaya udant tsa'tahisiga [Hĭkay[n]lige] hiyelast[n]. Tsasklhĭsti-gw niges[n]na. Dĭkanawat[n]ta-gw tstneliga. Hĭl dudantĕ'tĭ niges[n]na. Dudant dskal[n]tseliga. Astĭ dig[n]nage tagutal[n]taniga.

Translation.

TO ATTRACT AND FIX THE AFFECTIONS.

Listen! O, now you have drawn near to hearken— —Your spittle, I take it, I eat it. } —Your body, I take it, I eat it, } —Your flesh, I take it, I eat it, } Each sung four times. —Your heart, I take it, I eat it. }

Listen! O, now you have drawn near to hearken, O, Ancient One. This man's (woman's) soul has come to rest at the edge of your body. You are never to let go your hold upon it. It is ordained that you shall do just as you are requested to do. Let her never think upon any other place. Her soul has faded within her. She is bound by the black threads.

Explanation.

This formula is said by the young husband, who has just married an especially engaging wife, who is liable to be attracted by other men. The same formula may also be used by the woman to fix her husband's affections. On the first night that they are together the husband watches until his wife is asleep, when, sitting up by her side, he recites the first words: Sgĕ! Ha-ngwa hat[n]ganiga nihĭ, and then sings the next four words: Tsawatsil tsĭkĭ tsĭk ay, "Your spittle, I take it, I eat it," repeating the words four times. While singing he moistens his fingers with spittle, which he rubs upon the breast of the woman. The next night he repeats the operation, this time singing the words, "I take your body." The third night, in the same way, he sings, "I take your flesh," and the fourth and last night, he sings "I take your heart," after which he repeats the prayer addressed to the Ancient One, by which is probably meant the Fire (the Ancient White). A'y[n]inĭ states that the final sentences should be masculine, i.e., His soul has faded, etc., and refer to any would-be seducer. There is no gender distinction in the third person in Cherokee. He claimed that this ceremony was so effective that no husband need have any fears for his wife after performing it.

ADAYELIGAGTA'TĬ.

Y! Gal[n]latĭ tsl'dahistĭ, Giyagiya Sa'kani, ngwa n[n]tal[n] iy[n]ta. Tsla Sa'kani tsgist'tĭ ad[n]niga. Ngwa nidtsul'tan[n]ta, n[n]tⱥtag hisahasiga. Tanidg[n] aye'lĭ dehidsiga. Unadand dehiystaneliga. Nidugalentan[n]ta nidh[n]neliga.

Tsisgaya aginega, n[n]dg[n]yĭ ditsid'stĭ. Gnĭ st uhisa'tĭ niges[n]na. Agĕ'ya unega hiă iyustĭ glst'lĭ, iyustĭ tsdita. Udand usĭnulĭ ddatinilg[n]elĭ. N[n]dg[n]yits ddatinilugstanelĭ. Tsisgaya aginega, ditsidst[n]ĭ n'n kanatlaniga. Tsnkta tegă'lawategestĭ. Tsiyel[n] ges[n]ĭ uhisa'tĭ niges[n]na.

Translation.

FOR SEPARATION (OF LOVERS).

Y! On high you repose, O Blue Hawk, there at the far distant lake. The blue tobacco has come to be your recompense. Now you have arisen at once and come down. You have alighted midway between them where they two are standing. You have spoiled their souls immediately. They have at once become separated.

I am a white man; I stand at the sunrise. The good sperm shall never allow any feeling of loneliness. This white woman is of the Paint (iyustĭ) clan; she is called (iyustĭ) Wyĭ. We shall instantly turn her soul over. We shall turn it over as we go toward the Sun Land. I am a white man. Here where I stand it (her soul) has attached itself to (literally, "come against") mine. Let her eyes in their sockets be forever watching (for me). There is no loneliness where my body is.

Explanation.

This formula, from A'y[n]inĭ's book, is used to separate two lovers or even a husband and wife, if the jealous rival so desires. In the latter case the preceding formula, from the same source, would be used to forestall this spell. No explanation of the ceremony is given, but the reference to tobacco may indicate that tobacco is smoked or thrown into the fire during the recitation. The particular hawk invoked (giyagiya) is a large species found in the coast region but seldom met with in the mountains. Blue indicates that it brings trouble with it, while white in the second paragraph indicates that the man is happy and attractive in manner.

In the first part of the formula the speaker calls upon the Blue Hawk to separate the lovers and spoil their souls, i.e., change their feeling toward each other. In the second paragraph he endeavors to attract the attention of the woman by eulogizing himself. The expression, "we shall turn her soul over," seems here to refer to turning her affections, but as generally used, to turn one's soul is equivalent to killing him.

(ADALANĬSTĂ'TIYĬ II.)

Y! Ha-ngwa adantĭ dătssiga, ** hĭl(st'lĭ), (**) ditsa(dita). Ay 0 0 tsila(st'lĭ). Hiyela tsĭkĭ tsĭk. (Y!)

Y! Ha-ngwa adantĭ dătssiga. ** hĭl(st'lĭ), ** ditsa(dta). Ay 0 0 tswiya tsĭkĭ tsĭk. Y!

Y! Ha-ngwa adantĭ dătssiga. ** hĭl(st'lĭ) ** ditsa(dta). Ay 0 0 tswatsila tsĭkĭ tsĭk ay. Y!

Y! Ha-ngwa adantĭ dătssiga. ** hĭl(st'lĭ), ** ditsad(ita). Ay 0 0 tsnahŭ tsĭkĭ tsĭk. Y!

Sgĕ! "Ha-ngwa adantĭ dutsase, tsugalentĭ niges[n]na," tsdneĭ, Hĭkay[n]lige gal[n]latĭ. Kananĕskĭ [n]nage gal[n]latĭ (h)etsats[n]tănileĭ. Tsăniltagĭ tsks[n]tanileĭ. ** gla(st'lĭ), ** ditsad(ita). Dudantgĭ uhanilat tĭkwen[n]taniga. Klkwgĭ iglstalagĭ iy[n]ta y[n]wĭ aday[n]latawă dudnelidal[n] uhisa'tĭ niges[n]na.

Sgĕ! Ha-ngwatĭ uhisa'tĭ dutl[n]taniga. Tsnkta daskl[n]tsiga. Sgwahĭ dikta degayel[n]tsiga. Gatsa ignnugĭst udant? Ushita nudan[n]na lt[n]geta g[n]wadnelidegestĭ. Ig[n]wlsta'ti-gw duwluwa't[n]tĭ niges[n]na. Kananĕskĭ [n]nageĭ tsanildew'sestĭ adant ukt[n]lesidastĭ nigesna. Gadyustĭ tsdita adantĭ tsideatsasiga. Aya akwatseliga.

Sgĕ! Ha-ngwlĕ h[n]hat[n]gaga, Hĭkay[n]lĭ Gigage. Tsetslisĭ hiyelast[n] a'tahisiga. Adant has'g'lawĭstaniga, tsaskalhĭstĭ niges[n]na. Hĭkay[n]lige denătseg'lawĭstaniga. Agĕ'ya gĭns[n]g'lawĭstaniga udant uwahisĭsata. Dĭgĭnasklhĭstĭ niges[n]na. Y!

