Translation.

Una´lelŭ´ eskiska´l‘tasĭ´. Iskwa´lelŭ eskiska´l‘tasĭ´. Yû! Ela-Kana´tĭ tsûlda´hĭstû´n, tsûwatsi´la astû´ndetsatasi´ga. Ts’skwâ´lĭ uda´nisă´‘testĭ, ugwala´ga udu´yaheti´dege´stĭ. Sunûsi´ya-gwû udanisă´‘testĭ, ts’su´lti-gwû nige´sûnna.Hĭkayû´nlĭ Gi´gage-gâgû´, tsine´tsĭ gesû´naw’stitege´stĭ.Tsăstû´ utatiyĭ, nâ´gwatsăs‘tû gasû‘hisă‘tĭ atisge´stĭ. Ha-nâ´gwa nûnnâ tsusdi´ tutana´wa-tegû´digana´watû´ntaatisge´stĭ. Utalĭ´ udanû´hĭ ugwala´ga gûnwatuy´ahĭti´tege´stĭ, hĭlahiyû´nta-gwûwustû´‘stĭ nige´sûnna. D’stiskwâ´lĭ deudû´nisă‘te´stĭ. Yû!Translation.CONCERNING HUNTING.Give me the wind. Give me the breeze. Yû! 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. Yû!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-Kana´tĭ.” In thise´lais the earth andkana´tĭis 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-Kana´tĭ, 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 débris of the mountain forests. In formulas for medicine, love, the ball play, etc., the river is always addressed as the Long Person (Yû´nwĭ Gûnahi´ta). 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 theAncient 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‘yûninĭ, who explained it in detail.HIĂ´ TSI´SKWA GANÂHILIDASTI YĬ.Tsĭgĕ´! Hĭkayû´nl-Une´ga, tsûltâ´histû´ngûlitâ´hĭstani´ga. Nâ´gwa tsûda´ntâ talehĭ´sani´ga. Sâ´gwa igûnsi´ya ts’skwâlĭ´ udû´nisate´stĭ, ts’su´ltĭ nige´sûnna. Wane´(ĭ) tigi´gage(ĭ) tali´kanĕli´ga.U´ntalĭ udanû´hĭ tsăgista´‘tĭ.Hĭkayû´nl-Une´ga,anu´ya uwâtatâ´gĭ agi´stĭ tătsiskâ´ltane´lûhĭ.U´ntalĭ u´danû´te´tûlskew´si´ga.Hĭkayû´nl-Une´ga, nûnna´(hĭ) kana´tĭ skwatetâ´stani´ga. Unigwalû´ngĭ te´gatûntsi´ga. Nûnâ´(hĭ) kana´tĭ tati´kiyû´ngwita´watise´stĭ. Unigwalû´ngĭ tigû´nwatû´tsanû´hĭ.Hĭkayû´nl-Une´ga, Kana´tĭ, sk´salatâ´titege´stĭ, sa‘ka´ni ginu´t’tĭ nige´sûnna. 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‘yûninĭ’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‘yûninĭ stated that seven blowgun arrows are first prepared, including a small one only a “hand-length” (awâ´hilû) 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 hissingsound, 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” (unigwalû´ngĭ) are the wounded birds. Kana´tĭ is here used to designate the fire, on account of its connection with the hunting ceremonies.INAGĔ´HĬ AYÂSTInYĬ.Usĭnuli´yu Selagwû´tsĭ Gigage´ĭ getsû´nneliga tsûdandâgi´hĭ aye‘li´yu, usĭnuli´yu. Yû!Translation.TO SHOOT DWELLERS IN THE WILDERNESS.Instantly the Red Selagwû´tsĭ strike you in the very center of your soul—instantly. Yû!Explanation.This short formula, obtained from ‘wani´ta, is recited by the hunter while taking aim. The bowstring is let go—or, rather, the trigger is pulled—at the finalYû!He was unable to explain the meaning of the word selagwû´tsĭ 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. Inagĕ´hĭ, “dwellers in the wilderness,” is the generic term for game, including birds, but A‘wani´ta has another formula intended especially for deer.(Y´NA TĬ´KANÂGI´TA.)He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.Tsistuyi´ nehandu´yanû, Tsistuyi´ nehandu´yanû—Yoho´+!He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.Kuwâhi´ nehandu´yanû´, Kuwâhi´ nehandu´yanû—Yoho´+!He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.Uyâ‘ye´ nehandu´yanû´, Uya´ye´ nehahdu´yanû´—Yoho´+!He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.Gâtekwâ´(hĭ) nehandu´yanû´, Gâtekwâ´(hĭ) nehandu´yanû´—Yoho´+!Ûlĕ-‘nû´ asĕhĭ´ tadeya´statakûhĭ´ gû´nnage astû´tsĭkĭ´.Translation.BEAR SONG.He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.In Rabbit Place you were conceived (repeat)—Yoho´+!He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.In Mulberry Place you were conceived (repeat)—Yoho´+!He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.In Uyâ´‘yĕ you were conceived (repeat)—Yoho´+!He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.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‘yû´ninĭ 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-Tsâ´kahĭ 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 prolongedHe+!and ends withYoho´+!uttered in the same manner. Hayuya´haniwă´ has no meaning. Tsistu´yĭ, Kuwâ´hĭ, Uyâ´‘yĕ, and Gâte´kwâhĭ 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´ ATSÛ‘TI´YĬ TSUN´TANÛ.Sgĕ! Nâ´gwa hitsatû´ngani´ga hitsiga´tugĭ´. Titsila´wisû´nhĭuwâgi´‘lĭ tege´tsûts‘gû´‘lawĭstĭ´. Tsuli´stana´lû ûlĕ´ waktûĭ, agi´stĭ une´ka itsû´nyatanilû´ĭstani´ga. Gûnwatu´hwĭtû´ nûnnâ´hĭ degûndâltsi´dâhe´stĭ.uWâ´hisâ´nahĭ tigiwatsi´la. Tutsegû´‘lawistĭ´tege´stĭ. Ûntalĭ´ degû´nwatanûhĭ, uhisa´‘tĭ nige´sûnna. Tsuwatsi´la dadâl‘tsi´ga. A‘yû A‘yû´ninĭ tigwadâ´ita. Yû!