Hiănasgw u'tlyi-gw dĭgal[n]wistantĭ sn[n]yĭ hani'lih[n] gnasgistĭ. Ganetsĭ aye'lĭ asitadistĭ watsila, gan[n]liyetĭ aguwayenĭ andisgĭ. Siyĭ tsikanhe itsulahagw.

Translation.

TO FIX THE AFFECTIONS.

Y! Ha! Now the souls have come together. You are of the Deer (x x) clan. Your name is (x x) Aysta, I am of the Wolf (o-o) clan. Your body, I take it, I eat it. Y! Ha! Now the souls have come together. You are of the Deer clan. Your name is Aysta. I am of the Wolf clan. Your flesh I take, I eat. Y!

Y! Ha! Now the souls have come together. You are of the Deer clan. Your name is Aysta. I am of the Wolf clan. Your spittle I take, I eat. I! Y!

Y! Ha! Now the souls have come together. You are of the Deer clan. Your name is Aysta. I am of the Wolf clan. Your heart I take, I eat. Y!

Listen! "Ha! Now the souls have met, never to part," you have said, O Ancient One above. O Black Spider, you have been brought down from on high. You have let down your web. She is of the Deer clan; her name is Aysta. Her soul you have wrapped up in (your) web. There where the people of the seven clans are continually coming in sight and again disappearing (i.e. moving about, coming and going), there was never any feeling of loneliness.

Listen! Ha! But now you have covered her over with loneliness. Her eyes have faded. Her eyes have come to fasten themselves on one alone. Whither can her soul escape? Let her be sorrowing as she goes along, and not for one night alone. Let her become an aimless wanderer, whose trail may never be followed. O Black Spider, may you hold her soul in your web so that it shall never get through the meshes. What is the name of the soul? They two have come together. It is mine!

Listen! Ha! And now you have hearkened, O Ancient Red. Your grandchildren have come to the edge of your body. You hold them yet more firmly in your grasp, never to let go your hold. O Ancient One, we have become as one. The woman has put her (x x x) soul into our hands. We shall never let it go! Y!

(Directions.)—And this also is for just the same purpose (the preceding formula in the manuscript book is also a love charm). It must be done by stealth at night when they are asleep. One must put the hand on the middle of the breast and rub on spittle with the hand, they say. The other formula is equally good.

Explanation.

This formula to fix the affections of a young wife is taken from the manuscript sheets of the late Gatigwanasti. It very much resembles the other formula for the same purpose, obtained from. A'y[n]inĭ, and the brief directions show that the ceremony is alike in both. The first four paragraphs are probably sung, as in the other formula, on four successive nights, and, as explained in the directions and as stated verbally by A'y[n]inĭ, this must be done stealthily at night while the woman is asleep, the husband rubbing his spittle on her breast with his hand while chanting the song in a low tone, hardly above a whisper. The prayer to the Ancient One, or Ancient Red (Fire), in both formulas, and the expression, "I come to the edge of your body," indicate that the hands are first warmed over the fire, in accordance with the general practice when laying on the hands. The prayer to the Black Spider is a beautiful specimen of poetic imagery, and hardly requires an explanation. The final paragraph indicates the successful accomplishment of his purpose. "Your grandchildren" (tsetslisĭ) is an expression frequently used in addressing the more important deities.

MISCELLANEOUS FORMULAS.

S[n]N´YĬ ED´HĬ ESGA AST[n]TIYĬ.

Sgĕ! Uhy[n]tsyĭ gal[n]ltitla tslthistĭ, Hĭsgaya Gigageĭ, usĭnulĭ ditsaknĭ denatl[n]hisaniga Uy-igawastĭ dudantĭ. N[n]nhĭ tatunawatĭ. Usĭnulĭ dudant daniy[n]stanilĭ.

Sgĕ! Uhy[n]tlyĭ gal[n]ltitla tslthistĭ, Hĭsgaya Tĕhalu, hinaw'sŭ'ki. Ha-usĭnulĭ ngwa ditsaknĭ denatl[n]hisaniga uy-igawastĭ dudantĭ. N[n]nhĭ tătunawătĭ. Usĭnulĭ dudant danigalĭstanĭ.

Translation.

TO SHORTEN A NIGHT-GOER ON THIS SIDE.

Listen! In the Frigid Land above you repose, O Red Man, quickly we two have prepared your arrows for the soul of the Imprecator. He has them lying along the path. Quickly we two will take his soul as we go along.

Listen! In the Frigid Land above you repose, O Purple Man, ****. Ha! Quickly now we two have prepared your arrows for the soul of the Imprecator. He has them lying along the path. Quickly we two will cut his soul in two.

Explanation.

This formula, from A'y[n]inĭs' book, is for the purpose of driving away a witch from the house of a sick person, and opens up a most interesting chapter of Cherokee beliefs. The witch is supposed to go about chiefly under cover of darkness, and hence is called s[n]nyĭ edhĭ, "the night goer." This is the term in common use; but there are a number of formulistic expressions to designate a witch, one of which, uya igawastĭ, occurs in the body of the formula and may be rendered "the imprecator," i.e., the sayer of evil things or curses. As the counteracting of a deadly spell always results in the death of its author, the formula is stated to be not merely to drive away the wizard, but to kill him, or, according to the formulistic expression, "to shorten him (his life) on this side."

When it becomes known that a man is dangerously sick the witches from far and near gather invisibly about his house after nightfall to worry him and even force their way in to his bedside unless prevented by the presence of a more powerful shaman within the house. They annoy the sick man and thus hasten his death by stamping upon the roof and beating upon the sides of the house; and if they can manage to get inside they raise up the dying sufferer from the bed and let him fall again or even drag him out upon the floor. The object of the witch in doing this is to prolong his term of years by adding to his own life as much as he can take from that of the sick man. Thus it is that a witch who is successful in these practices lives to be very old. Without going into extended details, it may be sufficient to state that the one most dreaded, alike by the friends of the sick man and by the lesser witches, is the Klana-ayeliskĭ or Raven Mocker, so called because he flies through the air at night in a shape of fire, uttering sounds like the harsh croak of a raven.

The formula here given is short and simple as compared with some others. There is evidently a mistake in regard to the Red Man, who is here placed in the north, instead of in the east, as it should be. The reference to the arrows will be explained further on. Purple, mentioned in the second paragraph, has nearly the same symbolic meaning as blue, viz: Trouble, vexation and defeat; hence the Purple Man is called upon to frustrate the designs of the witch.

To drive away the witch the shaman first prepares four sharpened sticks, which he drives down into the ground outside the house at each of the four corners, leaving the pointed ends projecting upward and outward. Then, about noontime he gets ready the Tslagay[n]lĭ or "Old Tobacco" (Nicotiana rustica), with which he fills his pipe, repeating this formula during the operation, after which he wraps the pipe thus filled in a black cloth. This sacred tobacco is smoked only for this purpose. He then goes out into the forest, and returns just before dark, about which time the witch may be expected to put in an appearance. Lighting his pipe, he goes slowly around the house, puffing the smoke in the direction of every trail by which the witch might be able to approach, and probably repeating the same or another formula the while. He then goes into the house and awaits results. When the witch approaches under cover of the darkness, whether in his own proper shape or in the form of some animal, the sharpened stick on that side of the house shoots up into the air and comes down like an arrow upon his head, inflicting such a wound as proves fatal within seven days. This explains the words of the formula, "We have prepared your arrows for the soul of the Imprecator. He has them lying along the path". A'y[n]inĭ said nothing about the use of the sharpened sticks in this connection, mentioning only the tobacco, but the ceremony, as here described, is the one ordinarily used. When wounded the witch utters a groan which is heard by those listening inside the house, even at the distance of half a mile. No one knows certainly who the witch is until a day or two afterward, when some old man or woman, perhaps in a remote settlement, is suddenly seized with a mysterious illness and before seven days elapse is dead.

GAHUSTĬ AGIYAHUSA.

Sgĕ! Ha-ngwa hat[n]ganiga N[n]ya Wtigeĭ, gahustĭ tstskadĭ niges[n]na. Ha-ngwa d[n]gihyalĭ. Agiyahusa sĭkwa, haga ts[n]-n iy[n]ta dătsiwakthĭ. Tla-'ke aya akwatseliga. 0 0 digwadita.

Translation.

I HAVE LOST SOMETHING.

Listen! Ha! Now you have drawn near to hearken, O Brown Rock; you never lie about anything. Ha! Now I am about to seek for it. I have lost a hog and now tell me about where I shall find it. For is it not mine? My name is ——.

Explanation.

This formula, for finding anything lost, is so simple as to need but little explanation. Brown in this instance has probably no mythologic significance, but refers to the color of the stone used in the ceremony. This is a small rounded water-worn pebble, in substance resembling quartz and of a reddish-brown color. It is suspended by a string held between the thumb and finger of the shaman, who is guided in his search by the swinging of the pebble, which, according to their theory, will swing farther in the direction of the lost article than in the contrary direction! The shaman, who is always fasting, repeats the formula, while closely watching the motions of the swinging pebble. He usually begins early in the morning, making the first trial at the house of the owner of the lost article. After noting the general direction toward which it seems to lean he goes a considerable distance in that direction, perhaps half a mile or more, and makes a second trial. This time the pebble may swing off at an angle in another direction. He follows up in the direction indicated for perhaps another half mile, when on a third trial the stone may veer around toward the starting point, and a fourth attempt may complete the circuit. Having thus arrived at the conclusion that the missing article is somewhere within a certain circumscribed area, he advances to the center of this space and marks out upon the ground a small circle inclosing a cross with arms pointing toward the four cardinal points. Holding the stone over the center of the cross he again repeats the formula and notes the direction in which the pebble swings. This is the final trial and he now goes slowly and carefully over the whole surface in that direction, between the center of the circle and the limit of the circumscribed area until in theory, at least, the article is found. Should he fail, he is never at a loss for excuses, but the specialists in this line are generally very shrewd guessers well versed in the doctrine of probabilities.

There are many formulas for this purpose, some of them being long and elaborate. When there is reason to believe that the missing article has been stolen, the specialist first determines the clan or settlement to which the thief belongs and afterward the name of the individual. Straws, bread balls, and stones of various kinds are used in the different formulas, the ceremony differing according to the medium employed. The stones are generally pointed crystals or antique arrowheads, and are suspended as already described, the point being supposed to turn finally in the direction of the missing object. Several of these stones have been obtained on the reservation and are now deposited in the National Museum. It need excite no surprise to find the hog mentioned in the formula, as this animal has been domesticated among the Cherokees for more than a century, although most of them are strongly prejudiced against it.

HIA UNLE (ATESTIYĬ).

Yuhahi, yuhahi, yuhahi, yuhahi, yuhahi, Yuhahi, yuhahi, yuhahi, yuhahi, yuhahi—Y!

Sgĕ! Ha-ngwa hĭnah[n]ski tayĭ. Ha-tsti-gw g[n]skaih. Tstalii-gwatina halu'nĭ. Knigwatina dulaska gal[n]lati-gw wituktĭ. Wig[n]yasĕhĭsĭ. ´talĭ tsug[n]yĭ witetsatan[n][n]sĭ n[n]nhĭ tsanelagĭ degatsanawadisestĭ. Knst dutsas[n]ĭ at[n]wastĕhahĭ tstnelisestĭ. Sgĕ!

Translation.

THIS IS TO FRIGHTEN A STORM.

Yuhahi, yuhahi, yuhahi, yuhahi, yuhahi, Yuhahi, yuhahi, yuhahi, yuhahi, yuhahi—Y!

Listen! O now you are coming in rut. Ha! I am exceedingly afraid of you. But yet you are only tracking your wife. Her footprints can be seen there directed upward toward the heavens. I have pointed them out for you. Let your paths stretch out along the tree tops (?) on the lofty mountains (and) you shall have them (the paths) lying down without being disturbed, Let (your path) as you go along be where the waving branches meet. Listen!

Explanation.

This formula, from A'y[n]inĭ's book, is for driving away, or "frightening" a storm, which threatens to injure the growing corn. The first part is a meaningless song, which is sung in a low tone in the peculiar style of most of the sacred songs. The storm, which is not directly named, is then addressed and declared to be coming on in a fearful manner on the track of his wife, like an animal in the rutting season. The shaman points out her tracks directed toward the upper regions and begs the storm spirit to follow her along the waving tree tops of the lofty mountains, where he shall be undisturbed.

The shaman stands facing the approaching storm with one hand stretched out toward it. After repeating the song and prayer he gently blows in the direction toward which he wishes it to go, waving his hand in the same direction as though pushing away the storm. A part of the storm is usually sent into the upper regions of the atmosphere. If standing at the edge of the field, he holds a blade of corn in one hand while repeating the ceremony.

DANAW TSUNEDLHĬ NUNATNELITAL[n]HĬ UNALSTELTA'TANHĬ.

Hayĭ! Y! Sgĕ! Ngwa usĭnuliyu Atasu Gigageĭ hinisalataniga. Usĭnulĭ dudant unanugtsidastĭ niges[n]na. Dudant e'lawinĭ iy[n]ta ătas dig[n]nageĭ deg[n]lskwĭtahisestĭ, anetsgeta unanugistĭ niges[n]na, nitin[n]neliga. Ătas dusaladan[n]stĭ niges[n]na, nitin[n]neliga. E'lawinĭ iy[n]ta ătas [n]nage ug[n]hat [n]nage sgwa da'liyĕk'laniga unadutlgĭ. Unanugtsidastĭ niges[n]na, n[n]eliga.

Usĭnuliyu tsunadant kul'kwgine tigal[n]ltiy[n]ĭ iy[n]ta adant tegayĕ'titegestĭ. Tsunadant tsuligalĭstĭ niges[n]na dudnitegestĭ. Usĭnulĭ deni[n]eliga gal[n]latĭ iy[n]ta widul'thĭstitegestĭ. Ătas gigageĭ dĕhatag[n]yastaniga. Tsunadant tsudastnilidastĭ niges[n]na n[n]eliga. Tsunadant gal[n]latĭ iy[n]ta witĕ'titegestĭ. Tsunadant anigwalugĭ unega g[n]wanadag[n]yastitegestĭ. Sa'kanĭ udnuhĭ niges[n]na usĭnuliyu. Y!