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. Yû!Explanation.This formula, from A‘yûninĭ´s’ book, is for the purpose of catching large fish. According to his instructions, the fisherman must first chew a small piece of Yugwilû´ (Venus’ Flytrap—Dionæa muscipula) and spit it upon the bait and also upon the hook. Then, standingfacing 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 Yugwilû´ 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 thetsgâ´yaor 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,uWâhisâ´nahĭ tigiwatsi´la, 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‘yûninĭ 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.(YÛnWĔ´HĬ UGÛ´nWA‘LĬ I.)Ku! Sgĕ!Alahi´yĭtsûl‘dâ´histĭ, Higĕ´‘ya tsûl‘di´yĭ, hatû´ngani´ga.Elahi´yĭiyû´nta ditsûl‘da´histĭ, Higĕ´‘ya Tsûne´ga. Tsisa´‘tĭ nige´sûnna. Tsâduhi´yĭ. Nâ´gwa-skĭn´ĭ usĭnuli´yu hûnskwane´‘lûngû´ tsisga´ya agine´ga. Agisa´‘tĭ nige´sûnna. Nâ´gwa nû´nnâ, une´ga hûnskwanûnneli´ga. Uhisa´‘tĭ nige´sûnna. Nâ´gwa skwade´tastani´ga. Sa‘ka´ni u´tatĭ nige´sûnna. Nûnnâ une´ga skiksa´‘ûntaneli´ga. Elaye´‘lĭ iyû´nta skwalewistă´‘tani´ga E´latĭ gesû´ntsĭtage´stĭ. Agisa´‘tĭ nige´sûnna. Agwâ´duhi´yu. Kûltsâ´te une´ga skiga´‘tani´ga. Uhisa´‘tĭ nige´sûnna, gûnkwatsâti´tege´stĭ. Tsi-sa‘ka´ni agwă´tatĭ nige´sûnna. Usĭnuli´yu hûnskwane´‘lûngû´.Ha-nâ´gwûlĕElahi´yĭiyû´ntă dûhiyane´‘lûngû´ a‘gĕ´‘ya sa‘ka´ni. Nâ´gwa nûnnâ´hĭ sa‘ka´ni hûntane´‘laneli´ga. Uhisa´‘tĭ-gwû u´danû dudusa´gĭ tanela´sĭ. Nûnnâ´hĭ sa‘ka´ni tade´tâstani´ga. Nâgwûlĕ´hûnhiyatsâ´ûntaniga. E´latĭ gesû´ntû´l‘taniga. Dedu´laskû´n-gwû igû´nwa‘lawĭ´stĭ uhi´sa‘ti´yĭ widaye´la‘ni´ga. Dedulaskû´n-gwû igû´nwa‘lawĭ´stĭ uhi´sa‘ti´yĭ nitû´nneli´ga.Ha-sâgwahi´yu itsilasta´lagĭ + + uwă´sahi´yu, etsane´‘laneli´ga. Agisa´‘tĭ nige´sûnna. Agwâ´duhĭ. A´yû agwadantâ´gĭ aye‘li´yu d’ka´‘lani´lĭ duda´ntâ, uktahû´nstĭ nige´sûnna. Yû´nwĭ tsu´tsatûnwidudante´‘tĭ nige´sûnna, nitû´nneli´ga. Sâ´gwahĭ itsilasta´lagĭ, etsane´‘laneli´ga kûlkwâ´gi-nasĭ´ igûlstû´‘lĭ gegane´‘lanû´n.Anisga´ya anewadi´sûnunihisa‘ti´yĭ. Tsu´nada´neilti´yĭ. Dĭ´la-gwû degû´nwănatsegû´‘lawi´sdidegû´. Ayâ´ise´ta-gwû u´danû. Tsunada´neilti´yĭ. Utse´tsti-gwû degû´nwănatsegû´‘lawis´didegû´. Tsunada´neilti´yĭ. Ka´ga-gwû degû´nwănatsegû´‘awisdidegû´. Tsunada´neilti´yĭ. Da´l‘ka-gwû degû´nwănatsegû´‘lawisdidegû´.Kûlkwâ´gĭ igûlsta´lagĭ unihisa‘ti´yu. Ige´ski-gwû nige´sûnna. Ayâ´ise´ta-gwû u´danû degû´nwănatsûn‘ti-degû´. K’si-gwû degû´nwănatsûn‘ti-degû´. A´yagâgû´ tsisga´ya agine´ga ûngwane´‘lanû´hĭ + + Nûndâgû´nyĭ iti´tsa ditsidâ´ga. Agisa´‘tĭ nige´sûnna. Agwâduhi´yu. Tsi-sa‘ka´nĭ agwă´tatĭ nige´sûnna. Kûltsâ´te une´ga ûnni´tagâgû´ gûkwatsâ´nti-degû´. Agisă´‘tĭ nige´sûnna. A´yû agwadantâ´gĭ aye‘li´yu gûlasi´ga tsûda´ntâ, uktahû´nstĭ nige´sûnna. A´yû tsĭ´gĭ tsûda´nta 0 0. Sgĕ!Translation.CONCERNING LIVING HUMANITY (LOVE).Kû! Listen! In Alahi´yĭ 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 veryloathsome. 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 Yûnwĕ´hĭ 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 fromela, “the earth,” and it may be connected with Wa´hĭlĭ, 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 nige´sûnna, “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 iyu´stĭ, “like.”HĬ´Ă ĂMA´YĬ Ă´TAWASTI´YĬ KAN´HEHÛ.Sgĕ! Ha-nâ´gwa usĭnuli´yu hatû´ngani´gaHigĕ´‘yagu´ga, tsûwatsi´la gi´gage tsiye´la skĭna´dû‘lani´ga. 0 0 digwadâ´ita. Sa‘ka´nĭ tûgwadûne´lûhĭ. Atsanû´ngĭ gi´gage skwâsû´hisa‘tani´ga. + + kûlstă´lagĭ + sa‘ka´nĭ nu´tatanû´nta. Ditu´nûnnâ´gĭ dagwû´laskû´n-gwû deganu´y’tasi´ga. Galâ´nûntse´ta-gwû dagwadûne´lidise´stĭ. Sgĕ!Translation.THIS TELLS ABOUT GOING INTO THE WATER.Listen! O, now instantly, you have drawn near to hearken, O Agĕ´‘yagu´ga. 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 Yûnwĕ´hĭ 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, ă´tawasti´yĭ, 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 ămâ´yĭ dita‘ti´yĭ, “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 nû´ndâ, or more fully, nû´ndâ sûnnâyĕ´hĭ, “the sun living in the night,” while the sun itself is designated as nû´ndâ igĕ´hĭ, “the sun living in the day.”By the red spittle of Agĕ´‘yagu´ga 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-wâ´tĭ, 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.)(YÛ´nWĔ´HĬ UGÛ´nWA‘LĬ II.)Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.Galû´nlatĭ, datsila´ĭ—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.Nûndâgû´nyĭ gatla´ahĭ—Yû´nwĕhĭ.Ge‘yagu´ga Gi´gage, tsûwatsi´la gi´gage tsiye´la skĭna´dû‘lani´ga—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.Hiă-‘nû´ atawe´ladi´yĭ kanâ´hĕhû galûnlti´tla.Translation.SONG FOR PAINTING.Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.I am come from above—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.I am come down from the Sun Land—Yû´nwĕhĭ.O Red Agĕ‘yagu´ga, you have come and put your red spittle upon my body—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.