Translation.

WHAT THOSE WHO HAVE BEEN TO WAR DID TO HELP THEMSELVES.

Hayĭ! Y! Listen! Now instantly we have lifted up the red war club. Quickly his soul shall be without motion. There under the earth, where the black war clubs shall be moving about like ball sticks in the game, there his soul shall be, never to reappear. We cause it to be so. He shall never go and lift up the war club. We cause it to be so. There under the earth the black war club (and) the black fog have come together as one for their covering. It shall never move about (i.e., the black fog shall never be lifted from them). We cause it to be so.

Instantly shall their souls be moving about there in the seventh heaven. Their souls shall never break in two. So shall it be. Quickly we have moved them (their souls) on high for them, where they shall be going about in peace. You (?) have shielded yourselves (?) with the red war club. Their souls shall never be knocked about. Cause it to be so. There on high their souls shall be going about. Let them shield themselves with the white war whoop. Instantly (grant that) they shall never become blue. Y!

Explanation.

This formula, obtained from A'wanita, may be repeated by the doctor for as many as eight men at once when about to go to war. It is recited for four consecutive nights, immediately before setting out. There is no tabu enjoined and no beads are used, but the warriors "go to water" in the regular way, that is, they stand at the edge of the stream, facing the east and looking down upon the water, while the shaman, standing behind them, repeats the formula. On the fourth night the shaman gives to each man a small charmed root which has the power to confer invulnerability. On the eve of battle the warrior after bathing in the running stream chews a portion of this and spits the juice upon his body in order that the bullets of the enemy may pass him by or slide off from his skin like drops of water. Almost every man of the three hundred East Cherokees who served in the rebellion had this or a similar ceremony performed before setting out—many of them also consulting the oracular ul[n]stĭ stone at the same time—and it is but fair to state that not more than two or three of the entire number were wounded in actual battle.

In the formula the shaman identifies himself with the warriors, asserting that "we" have lifted up the red war club, red being the color symbolic of success and having no reference to blood, as might be supposed from the connection. In the first paragraph he invokes curses upon the enemy, the future tense verb It shall be, etc., having throughout the force of let it be. He puts the souls of the doomed enemy in the lower regions, where the black war clubs are constantly waving about, and envelops them in a black fog, which shall never be lifted and out of which they shall never reappear. From the expression in the second paragraph, "their souls shall never be knocked about," the reference to the black war clubs moving about like ball sticks in the game would seem to imply that they are continually buffeting the doomed souls under the earth. The spirit land of the Cherokees is in the west, but in these formulas of malediction or blessing the soul of the doomed man is generally consigned to the underground region, while that of the victor is raised by antithesis to the seventh heaven.

Having disposed of the enemy, the shaman in the second paragraph turns his attention to his friends and at once raises their souls to the seventh heaven, where they shall go about in peace, shielded by (literally, "covered with") the red war club of success, and never to be knocked about by the blows of the enemy. "Breaking the soul in two" is equivalent to snapping the thread of life, the soul being regarded as an intangible something having length, like a rod or a string. This formula, like others written down by the same shaman, contains several evident inconsistencies both as to grammar and mythology, due to the fact that A'wanita is extremely careless with regard to details and that this particular formula has probably not been used for the last quarter of a century. The warriors are also made to shield themselves with the white war whoop, which should undoubtedly be the red war whoop, consistent with the red war club, white being the color emblematic of peace, which is evidently an incongruity. The war whoop is believed to have a positive magic power for the protection of the warrior, as well as for terrifying the foe.

The mythologic significance of the different colors is well shown in this formula. Red, symbolic of success, is the color of the war club with which the warrior is to strike the enemy and also of the other one with which he is to shield or "cover" himself. There is no doubt that the war whoop also should be represented as red. In conjuring with the beads for long life, for recovery from sickness, or for success in love, the ball play, or any other undertaking, the red beads represent the party for whose benefit the magic spell is wrought, and he is figuratively clothed in red and made to stand upon a red cloth or placed upon a red seat. The red spirits invoked always live in the east and everything pertaining to them is of the same color.

Black is always typical of death, and in this formula the soul of the enemy is continually beaten about by black war clubs and enveloped in a black fog. In conjuring to destroy an enemy the shaman uses black beads and invokes the black spirits—which always live in the west—bidding them tear out the man's soul, carry it to the west, and put it into the black coffin deep in the black mud, with a black serpent coiled above it.

Blue is emblematic of failure, disappointment, or unsatisfied desire. "They shall never become blue" means that they shall never fail in anything they undertake. In love charms the lover figuratively covers himself with red and prays that his rival shall become entirely blue and walk in a blue path. The formulistic expression, "He is entirely blue," closely approximates in meaning the common English phrase, "He feels blue." The blue spirits live in the north.

White—which occurs in this formula only by an evident error—denotes peace and happiness. In ceremonial addresses, as at the green corn dance and ball play, the people figuratively partake of white food and after the dance or the game return along the white trail to their white houses. In love charms the man, in order to induce the woman to cast her lot with his, boasts "I am a white man," implying that all is happiness where he is. White beads have the same meaning in the bead conjuring and white was the color of the stone pipe anciently used in ratifying peace treaties. The white spirits live in the south (Wahală).

Two other colors, brown and yellow, are also mentioned in the formulas. Wtigeĭ, "brown," is the term used to include brown, bay, dun, and similar colors, especially as applied to animals. It seldom occurs in the formulas and its mythologic significance is as yet undetermined. Yellow is of more frequent occurrence and is typical of trouble and all manner of vexation, the yellow spirits being generally invoked when the shaman wishes to bring down calamities upon the head of his victim, without actually destroying him. So far as present knowledge goes, neither brown nor yellow can be assigned to any particular point of the compass.

Usĭnuliyu, rendered "instantly," is the intensive form of usĭnulĭ "quickly," both of which words recur constantly in the formulas, in some entering into almost every sentence. This frequently gives the translation an awkward appearance. Thus the final sentence above, which means literally "they shall never become blue instantly," signifies "Grant that they shall never become blue", i.e., shall never fail in their purpose, and grant our petition instantly.

DIDALATLI'TĬ.

Sgĕ! Ngwa tsdantgĭ teg[n]yatawilateliga. Iyustĭ (0 0) tsilast'lĭ Iyustĭ (0 0) ditsadita. Tswatsila elawinĭ tsidhĭstaniga. Tsdantgĭ elawinĭ tsidhĭstaniga. N[n]ya g[n]nage g[n]yutl[n]taniga. Ă'nwagĭ g[n]nage g[n]yutl[n]taniga. S[n]taluga g[n]nage deg[n]yanugal[n]taniga, tsnanugistĭ niges[n]na. Ushiyĭ n[n]nhĭ witetsatan[n][n]sĭ gnes g[n]nage asahalagĭ. Tstneliga. Elawtĭ asahalagĭad[n]niga. Usĭnuliyu Ushiyĭ gltstĕ dig[n]nagestayĭ, elawti g[n]nage tidhĭstĭ wa'yanugal[n]tsiga. Gnesa g[n]age s[n]taluga g[n]nage gayutl[n]taniga. Tsdantgĭ skal[n]tsiga. Sa'kanĭ ad[n]niga. Ushita atanissetĭ, ayltsisestĭ tsdantgĭ, tsnanugistĭ niges[n]na. Sgĕ!