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 “Amâ´yĭ Ă´tawasti´yĭ.” 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, yû´nwĕhĭ, is probablysungwhile 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.ADALANI´STA‘TI´YĬ. Ĭ.Sgĕ! Ha-nâ´gwa hatû´ngani´ga nihĭ´——Tsa´watsi´lû tsĭkĭ´ tsĭkû´ ayû´.—Hiyelû´ tsĭkĭ´ tsĭkû´ ayû´.—Tsăwiyû´ tsĭkĭ´ tsĭkû´ ayû´.—Tsûnahu´ tsĭkĭ´ tsĭkû´ ayû´.Sgĕ! Nâ´gwa hatû´ngani´ga, Hĭkayû´nlige. Hiă´ asga´ya uda´ntâ tsa‘ta´hisi´ga [Hĭkayû´nlige] hiye´lastûn. Tsaskûlâ´hĭsti-gwû´ nige´sûnna. Dĭkana´watû´nta-gwû tsûtû´neli´ga. Hĭlû dudantĕ´‘tĭ nige´sûnna. Duda´ntâ dûskalûn´tseli´ga. Astĭ´ digû´nnage tagu´talûntani´ga.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,—Your heart, I take it, I eat it.}Each sung four times.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-nâ´gwa hatû´ngani´ga nihĭ´, and then sings the next four words: Tsawatsi´lû tsĭkĭ´ tsĭkû´ ayû´, “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‘yû´ninĭ 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.ADAYE´LIGA´GTA‘TĬ´.Yû! Galû´nlatĭ tsûl‘da´histĭ, Giya´giya´ Sa‘ka´ni, nâ´gwa nûntalûni´yû´nta. Tsâ´la Sa‘ka´ni tsûgistâ´‘tĭ adûnni´ga. Nâ´gwa nidâtsu´l‘tanû´nta, nû´ntātagû´ hisa´hasi´ga. Tani´dâgûn´ aye´‘lĭ dehidâ´siga. Unada´ndâ dehiyâ´staneli´ga. Nidugale´ntanû´nta nidûhûnneli´ga.Tsisga´ya agine´ga, nûndâgû´nyĭ ditsidâ´‘stĭ. Gû´nĭ âstû´ uhisa´‘tĭ nige´sûnna. Agĕ´‘ya une´ga hi´ă iyu´stĭ gûlstû´‘lĭ, iyu´stĭ tsûdâ´ita. Uda´ndâ usĭnu´lĭ dâdatinilû´gûnelĭ´. Nûndâgû´nyitsû´ dâdatinilugûstanelĭ. Tsisga´ya agine´ga, ditsidâstû´nĭ nû‘nû´ kana´tlani´ga. Tsûnkta´ tegă‘la´watege´stĭ. Tsiye´lûngesû´nĭ uhisa´‘tĭ nige´sûnna.Translation.FOR SEPARATION (OF LOVERS).Yû! 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 iscalled (iyustĭ) Wâyĭ´. 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‘yûninĭ’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 (giya´giya´) 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.(ADALANĬ´STĂ‘TI´YĬ II.)Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga, * * hĭlû(stû´‘lĭ), (* *) ditsa(dâ´ita). A´yû 0 0 tsila(stû´‘lĭ). Hiye´la tsĭkĭ´ tsĭkû´. (Yû!)Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ), * * ditsa(dâ´íta). A´yû 0 0 tsûwi´ya tsĭkĭ´ tsĭkû´. Yû!Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ) * * ditsa(dâ´íta). A´yû 0 0 tsûwatsi´la tsĭkĭ´ tsĭkû´ a´yû. Yû!Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ), * * ditsadâ´(ita). A´yû 0 0 tsûnahŭ´ tsĭkĭ´ tsĭkû´. Yû!Sgĕ! “Ha-nâ´gwa ada´ntĭ dutsase´, tsugale´ntĭ nige´sûnna,” tsûdûneĭ, Hĭkayû´nlige galû´nlatĭ. Kananĕ´skĭ Û´nnage galû´nlatĭ (h)etsatsâ´ûntănile´ĭ. Tsănilta´gĭ tsûksâ´ûntanile´ĭ. * * gûla(stû´‘lĭ), * * ditsadâ´(ita). Dudantâ´gĭ uhani´latâ tĭkwenû´ntani´ga. Kûlkwâ´gĭ igûlsta´lagĭ iyû´nta yû´nwĭ adayû´nlatawă´ dudûne´lida´lûnuhisa´‘tĭ nige´sûnna.Sgĕ! Ha-nâ´gwatĭ uhisa´‘tĭ dutlû´ntani´ga. Tsû´nkta daskâ´lûntsi´ga. Sâ´gwahĭ di´kta de´gayelûntsi´ga. Ga´tsa igûnû´nugâ´ĭstû uda´ntâ? Usû´hita nudanû´nna ûltûnge´ta gûnwadûneli´dege´stĭ. Igûnwûlsta´‘ti-gwû duwâlu´wa‘tûntĭ nige´sûnna. Kananĕ´skĭ Ûnnage´ĭ tsanildew’se´stĭ ada´ntâ uktûnlesi´dastĭ nige´sûna. Gadâyu´stĭ tsûdâ´ita ada´ntĭ tside´atsasi´ga. A´ya a´kwatseli´ga.Sgĕ! Ha-nâ´gwûlĕ´ hûnhatûnga´ga, Hĭkayû´nlĭ Gi´gage. Tsetsûli´sĭ hiye´lastûna‘ta´hisi´ga. Ada´ntâ hasû‘gû´‘lawĭ´stani´ga, tsa´skaláhĭstĭ nige´sûnna. Hĭkayû´nlige denătsegû‘la´wĭstani´ga. Agĕ´‘ya gĭ´nsûngû‘lawĭs´tani´ga uda´ntâuwahisĭ´sata. Dĭgĭnaskûlâ´hĭstĭ nige´sûnna. Yû!Hi´ănasgwû´ u‘tlâ´yi-gwû dĭgalû´nwistan´tĭ snûnâ´yĭ hani´‘lihûngûnasgi´stĭ. Gane´tsĭ aye´‘lĭ asi´tadis´tĭ watsi´la, ganûnli´yetĭ aguwaye´nĭ andisgâ´ĭ. Sâi´yĭ tsika´nâhe itsu´laha´gwû.Translation.TO FIX THE AFFECTIONS.Yû! Ha! Now the souls have come together. You are of the Deer (x x) clan. Your name is (x x) Ayâsta, I am of the Wolf (o-o) clan. Your body, I take it, I eat it. Yû! Ha! Now the souls have come together. You are of the Deer clan. Your name is Ayâsta. I am of the Wolf clan. Your flesh I take, I eat. Yû!Yû! Ha! Now the souls have come together. You are of the Deer clan. Your name is Ayâsta. I am of the Wolf clan. Your spittle I take, I eat. I! Yû!Yû! Ha! Now the souls have come together. You are of the Deer clan. Your name is Ayâsta. I am of the Wolf clan. Your heart I take, I eat. Yû!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 Ayâsta. 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! Yû!(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‘yû´ninĭ, 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‘yû´ninĭ, this must be done stealthily at night while the woman is asleep, the husband rubbing his spittleon 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” (tsetsûli´sĭ) is an expression frequently used in addressing the more important deities.MISCELLANEOUS FORMULAS.SÛnN´YĬ ED´HĬ E´SGA ASTÛnTI´YĬ.