Translation.

TO DESTROY LIFE.

Listen! Now I have come to step over your soul. You are of the (wolf) clan. Your name is (A'y[n]inĭ). Your spittle I have put at rest under the earth. Your soul I have put at rest under the earth. I have come to cover you over with the black rock. I have come to cover you over with the black cloth. I have come to cover you with the black slabs, never to reappear. Toward the black coffin of the upland in the Darkening Land your paths shall stretch out. So shall it be for you. The clay of the upland has come (to cover you. (?)) Instantly the black clay has lodged there where it is at rest at the black houses in the Darkening Land. With the black coffin and with the black slabs I have come to cover you. Now your soul has faded away. It has become blue. When darkness comes your spirit shall grow less and dwindle away, never to reappear. Listen!

Explanation.

This formula is from the manuscript book of A'y[n]inĭ, who explained the whole ceremony. The language needs but little explanation. A blank is left for the name and clan of the victim, and is filled in by the shaman. As the purpose of the ceremony is to bring about the death of the victim, everything spoken of is symbolically colored black, according to the significance of the colors as already explained. The declaration near the end, "It has become blue," indicates that the victim now begins to feel in himself the effects of the incantation, and that as darkness comes on his spirit will shrink and gradually become less until it dwindles away to nothingness.

When the shaman wishes to destroy the life of another, either for his own purposes or for hire, he conceals himself near the trail along which the victim is likely to pass. When the doomed man appears the shaman waits until he has gone by and then follows him secretly until he chances to spit upon the ground. On coming up to the spot the shaman collects upon the end of a stick a little of the dust thus moistened with the victim's spittle. The possession of the man's spittle gives him power over the life of the man himself. Many ailments are said by the doctors to be due to the fact that some enemy has by this means "changed the spittle" of the patient and caused it to breed animals or sprout corn in the sick man's body. In the love charms also the lover always figuratively "takes the spittle" of the girl in order to fix her affections upon himself. The same idea in regard to spittle is found in European folk medicine.

The shaman then puts the clay thus moistened into a tube consisting of a joint of the Kanesla or wild parsnip, a poisonous plant of considerable importance in life-conjuring ceremonies. He also puts into the tube seven earthworms beaten into a paste, and several splinters from a tree which has been struck by lightning. The idea in regard to the worms is not quite clear, but it may be that they are expected to devour the soul of the victim as earthworms are supposed to feed upon dead bodies, or perhaps it is thought that from their burrowing habits they may serve to hollow out a grave for the soul under the earth, the quarter to which the shaman consigns it. In other similar ceremonies the dirt-dauber wasp or the stinging ant is buried in the same manner in order that it may kill the soul, as these are said to kill other more powerful insects by their poisonous sting or bite. The wood of a tree struck by lightning is also a potent spell for both good and evil and is used in many formulas of various kinds.

Having prepared the tube, the shaman goes into the forest to a tree which has been struck by lightning. At its base he digs a hole, in the bottom of which he puts a large yellow stone slab. He then puts in the tube, together with seven yellow pebbles, fills in the earth, and finally builds a fire over the spot to destroy all traces of his work. The yellow stones are probably chosen as the next best substitute for black stones, which are not always easy to find. The formula mentions "black rock," black being the emblem of death, while yellow typifies trouble. The shaman and his employer fast until after the ceremony.

If the ceremony has been properly carried out, the victim becomes blue, that is, he feels the effects in himself at once, and, unless he employs the countercharms of some more powerful shaman, his soul begins to shrivel up and dwindle, and within seven days he is dead. When it is found that the spell has no effect upon the intended victim it is believed that he has discovered the plot and has taken measures for his own protection, or that, having suspected a design against him—as, for instance, after having won a girl's affections from a rival or overcoming him in the ball play—he has already secured himself from all attempts by counterspells. It then becomes a serious matter, as, should he succeed in turning the curse aside from himself, it will return upon the heads of his enemies.

The shaman and his employer then retire to a lonely spot in the mountains, in the vicinity of a small stream, and begin a new series of conjurations with the beads. After constructing a temporary shelter of bark laid over poles, the two go down to the water, the shaman taking with him two pieces of cloth, a yard or two yards in length, one white, the other black, together with seven red and seven black beads. The cloth is the shaman's pay for his services, and is furnished by his employer, who sometimes also supplies the beads. There are many formulas for conjuring with the beads, which are used on almost all important occasions, and differences also in the details of the ceremony, but the general practice is the same in all cases. The shaman selects a bend in the river where his client can look toward the east while facing up stream. The man then takes up his position on the bank or wades into the stream a short distance, where—in the ceremonial language—the water is a "hand length" (awhil) in depth and stands silently with his eyes fixed upon the water and his back to the shaman on the bank. The shaman then lays upon the ground the two pieces of cloth, folded into convenient size, and places the red beads—typical of success and his client upon the white cloth, while the black beads—emblematic of death and the intended victim—are laid upon the black cloth. It is probable that the first cloth should properly be red instead of white, but as it is difficult to get red cloth, except in the shape of handkerchiefs, a substitution has been made, the two colors having a close mythologic relation. In former days a piece of buckskin and the small glossy, seeds of the Viper's Bugloss (Echium vulgare) were used instead of the cloth and beads. The formulistic name for the bead is snĭkta, which the priests are unable to analyze, the ordinary word for beads or coin being adl.

The shaman now takes a red bead, representing his client, between the thumb and index finger of his right hand, and a black bead, representing the victim, in like manner, in his left hand. Standing a few feet behind his client he turns toward the east, fixes his eyes upon the bead between the thumb and finger of his right hand, and addresses it as the Snĭkta Gigăgeĭ, the Red Bead, invoking blessings upon his client and clothing him with the red garments of success. The formula is repeated in a low chant or intonation, the voice rising at intervals, after the manner of a revival speaker. Then turning to the black bead in his left hand he addresses it in similar manner, calling down the most withering curses upon the head of the victim. Finally looking up he addresses the stream, under the name of Y[n]wĭ Gnahita, the "Long Person," imploring it to protect his client and raise him to the seventh heaven, where he will be secure from all his enemies. The other, then stooping down, dips up water in his hand seven times and pours it upon his head, rubbing it upon his shoulders and breast at the same time. In some cases he dips completely under seven times, being stripped, of course, even when the water is of almost icy coldness. The shaman, then stooping down, makes a small hole in the ground with his finger, drops into it the fatal black bead, and buries it out of sight with a stamp of his foot. This ends the ceremony, which is called "taking to water."