Una´lelŭ´ eskiska´l‘tasĭ´. Iskwa´lelŭ eskiska´l‘tasĭ´. Yû! Ela-Kana´tĭ tsûlda´hĭstû´n, tsûwatsi´la astû´ndetsatasi´ga. Ts’skwâ´lĭ uda´nisă´‘testĭ, ugwala´ga udu´yaheti´dege´stĭ. Sunûsi´ya-gwû udanisă´‘testĭ, ts’su´lti-gwû nige´sûnna.Hĭkayû´nlĭ Gi´gage-gâgû´, tsine´tsĭ gesû´naw’stitege´stĭ.Tsăstû´ utatiyĭ, nâ´gwatsăs‘tû gasû‘hisă‘tĭ atisge´stĭ. Ha-nâ´gwa nûnnâ tsusdi´ tutana´wa-tegû´digana´watû´ntaatisge´stĭ. Utalĭ´ udanû´hĭ ugwala´ga gûnwatuy´ahĭti´tege´stĭ, hĭlahiyû´nta-gwûwustû´‘stĭ nige´sûnna. D’stiskwâ´lĭ deudû´nisă‘te´stĭ. Yû!

Una´lelŭ´ eskiska´l‘tasĭ´. Iskwa´lelŭ eskiska´l‘tasĭ´. Yû! Ela-Kana´tĭ tsûlda´hĭstû´n, tsûwatsi´la astû´ndetsatasi´ga. Ts’skwâ´lĭ uda´nisă´‘testĭ, ugwala´ga udu´yaheti´dege´stĭ. Sunûsi´ya-gwû udanisă´‘testĭ, ts’su´lti-gwû nige´sûnna.

Hĭkayû´nlĭ Gi´gage-gâgû´, tsine´tsĭ gesû´naw’stitege´stĭ.Tsăstû´ utatiyĭ, nâ´gwatsăs‘tû gasû‘hisă‘tĭ atisge´stĭ. Ha-nâ´gwa nûnnâ tsusdi´ tutana´wa-tegû´digana´watû´ntaatisge´stĭ. Utalĭ´ udanû´hĭ ugwala´ga gûnwatuy´ahĭti´tege´stĭ, hĭlahiyû´nta-gwûwustû´‘stĭ nige´sûnna. D’stiskwâ´lĭ deudû´nisă‘te´stĭ. Yû!

Give me the wind. Give me the breeze. Yû! 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. Yû!

Give me the wind. Give me the breeze. Yû! 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. Yû!

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-Kana´tĭ.” In thise´lais the earth andkana´tĭis 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-Kana´tĭ, 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 débris of the mountain forests. In formulas for medicine, love, the ball play, etc., the river is always addressed as the Long Person (Yû´nwĭ Gûnahi´ta). 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 theAncient 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‘yûninĭ, who explained it in detail.

Tsĭgĕ´! Hĭkayû´nl-Une´ga, tsûltâ´histû´ngûlitâ´hĭstani´ga. Nâ´gwa tsûda´ntâ talehĭ´sani´ga. Sâ´gwa igûnsi´ya ts’skwâlĭ´ udû´nisate´stĭ, ts’su´ltĭ nige´sûnna. Wane´(ĭ) tigi´gage(ĭ) tali´kanĕli´ga.U´ntalĭ udanû´hĭ tsăgista´‘tĭ.Hĭkayû´nl-Une´ga,anu´ya uwâtatâ´gĭ agi´stĭ tătsiskâ´ltane´lûhĭ.U´ntalĭ u´danû´te´tûlskew´si´ga.Hĭkayû´nl-Une´ga, nûnna´(hĭ) kana´tĭ skwatetâ´stani´ga. Unigwalû´ngĭ te´gatûntsi´ga. Nûnâ´(hĭ) kana´tĭ tati´kiyû´ngwita´watise´stĭ. Unigwalû´ngĭ tigû´nwatû´tsanû´hĭ.Hĭkayû´nl-Une´ga, Kana´tĭ, sk´salatâ´titege´stĭ, sa‘ka´ni ginu´t’tĭ nige´sûnna. Sgĕ!

Tsĭgĕ´! Hĭkayû´nl-Une´ga, tsûltâ´histû´ngûlitâ´hĭstani´ga. Nâ´gwa tsûda´ntâ talehĭ´sani´ga. Sâ´gwa igûnsi´ya ts’skwâlĭ´ udû´nisate´stĭ, ts’su´ltĭ nige´sûnna. Wane´(ĭ) tigi´gage(ĭ) tali´kanĕli´ga.U´ntalĭ udanû´hĭ tsăgista´‘tĭ.

Hĭkayû´nl-Une´ga,anu´ya uwâtatâ´gĭ agi´stĭ tătsiskâ´ltane´lûhĭ.U´ntalĭ u´danû´te´tûlskew´si´ga.

Hĭkayû´nl-Une´ga, nûnna´(hĭ) kana´tĭ skwatetâ´stani´ga. Unigwalû´ngĭ te´gatûntsi´ga. Nûnâ´(hĭ) kana´tĭ tati´kiyû´ngwita´watise´stĭ. Unigwalû´ngĭ tigû´nwatû´tsanû´hĭ.

Hĭkayû´nl-Une´ga, Kana´tĭ, sk´salatâ´titege´stĭ, sa‘ka´ni ginu´t’tĭ nige´sûnna. Sgĕ!

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!

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!

This formula, from A‘yûninĭ’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‘yûninĭ stated that seven blowgun arrows are first prepared, including a small one only a “hand-length” (awâ´hilû) 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 hissingsound, 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” (unigwalû´ngĭ) are the wounded birds. Kana´tĭ is here used to designate the fire, on account of its connection with the hunting ceremonies.

Usĭnuli´yu Selagwû´tsĭ Gigage´ĭ getsû´nneliga tsûdandâgi´hĭ aye‘li´yu, usĭnuli´yu. Yû!

Usĭnuli´yu Selagwû´tsĭ Gigage´ĭ getsû´nneliga tsûdandâgi´hĭ aye‘li´yu, usĭnuli´yu. Yû!

Instantly the Red Selagwû´tsĭ strike you in the very center of your soul—instantly. Yû!

This short formula, obtained from ‘wani´ta, is recited by the hunter while taking aim. The bowstring is let go—or, rather, the trigger is pulled—at the finalYû!He was unable to explain the meaning of the word selagwû´tsĭ 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. Inagĕ´hĭ, “dwellers in the wilderness,” is the generic term for game, including birds, but A‘wani´ta has another formula intended especially for deer.

He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.Tsistuyi´ nehandu´yanû, Tsistuyi´ nehandu´yanû—Yoho´+!He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.Kuwâhi´ nehandu´yanû´, Kuwâhi´ nehandu´yanû—Yoho´+!He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.Uyâ‘ye´ nehandu´yanû´, Uya´ye´ nehahdu´yanû´—Yoho´+!He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.Gâtekwâ´(hĭ) nehandu´yanû´, Gâtekwâ´(hĭ) nehandu´yanû´—Yoho´+!Ûlĕ-‘nû´ asĕhĭ´ tadeya´statakûhĭ´ gû´nnage astû´tsĭkĭ´.

He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.

Tsistuyi´ nehandu´yanû, Tsistuyi´ nehandu´yanû—Yoho´+!

He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.

Kuwâhi´ nehandu´yanû´, Kuwâhi´ nehandu´yanû—Yoho´+!

He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.

Uyâ‘ye´ nehandu´yanû´, Uya´ye´ nehahdu´yanû´—Yoho´+!

He+! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.

Gâtekwâ´(hĭ) nehandu´yanû´, Gâtekwâ´(hĭ) nehandu´yanû´—Yoho´+!

Ûlĕ-‘nû´ asĕhĭ´ tadeya´statakûhĭ´ gû´nnage astû´tsĭkĭ´.

He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.In Rabbit Place you were conceived (repeat)—Yoho´+!He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.In Mulberry Place you were conceived (repeat)—Yoho´+!He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.In Uyâ´‘yĕ you were conceived (repeat)—Yoho´+!He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.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.

He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.

In Rabbit Place you were conceived (repeat)—Yoho´+!

He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.

In Mulberry Place you were conceived (repeat)—Yoho´+!

He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.

In Uyâ´‘yĕ you were conceived (repeat)—Yoho´+!

He! Hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´, hayuya´haniwă´.

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.

This song, obtained from A‘yû´ninĭ 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-Tsâ´kahĭ 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 prolongedHe+!and ends withYoho´+!uttered in the same manner. Hayuya´haniwă´ has no meaning. Tsistu´yĭ, Kuwâ´hĭ, Uyâ´‘yĕ, and Gâte´kwâhĭ 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.

Sgĕ! Nâ´gwa hitsatû´ngani´ga hitsiga´tugĭ´. Titsila´wisû´nhĭuwâgi´‘lĭ tege´tsûts‘gû´‘lawĭstĭ´. Tsuli´stana´lû ûlĕ´ waktûĭ, agi´stĭ une´ka itsû´nyatanilû´ĭstani´ga. Gûnwatu´hwĭtû´ nûnnâ´hĭ degûndâltsi´dâhe´stĭ.uWâ´hisâ´nahĭ tigiwatsi´la. Tutsegû´‘lawistĭ´tege´stĭ. Ûntalĭ´ degû´nwatanûhĭ, uhisa´‘tĭ nige´sûnna. Tsuwatsi´la dadâl‘tsi´ga. A‘yû A‘yû´ninĭ tigwadâ´ita. Yû!

Sgĕ! Nâ´gwa hitsatû´ngani´ga hitsiga´tugĭ´. Titsila´wisû´nhĭuwâgi´‘lĭ tege´tsûts‘gû´‘lawĭstĭ´. Tsuli´stana´lû ûlĕ´ waktûĭ, agi´stĭ une´ka itsû´nyatanilû´ĭstani´ga. Gûnwatu´hwĭtû´ nûnnâ´hĭ degûndâltsi´dâhe´stĭ.uWâ´hisâ´nahĭ tigiwatsi´la. Tutsegû´‘lawistĭ´tege´stĭ. Ûntalĭ´ degû´nwatanûhĭ, uhisa´‘tĭ nige´sûnna. Tsuwatsi´la dadâl‘tsi´ga. A‘yû A‘yû´ninĭ tigwadâ´ita. Yû!

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. Yû!

This formula, from A‘yûninĭ´s’ book, is for the purpose of catching large fish. According to his instructions, the fisherman must first chew a small piece of Yugwilû´ (Venus’ Flytrap—Dionæa muscipula) and spit it upon the bait and also upon the hook. Then, standingfacing 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 Yugwilû´ 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 thetsgâ´yaor 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,uWâhisâ´nahĭ tigiwatsi´la, 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‘yûninĭ 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.