While addressing the beads the shaman attentively observes them as they are held between the thumb and finger of his outstretched hands. In a short time they begin to move, slowly and but a short distance at first, then faster and farther, often coming down as far as the first joint of the finger or even below, with an irregular serpentine motion from side to side, returning in the same manner. Should the red bead be more lively in its movements and come down lower on the finger than the black bead, he confidently predicts for the client the speedy accomplishment of his desire. On the other hand, should the black bead surpass the red in activity, the spells of the shaman employed by the intended victim are too strong, and the whole ceremony must be gone over again with an additional and larger quantity of cloth. This must be kept up until the movements of the red beads give token of success or until they show by their sluggish motions or their failure to move down along the finger that the opposing shaman can not be overcome. In the latter case the discouraged plotter gives up all hope, considering himself as cursed by every imprecation which he has unsuccessfully invoked upon his enemy, goes home and—theoretically—lies down and dies. As a matter of fact, however, the shaman is always ready with other formulas by means of which he can ward off such fatal results, in consideration, of a sufficient quantity of cloth.

Should the first trial, which takes place at daybreak, prove unsuccessful, the shaman and his client fast until just before sunset. They then eat and remain awake until midnight, when the ceremony is repeated, and if still unsuccessful it may be repeated four times before daybreak (or the following noon?), both men remaining awake and fasting throughout the night. If still unsuccessful, they continue to fast all day until just before sundown. Then they eat again and again remain awake until midnight, when the previous night's programme is repeated. It has now become a trial of endurance between the revengeful client and his shaman on the one side and the intended victim and his shaman on the other, the latter being supposed to be industriously working countercharms all the while, as each party must subsist upon one meal per day and abstain entirely from sleep until the result has been decided one way or the other. Failure to endure this severe strain, even so much as closing the eyes in sleep for a few moments or partaking of the least nourishment excepting just before sunset, neutralizes all the previous work and places the unfortunate offender at the mercy of his more watchful enemy. If the shaman be still unsuccessful on the fourth day, he acknowledges himself defeated and gives up the contest. Should his spells prove the stronger, his victim will die within seven days, or, as the Cherokees say, seven nights. These "seven nights," however, are frequently interpreted, figuratively, to mean seven years, a rendering which often serves to relieve the shaman from a very embarrassing position.

With regard to the oracle of the whole proceeding, the beads do move; but the explanation is simple, although the Indians account for it by saying that the beads become alive by the recitation of the sacred formula. The shaman is laboring under strong, though suppressed, emotion. He stands with his hands stretched out in a constrained position, every muscle tense, his breast heaving and voice trembling from the effort, and the natural result is that before he is done praying his fingers begin to twitch involuntarily and thus cause the beads to move. As before stated, their motion is irregular; but the peculiar delicacy of touch acquired by long practice probably imparts more directness to their movements than would at first seem possible.

HIĂ ANETS UG[n]WALĬ AM´YĬ DITS[n]STATĬ.

Sgĕ! Ha-ngwa ăstĭ unega aks[n]tan[n] usĭnulĭ a'nets unatsn[n]tselahĭ akta'tĭ ad[n]niga.

Iyustĭ utadta, iyustĭ tsunadita. N[n]nhĭ anitelahĕh igeskĭ niges[n]na. Dksi-gwu dedunatsg'lawateg. Da's[n] uniltsisat. Sa'kani unatisat.

N[n]nhĭ dtaduninawatĭ ay-'n digwatseliga a'nets unatsn[n]tselahĭ. Tlameh Gigageĭ sgwa dantsg'laniga. Ig[n]yĭ gal[n]l ges[n] iy[n] kan[n]lagĭ [u]whhĭstgĭ. Taline gal[n]l gesu[n] iy[n] kan[n]lagĭ [u]whhĭstgĭ. Henil dantsg'laniga. Tlama [n]nita anigwalugĭ g[n]tla'tisgestĭ, asegw niges[n]na.

Dutalĕ a'nets unatsn[n]tselahĭ saligugi-gw dedunatsg'lawĭstiteg. Elawinĭ da's[n] uniltsisat.

Tsine digal[n]latiyu[n] Săniwă Gigageĭ sgwa dantsg'laniga, asĕ'ggĭ niges[n]na. Kan[n]lagĭ [u]whhĭstgĭ n'gine digal[n]latiy[n]. Gulĭsgulĭ Sa'kani sgwa dantsg'laniga, asĕ'ggĭ niges[n]na. Kan[n]lagĭ [u]whhĭstgĭ hĭskine digal[n]latiy[n]. Tsŭtsŭ Sa'kani sgwa dantsg'laniga, asĕ'ggĭ niges[n]na.

Dutalĕ a'nets utsn[n]tselahĭ Tĭnegwa Sa'kani sgwa dantsg'laniga, igeskĭ niges[n]na. Da's[n] uniltsisat. Kan[n]lagĭ [u]whhĭstgĭ sutaline digal[n]latiy[n]. Anigstaya sgwa dantsgu'laniga, asĕ'ggĭ nigesu[n]na. Kan[n]lagĭ [u]whhĭstgĭ kl'kwgine digal[n]latiy[n]. Wtatga Sa'kani sgwa dantsg'laniga, asĕ'ggĭ niges[n]na.

Dutalĕ a'nets unatsn[n]tselahĭ, Yna dedunatsg'lawĭstaniga, igeskĭ niges[n]na. Da's[n] duniltsisat. Kan[n]lagĭ detagaskal[n]tan[n], ig[n]wlstanhi-gwdina tsuyelisti ges[n]ĭ. Akta'tĭ ad[n]niga.

Sgĕ! Ngwa t'skĭnnelĭ talădŭ iy[n]ta agwatseliga, Wătatuga Tsnega. Tsuyelistĭ ges[n]ĭ skĭnh[n]sĭ agwatseliga—kan[n]lagĭ agwatseliga. Nă'n utadta kan[n]lagĭ deduskalasiga.

Dedndag[n]yastaniga, g[n]whisnhĭ. Y!

Translation.

THIS CONCERNS THE BALL PLAY—TO TAKE THEM TO WATER WITH IT.

Listen! Ha! Now where the white thread has been let down, quickly we are about to examine into (the fate of) the admirers of the ball play.

They are of—such a (iyustĭ) descent. They are called—so and so (iyustĭ). They are shaking the road which shall never be joyful. The miserable Terrapin has come and fastened himself upon them as they go about. They have lost all strength. They have become entirely blue.

But now my admirers of the ball play have their roads lying along in this direction. The Red Bat has come and made himself one of them. There in the first heaven are the pleasing stakes. There in the second heaven are the pleasing stakes. The Pewee has come and joined them. The immortal ball stick shall place itself upon the whoop, never to be defeated.

As for the lovers of the ball play on the other side, the common Turtle has come and fastened himself upon them as they go about. Under the earth they have lost all strength.

The pleasing stakes are in the third heaven. The Red Tlăniwă has come and made himself one of them, that they may never be defeated. The pleasing stakes are in the fourth heaven. The Blue Fly-catcher has made himself one of them, that they may never be defeated. The pleasing stakes are in the fifth heaven. The Blue Martin has made himself one of them, that they may never be defeated.

The other lovers of the ball play, the Blue Mole has come and fastened upon them, that they may never be joyous. They have lost all strength.