Ku! Sgĕ!Alahi´yĭtsûl‘dâ´histĭ, Higĕ´‘ya tsûl‘di´yĭ, hatû´ngani´ga.Elahi´yĭiyû´nta ditsûl‘da´histĭ, Higĕ´‘ya Tsûne´ga. Tsisa´‘tĭ nige´sûnna. Tsâduhi´yĭ. Nâ´gwa-skĭn´ĭ usĭnuli´yu hûnskwane´‘lûngû´ tsisga´ya agine´ga. Agisa´‘tĭ nige´sûnna. Nâ´gwa nû´nnâ, une´ga hûnskwanûnneli´ga. Uhisa´‘tĭ nige´sûnna. Nâ´gwa skwade´tastani´ga. Sa‘ka´ni u´tatĭ nige´sûnna. Nûnnâ une´ga skiksa´‘ûntaneli´ga. Elaye´‘lĭ iyû´nta skwalewistă´‘tani´ga E´latĭ gesû´ntsĭtage´stĭ. Agisa´‘tĭ nige´sûnna. Agwâ´duhi´yu. Kûltsâ´te une´ga skiga´‘tani´ga. Uhisa´‘tĭ nige´sûnna, gûnkwatsâti´tege´stĭ. Tsi-sa‘ka´ni agwă´tatĭ nige´sûnna. Usĭnuli´yu hûnskwane´‘lûngû´.Ha-nâ´gwûlĕElahi´yĭiyû´ntă dûhiyane´‘lûngû´ a‘gĕ´‘ya sa‘ka´ni. Nâ´gwa nûnnâ´hĭ sa‘ka´ni hûntane´‘laneli´ga. Uhisa´‘tĭ-gwû u´danû dudusa´gĭ tanela´sĭ. Nûnnâ´hĭ sa‘ka´ni tade´tâstani´ga. Nâgwûlĕ´hûnhiyatsâ´ûntaniga. E´latĭ gesû´ntû´l‘taniga. Dedu´laskû´n-gwû igû´nwa‘lawĭ´stĭ uhi´sa‘ti´yĭ widaye´la‘ni´ga. Dedulaskû´n-gwû igû´nwa‘lawĭ´stĭ uhi´sa‘ti´yĭ nitû´nneli´ga.Ha-sâgwahi´yu itsilasta´lagĭ + + uwă´sahi´yu, etsane´‘laneli´ga. Agisa´‘tĭ nige´sûnna. Agwâ´duhĭ. A´yû agwadantâ´gĭ aye‘li´yu d’ka´‘lani´lĭ duda´ntâ, uktahû´nstĭ nige´sûnna. Yû´nwĭ tsu´tsatûnwidudante´‘tĭ nige´sûnna, nitû´nneli´ga. Sâ´gwahĭ itsilasta´lagĭ, etsane´‘laneli´ga kûlkwâ´gi-nasĭ´ igûlstû´‘lĭ gegane´‘lanû´n.Anisga´ya anewadi´sûnunihisa‘ti´yĭ. Tsu´nada´neilti´yĭ. Dĭ´la-gwû degû´nwănatsegû´‘lawi´sdidegû´. Ayâ´ise´ta-gwû u´danû. Tsunada´neilti´yĭ. Utse´tsti-gwû degû´nwănatsegû´‘lawis´didegû´. Tsunada´neilti´yĭ. Ka´ga-gwû degû´nwănatsegû´‘awisdidegû´. Tsunada´neilti´yĭ. Da´l‘ka-gwû degû´nwănatsegû´‘lawisdidegû´.Kûlkwâ´gĭ igûlsta´lagĭ unihisa‘ti´yu. Ige´ski-gwû nige´sûnna. Ayâ´ise´ta-gwû u´danû degû´nwănatsûn‘ti-degû´. K’si-gwû degû´nwănatsûn‘ti-degû´. A´yagâgû´ tsisga´ya agine´ga ûngwane´‘lanû´hĭ + + Nûndâgû´nyĭ iti´tsa ditsidâ´ga. Agisa´‘tĭ nige´sûnna. Agwâduhi´yu. Tsi-sa‘ka´nĭ agwă´tatĭ nige´sûnna. Kûltsâ´te une´ga ûnni´tagâgû´ gûkwatsâ´nti-degû´. Agisă´‘tĭ nige´sûnna. A´yû agwadantâ´gĭ aye‘li´yu gûlasi´ga tsûda´ntâ, uktahû´nstĭ nige´sûnna. A´yû tsĭ´gĭ tsûda´nta 0 0. Sgĕ!

Ku! Sgĕ!Alahi´yĭtsûl‘dâ´histĭ, Higĕ´‘ya tsûl‘di´yĭ, hatû´ngani´ga.Elahi´yĭiyû´nta ditsûl‘da´histĭ, Higĕ´‘ya Tsûne´ga. Tsisa´‘tĭ nige´sûnna. Tsâduhi´yĭ. Nâ´gwa-skĭn´ĭ usĭnuli´yu hûnskwane´‘lûngû´ tsisga´ya agine´ga. Agisa´‘tĭ nige´sûnna. Nâ´gwa nû´nnâ, une´ga hûnskwanûnneli´ga. Uhisa´‘tĭ nige´sûnna. Nâ´gwa skwade´tastani´ga. Sa‘ka´ni u´tatĭ nige´sûnna. Nûnnâ une´ga skiksa´‘ûntaneli´ga. Elaye´‘lĭ iyû´nta skwalewistă´‘tani´ga E´latĭ gesû´ntsĭtage´stĭ. Agisa´‘tĭ nige´sûnna. Agwâ´duhi´yu. Kûltsâ´te une´ga skiga´‘tani´ga. Uhisa´‘tĭ nige´sûnna, gûnkwatsâti´tege´stĭ. Tsi-sa‘ka´ni agwă´tatĭ nige´sûnna. Usĭnuli´yu hûnskwane´‘lûngû´.

Ha-nâ´gwûlĕElahi´yĭiyû´ntă dûhiyane´‘lûngû´ a‘gĕ´‘ya sa‘ka´ni. Nâ´gwa nûnnâ´hĭ sa‘ka´ni hûntane´‘laneli´ga. Uhisa´‘tĭ-gwû u´danû dudusa´gĭ tanela´sĭ. Nûnnâ´hĭ sa‘ka´ni tade´tâstani´ga. Nâgwûlĕ´hûnhiyatsâ´ûntaniga. E´latĭ gesû´ntû´l‘taniga. Dedu´laskû´n-gwû igû´nwa‘lawĭ´stĭ uhi´sa‘ti´yĭ widaye´la‘ni´ga. Dedulaskû´n-gwû igû´nwa‘lawĭ´stĭ uhi´sa‘ti´yĭ nitû´nneli´ga.

Ha-sâgwahi´yu itsilasta´lagĭ + + uwă´sahi´yu, etsane´‘laneli´ga. Agisa´‘tĭ nige´sûnna. Agwâ´duhĭ. A´yû agwadantâ´gĭ aye‘li´yu d’ka´‘lani´lĭ duda´ntâ, uktahû´nstĭ nige´sûnna. Yû´nwĭ tsu´tsatûnwidudante´‘tĭ nige´sûnna, nitû´nneli´ga. Sâ´gwahĭ itsilasta´lagĭ, etsane´‘laneli´ga kûlkwâ´gi-nasĭ´ igûlstû´‘lĭ gegane´‘lanû´n.

Anisga´ya anewadi´sûnunihisa‘ti´yĭ. Tsu´nada´neilti´yĭ. Dĭ´la-gwû degû´nwănatsegû´‘lawi´sdidegû´. Ayâ´ise´ta-gwû u´danû. Tsunada´neilti´yĭ. Utse´tsti-gwû degû´nwănatsegû´‘lawis´didegû´. Tsunada´neilti´yĭ. Ka´ga-gwû degû´nwănatsegû´‘awisdidegû´. Tsunada´neilti´yĭ. Da´l‘ka-gwû degû´nwănatsegû´‘lawisdidegû´.

Kûlkwâ´gĭ igûlsta´lagĭ unihisa‘ti´yu. Ige´ski-gwû nige´sûnna. Ayâ´ise´ta-gwû u´danû degû´nwănatsûn‘ti-degû´. K’si-gwû degû´nwănatsûn‘ti-degû´. A´yagâgû´ tsisga´ya agine´ga ûngwane´‘lanû´hĭ + + Nûndâgû´nyĭ iti´tsa ditsidâ´ga. Agisa´‘tĭ nige´sûnna. Agwâduhi´yu. Tsi-sa‘ka´nĭ agwă´tatĭ nige´sûnna. Kûltsâ´te une´ga ûnni´tagâgû´ gûkwatsâ´nti-degû´. Agisă´‘tĭ nige´sûnna. A´yû agwadantâ´gĭ aye‘li´yu gûlasi´ga tsûda´ntâ, uktahû´nstĭ nige´sûnna. A´yû tsĭ´gĭ tsûda´nta 0 0. Sgĕ!

Kû! Listen! In Alahi´yĭ 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 veryloathsome. 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!

Kû! Listen! In Alahi´yĭ 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 veryloathsome. 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!

This unique formula is from one of the loose manuscript sheets of Gatigwanasti, now dead, and belongs to the class known as Yûnwĕ´hĭ 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 fromela, “the earth,” and it may be connected with Wa´hĭlĭ, 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 nige´sûnna, “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 iyu´stĭ, “like.”

Sgĕ! Ha-nâ´gwa usĭnuli´yu hatû´ngani´gaHigĕ´‘yagu´ga, tsûwatsi´la gi´gage tsiye´la skĭna´dû‘lani´ga. 0 0 digwadâ´ita. Sa‘ka´nĭ tûgwadûne´lûhĭ. Atsanû´ngĭ gi´gage skwâsû´hisa‘tani´ga. + + kûlstă´lagĭ + sa‘ka´nĭ nu´tatanû´nta. Ditu´nûnnâ´gĭ dagwû´laskû´n-gwû deganu´y’tasi´ga. Galâ´nûntse´ta-gwû dagwadûne´lidise´stĭ. Sgĕ!

Sgĕ! Ha-nâ´gwa usĭnuli´yu hatû´ngani´gaHigĕ´‘yagu´ga, tsûwatsi´la gi´gage tsiye´la skĭna´dû‘lani´ga. 0 0 digwadâ´ita. Sa‘ka´nĭ tûgwadûne´lûhĭ. Atsanû´ngĭ gi´gage skwâsû´hisa‘tani´ga. + + kûlstă´lagĭ + sa‘ka´nĭ nu´tatanû´nta. Ditu´nûnnâ´gĭ dagwû´laskû´n-gwû deganu´y’tasi´ga. Galâ´nûntse´ta-gwû dagwadûne´lidise´stĭ. Sgĕ!

Listen! O, now instantly, you have drawn near to hearken, O Agĕ´‘yagu´ga. 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!

This formula, from Gatigwanasti’s book, is also of the Yûnwĕ´hĭ 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, ă´tawasti´yĭ, 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 ămâ´yĭ dita‘ti´yĭ, “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 nû´ndâ, or more fully, nû´ndâ sûnnâyĕ´hĭ, “the sun living in the night,” while the sun itself is designated as nû´ndâ igĕ´hĭ, “the sun living in the day.”

By the red spittle of Agĕ´‘yagu´ga 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-wâ´tĭ, 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.)

Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.Galû´nlatĭ, datsila´ĭ—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.Nûndâgû´nyĭ gatla´ahĭ—Yû´nwĕhĭ.Ge‘yagu´ga Gi´gage, tsûwatsi´la gi´gage tsiye´la skĭna´dû‘lani´ga—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.Hiă-‘nû´ atawe´ladi´yĭ kanâ´hĕhû galûnlti´tla.

Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.Galû´nlatĭ, datsila´ĭ—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.Nûndâgû´nyĭ gatla´ahĭ—Yû´nwĕhĭ.

Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.

Galû´nlatĭ, datsila´ĭ—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.

Nûndâgû´nyĭ gatla´ahĭ—Yû´nwĕhĭ.

Ge‘yagu´ga Gi´gage, tsûwatsi´la gi´gage tsiye´la skĭna´dû‘lani´ga—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.Hiă-‘nû´ atawe´ladi´yĭ kanâ´hĕhû galûnlti´tla.

Ge‘yagu´ga Gi´gage, tsûwatsi´la gi´gage tsiye´la skĭna´dû‘lani´ga—

Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.

Hiă-‘nû´ atawe´ladi´yĭ kanâ´hĕhû galûnlti´tla.

Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.I am come from above—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.I am come down from the Sun Land—Yû´nwĕhĭ.O Red Agĕ‘yagu´ga, you have come and put your red spittle upon my body—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.And this above is to recite while one is painting himself.

Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.I am come from above—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.I am come down from the Sun Land—Yû´nwĕhĭ.O Red Agĕ‘yagu´ga, you have come and put your red spittle upon my body—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.

Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.

I am come from above—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.

I am come down from the Sun Land—Yû´nwĕhĭ.

O Red Agĕ‘yagu´ga, you have come and put your red spittle upon my body—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.

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

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 “Amâ´yĭ Ă´tawasti´yĭ.” 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, yû´nwĕhĭ, is probablysungwhile 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.

Sgĕ! Ha-nâ´gwa hatû´ngani´ga nihĭ´——Tsa´watsi´lû tsĭkĭ´ tsĭkû´ ayû´.—Hiyelû´ tsĭkĭ´ tsĭkû´ ayû´.—Tsăwiyû´ tsĭkĭ´ tsĭkû´ ayû´.—Tsûnahu´ tsĭkĭ´ tsĭkû´ ayû´.Sgĕ! Nâ´gwa hatû´ngani´ga, Hĭkayû´nlige. Hiă´ asga´ya uda´ntâ tsa‘ta´hisi´ga [Hĭkayû´nlige] hiye´lastûn. Tsaskûlâ´hĭsti-gwû´ nige´sûnna. Dĭkana´watû´nta-gwû tsûtû´neli´ga. Hĭlû dudantĕ´‘tĭ nige´sûnna. Duda´ntâ dûskalûn´tseli´ga. Astĭ´ digû´nnage tagu´talûntani´ga.

Sgĕ! Ha-nâ´gwa hatû´ngani´ga nihĭ´——Tsa´watsi´lû tsĭkĭ´ tsĭkû´ ayû´.—Hiyelû´ tsĭkĭ´ tsĭkû´ ayû´.—Tsăwiyû´ tsĭkĭ´ tsĭkû´ ayû´.—Tsûnahu´ tsĭkĭ´ tsĭkû´ ayû´.

Sgĕ! Ha-nâ´gwa hatû´ngani´ga nihĭ´—

—Tsa´watsi´lû tsĭkĭ´ tsĭkû´ ayû´.

—Hiyelû´ tsĭkĭ´ tsĭkû´ ayû´.

—Tsăwiyû´ tsĭkĭ´ tsĭkû´ ayû´.

—Tsûnahu´ tsĭkĭ´ tsĭkû´ ayû´.