The pleasing stakes are there in the sixth heaven. The Chimney Swift has made himself one of them, that they may never be defeated. The pleasing stakes are in the seventh heaven. The Blue Dragon-fly has made himself one of them, that they may never be defeated.

As for the other admirers of the ball play, the Bear has just come and fastened him upon them, that they may never be happy. They have lost all strength. He has let the stakes slip from his grasp and there shall be nothing left for their share.

The examination is ended.

Listen! Now let me know that the twelve are mine, O White Dragon-fly. Tell me that the share is to be mine—that the stakes are mine. As for the player there on the other side, he has been forced to let go his hold upon the stakes.

Now they are become exultant and happy. Y!

Explanation.

This formula, from the A'y[n]inĭ manuscript is one of those used by the shaman in taking the ball players to water before the game. The ceremony is performed in connection with red and black beads, as described in the formula just given for destroying life. The formulistic name given to the ball players signifies literally, "admirers of the ball play." The Tlăniwă (săniwă in the Middle dialect) is the mythic great hawk, as large and powerful as the roc of Arabian tales. The shaman begins by declaring that it is his purpose to examine or inquire into the fate of the ball players, and then gives his attention by turns to his friends and their opponents, fixing his eyes upon the red bead while praying for his clients, and upon the black bead while speaking of their rivals. His friends he raises gradually to the seventh or highest gal[n]latĭ. This word literally signifies height, and is the name given to the abode of the gods dwelling above the earth, and is also used to mean heaven in the Cherokee bible translation. The opposing players, on the other hand, are put down under the earth, and are made to resemble animals slow and clumsy of movement, while on behalf of his friends the shaman invokes the aid of swift-flying birds, which, according to the Indian belief, never by any chance fail to secure their prey. The birds invoked are the Henil or wood pewee (Contopus virens), the Tlăniwă or mythic hawk, the Gulĭsgulĭ or great crested flycatcher (Myiarchus crinitus), the Tsts or martin (Progne subis), and the Anigstaya or chimney swift (Chtura pelasgia). In the idiom of the formulas it is said that these "have just come and are sticking to them" (the players), the same word (dantsglani'ga) being used to express the devoted attention of a lover to his mistress. The Watatuga, a small species of dragon-fly, is also invoked, together with the bat, which, according to a Cherokee myth, once took sides with the birds in a great ball contest with the four-footed animals, and won the victory for the birds by reason of his superior skill in dodging. This myth explains also why birds, and no quadrupeds, are invoked by the shaman to the aid of his friends. In accordance with the regular color symbolism the flycatcher, martin, and dragon-fly, like the bat and the tlăniwă, should be red, the color of success, instead of blue, evidently so written by mistake. The white thread is frequently mentioned in the formulas, but in this instance the reference is not clear. The twelve refers to the number of runs made in the game.

* * * * * * * * *

Errata for Sacred Formulas:

Missing or superfluous quotation marks have been silently corrected.

... while closely watching the motions ... [original has "the / the" at line break] formulas obtained from Tsiskwa, Awanita, and / Takwtihi [error for Takwatihĭ?] Sgĕ! Ha-ngwa h[n]hat[n]ganiga [all parentheses in this paragraph shown as printed] (hetsatsa[n]taniga [mismatched parenthesis in original]

* * * * * * * * * * * * * *

INDEX. Page. A.

Abnaki, population 48 Achastlians, Lamanon's vocabulary of the 75 Acoma, a Keresan dialect 83 population 83 Adair, James, quoted on Choctaw villages 40 Adaizan family 45-48 Adaizan and Caddoan languages compared 46 Adam, Lucien, on the Taensa language 96 Agriculture, effect of, on Indian population 38 region to which limited 41 extent of practice of, by Indian tribes 42 Aht division of Wakashan family 129, 130 Ahtena tribe of Copper River 53 population 55 Ai-yan, population 55 Akansa, or Quapaw tribe 113 Akoklako, or Lower Cootenai 85 Aleutian Islanders belong to Eskimauan family 73 population 75 Algonquian family 47-51 list of tribes 48 population 48 habitat of certain western tribes of 113 Alibamu, habitat and population 95 Alsea, habitat 134 Al-ta-tin, population 55 Angel de la Guardia Island, occupied by Yuman tribes 138 Apache, habitat 54 population 56 Apalaches, supposed by Gallatin to be the Yuchi 126 Apalachi tribe 95 Arapaho, habitat 48, 109 population 48 Arikara, habitat 60 population 62 Arizona, work in XVIII, XXV-XXVIII Assinaboin, habitat 115 population 117 Atfalati, population 82 Athapascan family 51-56 Atnah tribe, considered distinct from Salish by Gallatin 103 Attacapan family 56-57 Attakapa language reputed to be spoken by the Karankawa 82 Auk, population 87 A'wanita, or Young Deer, Cherokee formulas furnished by 316 Ayasta, Cherokee manuscript obtained from 313 A'y[n]inĭ, or Swimmer, Cherokee manuscripts obtained from 310-312

B.

Baffin Land, Eskimo population 75 Bancroft, George, linguistic literature 13 cited on Cherokee habitat 78, 79 Bancroft, Hubert H., linguistic literature 24 Bandelier, A. F., on the Keres 83 Bannock, former habitat 108 population 110 Bartlett, John R., cited on Lipan and Apache habitat 54 the Pima described by 98 Barton, B. S., comparison of Iroquois and Cheroki 77 Bathing in medical practice of Cherokees, 333-334, 335-336 Batts on Tutelo habitat in 1671 114 Bellacoola, population 105, 131 Bellomont, Earl of, cited on the Tutelo 114 Beothukan family 57-58 Berghaus, Heinrich, linguistic literature 16 Bessels, Emil, acknowledgments 73 Biloxi, a Siouan tribe 112 early habitat 114 present habitat 116 population 118 Birch-bark records and songs of the Midɇwiwin 286-289 Bleeding, practice of among the Cherokees 334-335 Blount, on Cherokee and Chickasaw habitat 79 Boas, Franz, cited on Chimakum habitat 62 on population of Chimmesyan tribes 64 on the middle group of Eskimo 73 on population of Baffin Land Eskimo 75 Salishan researches 104 Haida researches 120 Wakashan researches 129 on the habitat of the Haeltzuk 130 Boundaries of Indian tribal lands, difficulty of fixing 43-44 Bourgemont on the habitat of the Comanche 109 Brinton, D. G., cited on Haumont's Taensa grammar 96 cited on relations of the Pima language 99 cited on linguistic value of Indian records 318 Buschmann, Johann C. E., linguistic literature 18, 19 on the Kiowa language 84 on the Pima language 99 on Shoshonean families 109 regards Shoshonean and Nahuatlan families as one 140

C.

Cabea de Vaca, mention of Atayos by 46 Caddoan and Adaizan languages compared 46 Caddoan family 58-62 Caddoan. See Southern Caddoan. Calapooya, population 82 California, aboriginal game laws in 42 Calispel population 105 Calumet, ceremonial use of, among Algonkian tribes 153 "Carankouas," a part of Attacapan family 57 Carib, affinities of Timuquana with 123 Carmel language of Mofras 102 Cartier, Jacques, aborigines met by 58, 77-78 Catawba, habitat 112, 114, 116 population 118 Catawba Killer, Cherokee formulas furnished by 316 Cathlascon tribes, Scouler on 81 Caughnawaga, population 80 Cayuga, population 80 Cayuse, habitat and population 127, 128 Central Eskimo, population 75 Champlain, S. de, cited 78 Charlevoix on the derivation of "Iroquois" 77 Chehalis, population 105 Chemehuevi, habitat and population 110 Cherokees, habitat and population 78-80 paper on Sacred Formulas of, by James Mooney 301-397 bathing, rubbing, and bleeding in medical practice of 333-336 manuscripts of, containing sacred, medical, and other formulas, character and age of 307-318 medical practice of, list of plants used in 324-327 medicine dance of 337 color symbolism of 342-343 gods of, and their abiding places 340-342 religion of 319 Cherokee Sacred Formulas, notice of paper on XXXIX-XL language of 343-344 specimens of 344-397 for rheumatism 345-351 for snake bite 351-353 for worms 353-356 for neuralgia 356-359 for fever and ague 359-363 for child birth 363-364 for biliousness 365-366 for ordeal diseases 367-369 for hunting and fishing 369-375 for love 375-384 to kill a witch 384-386 to find something 386-387 to prevent a storm 387-388 for going to war 388-391 for destroying an enemy 391-395 for ball play 395-397 Cheyenne tribe, habitat 48, 109 population 49 treaty cited 114 Chicasa, population 95 join the Na'htchi 96 Chilcat, population 87 Chillla tribe 132 Chimakuan family 62, 63 Chimakum, habitat and population 62 Chimarikan family 63 Chimmesyan family 63-65 Chinookan family 65-86 Chippewyan, population 55 Chitimacuan family, possibly allied to the Attacapan 57 Chitimachan family 66-67 Choctaw Muskhogee family of Gallatin 94 Choctaw, population 95 Choctaw towns described by Adair 40 Chocuyem, a Moquelumnan dialect 92 Cholovone division of the Mariposan 90 Chopunnish, population 107 Chowanoc, perhaps a Tuscarora tribe 79 Chukchi of Asia 74 Chumashan family 67, 68 Chumashan languages, Salinan languages held to be dialects of 101 Clackama, population 66 Clallam language distinct from Chimakum 62 Clallam, population 105 Classification of linguistic families, rules for 8, 12 Classification of Indian languages, literature relating to 12-25 Clavering, Captain, Greenland Eskimo, researches of 72 Cliff dwellings examined XVIII-XXIV Coahuiltecan family 68, 69 Cochitemi, a Keresan dialect 83 Cochiti, population of 83 Coconoon tribe 90 Coeur d'Alene tribe, population of 105 Cofitachiqui, a supposed Yuchi town 126 Cognation of languages 11, 12 Color symbolism of the Cherokees 342, 343 Colorado, work in XXI-XXIV Columbia River, improvidence of tribes on 37, 38 Colville tribe, population 105 Comanche, association of the Kiowa with 84 habitat 109 population 110 Comecrudo, vocabulary of, collected by Gatschet 68 Communism among North American Indians 34, 35 Conestoga, former habitat of the 78 Cook, Capt. James, names Waukash tribe 129 Cookkoo-oose tribe of Lewis and Clarke 89 Cootenai tribe 85 Copehan family 69-70 Corbusier, Wm. H., on Crow occupancy of Black Hills 114 Corn, large quantities of, raised by certain tribes 41 Cortez, Jos, cited 54 Costano dialects, Latham's opinion concerning 92 Costanoan family 70, 71 Cotoname vocabulary, collected by Gatschet 68 Coulter, Dr., Pima vocabulary of 98 Coyotero Apache, population 56 Cree, population 49 Creeks, habitat and population 95 Cross, use of, in Indian ceremonials 155 Crows, habitat 114, 116 population 118 Cuchan population 188 Curtin, Jeremiah, work of XXX Chimarikan researches of 63 Costanoan researches of 70 Moquelumnan researches of 93 Yanan researches of 135 acknowledgments to 142 Cushing, Frank H., work of XXXI on the derivation of "Zui" 138 Cushna tribe 99

D.

Dahcota. See Dakota. Dahcotas, habitat of the divisions of 111 Dakota, tribal and family sense of name 112 divisions of the 114 population and divisions of the 116 Dall, W. H., linguistic literature 21, 22, 24 cited on Eskimo habitat 53 Eskimo researches of 73 on Asiatic Eskimo 74 on population of Alaskan Eskimo 75 Dana on the divisions of the Sacramento tribes 99 Dawson, George M., cited on Indian land tenure 40 assigns the Tagisch to the Koluschan family 87 Salishan researches 104 De Bry, Timuquanan names on map of 124 Delaware, population 49 habitat 79 De L'Isle cited 60 De Soto, Ferdinand, on early habitat of the Kaskaskias 113 supposed to have visited the Yuchi 126 Timuquanan towns encountered by 124 D'Iberville, names of Taensa towns given by 96 Diegueo, population 138 Differentiation of languages within single stock, to what due 141 Digger Indian tongue compared by Powers with the Pit River dialects 98 Disease, Indian belief concerning 39 Cherokee theory of 322-324 Disease and medicine, Cherokee tradition of origin of 319-322 Dobbs, Arthur, cited on Eskimo habitat 73 Dog Rib, population of 55 Dorsey, J. O., work of XXXIV, XXXV cited on Pacific coast tribes 54 cited on Omaha-Arikara alliance 60 Catawba studies 112 on Crow habitat 114 Takilman researches 121 Yakonan researches 134 acknowledgments to 142 Dress and ornaments used in Ojibwa dances 298, 299 Drew, E. P., on Siuslaw habitat 134 Duflot de Mofras, E. de, cited 92 Soledad, language of 102 Dunbar, John B., quoted on Pawnee habitat 60 Duncan, William, settlement of Chimmesyan tribes by 65 Duponceau collection, Salishan vocabulary of the 103 Du Pratz, Le Page, cited on Caddoan habitat 61 on certain southern tribes 66 on the Na'htchi language 96 Dzhe Manido, the guardian spirit of the Midewiwin 163, 166 Dzhibai midewign or "Ghost Lodge" 278-281

E.

Eaton, Captain, Zui vocabulary of 139 Ecclemachs. See Esselenian family. Eells, Myron, linguistic literature 24 on the Chimakuan language and habitat 62, 63 Emmert, John W., work of XVII E-nagh-magh language of Lane 122 Emory, W. H., visit of, to the Pima 98 Environment as affecting language 141 Eskimauan family 71-75 Eslen nation of Galiano 75 Esselenian family 75, 76 Etah Eskimo, habitat of 72, 73 -ukshikni or Klamath 90 Everette on the derivation of "Yakona" 134 Explorations in stone villages XVIII-XXVIII

F.

"Family," linguistic, defined 11 Field work XVI-XXX Filson, John, on Yuchi habitat 127 Financial statement XLI Flatbow. See Kitunahan family. Flathead Cootenai 85 Flathead family, Salish or 102 Fontanedo, Timuquanan, local names of 124 Food distribution among North American Indians 34 Friendly Village, dialect of 104