Sgĕ! Nâ´gwa hatû´ngani´ga, Hĭkayû´nlige. Hiă´ asga´ya uda´ntâ tsa‘ta´hisi´ga [Hĭkayû´nlige] hiye´lastûn. Tsaskûlâ´hĭsti-gwû´ nige´sûnna. Dĭkana´watû´nta-gwû tsûtû´neli´ga. Hĭlû dudantĕ´‘tĭ nige´sûnna. Duda´ntâ dûskalûn´tseli´ga. Astĭ´ digû´nnage tagu´talûntani´ga.

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,—Your heart, I take it, I eat it.}Each sung four times.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.

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,

—Your heart, I take it, I eat it.

Each sung four times.

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.

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-nâ´gwa hatû´ngani´ga nihĭ´, and then sings the next four words: Tsawatsi´lû tsĭkĭ´ tsĭkû´ ayû´, “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‘yû´ninĭ 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.

Yû! Galû´nlatĭ tsûl‘da´histĭ, Giya´giya´ Sa‘ka´ni, nâ´gwa nûntalûni´yû´nta. Tsâ´la Sa‘ka´ni tsûgistâ´‘tĭ adûnni´ga. Nâ´gwa nidâtsu´l‘tanû´nta, nû´ntātagû´ hisa´hasi´ga. Tani´dâgûn´ aye´‘lĭ dehidâ´siga. Unada´ndâ dehiyâ´staneli´ga. Nidugale´ntanû´nta nidûhûnneli´ga.Tsisga´ya agine´ga, nûndâgû´nyĭ ditsidâ´‘stĭ. Gû´nĭ âstû´ uhisa´‘tĭ nige´sûnna. Agĕ´‘ya une´ga hi´ă iyu´stĭ gûlstû´‘lĭ, iyu´stĭ tsûdâ´ita. Uda´ndâ usĭnu´lĭ dâdatinilû´gûnelĭ´. Nûndâgû´nyitsû´ dâdatinilugûstanelĭ. Tsisga´ya agine´ga, ditsidâstû´nĭ nû‘nû´ kana´tlani´ga. Tsûnkta´ tegă‘la´watege´stĭ. Tsiye´lûngesû´nĭ uhisa´‘tĭ nige´sûnna.

Yû! Galû´nlatĭ tsûl‘da´histĭ, Giya´giya´ Sa‘ka´ni, nâ´gwa nûntalûni´yû´nta. Tsâ´la Sa‘ka´ni tsûgistâ´‘tĭ adûnni´ga. Nâ´gwa nidâtsu´l‘tanû´nta, nû´ntātagû´ hisa´hasi´ga. Tani´dâgûn´ aye´‘lĭ dehidâ´siga. Unada´ndâ dehiyâ´staneli´ga. Nidugale´ntanû´nta nidûhûnneli´ga.

Tsisga´ya agine´ga, nûndâgû´nyĭ ditsidâ´‘stĭ. Gû´nĭ âstû´ uhisa´‘tĭ nige´sûnna. Agĕ´‘ya une´ga hi´ă iyu´stĭ gûlstû´‘lĭ, iyu´stĭ tsûdâ´ita. Uda´ndâ usĭnu´lĭ dâdatinilû´gûnelĭ´. Nûndâgû´nyitsû´ dâdatinilugûstanelĭ. Tsisga´ya agine´ga, ditsidâstû´nĭ nû‘nû´ kana´tlani´ga. Tsûnkta´ tegă‘la´watege´stĭ. Tsiye´lûngesû´nĭ uhisa´‘tĭ nige´sûnna.

Yû! 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 iscalled (iyustĭ) Wâyĭ´. 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.

Yû! 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 iscalled (iyustĭ) Wâyĭ´. 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.

This formula, from A‘yûninĭ’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 (giya´giya´) 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.

Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga, * * hĭlû(stû´‘lĭ), (* *) ditsa(dâ´ita). A´yû 0 0 tsila(stû´‘lĭ). Hiye´la tsĭkĭ´ tsĭkû´. (Yû!)Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ), * * ditsa(dâ´íta). A´yû 0 0 tsûwi´ya tsĭkĭ´ tsĭkû´. Yû!Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ) * * ditsa(dâ´íta). A´yû 0 0 tsûwatsi´la tsĭkĭ´ tsĭkû´ a´yû. Yû!Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ), * * ditsadâ´(ita). A´yû 0 0 tsûnahŭ´ tsĭkĭ´ tsĭkû´. Yû!Sgĕ! “Ha-nâ´gwa ada´ntĭ dutsase´, tsugale´ntĭ nige´sûnna,” tsûdûneĭ, Hĭkayû´nlige galû´nlatĭ. Kananĕ´skĭ Û´nnage galû´nlatĭ (h)etsatsâ´ûntănile´ĭ. Tsănilta´gĭ tsûksâ´ûntanile´ĭ. * * gûla(stû´‘lĭ), * * ditsadâ´(ita). Dudantâ´gĭ uhani´latâ tĭkwenû´ntani´ga. Kûlkwâ´gĭ igûlsta´lagĭ iyû´nta yû´nwĭ adayû´nlatawă´ dudûne´lida´lûnuhisa´‘tĭ nige´sûnna.Sgĕ! Ha-nâ´gwatĭ uhisa´‘tĭ dutlû´ntani´ga. Tsû´nkta daskâ´lûntsi´ga. Sâ´gwahĭ di´kta de´gayelûntsi´ga. Ga´tsa igûnû´nugâ´ĭstû uda´ntâ? Usû´hita nudanû´nna ûltûnge´ta gûnwadûneli´dege´stĭ. Igûnwûlsta´‘ti-gwû duwâlu´wa‘tûntĭ nige´sûnna. Kananĕ´skĭ Ûnnage´ĭ tsanildew’se´stĭ ada´ntâ uktûnlesi´dastĭ nige´sûna. Gadâyu´stĭ tsûdâ´ita ada´ntĭ tside´atsasi´ga. A´ya a´kwatseli´ga.Sgĕ! Ha-nâ´gwûlĕ´ hûnhatûnga´ga, Hĭkayû´nlĭ Gi´gage. Tsetsûli´sĭ hiye´lastûna‘ta´hisi´ga. Ada´ntâ hasû‘gû´‘lawĭ´stani´ga, tsa´skaláhĭstĭ nige´sûnna. Hĭkayû´nlige denătsegû‘la´wĭstani´ga. Agĕ´‘ya gĭ´nsûngû‘lawĭs´tani´ga uda´ntâuwahisĭ´sata. Dĭgĭnaskûlâ´hĭstĭ nige´sûnna. Yû!Hi´ănasgwû´ u‘tlâ´yi-gwû dĭgalû´nwistan´tĭ snûnâ´yĭ hani´‘lihûngûnasgi´stĭ. Gane´tsĭ aye´‘lĭ asi´tadis´tĭ watsi´la, ganûnli´yetĭ aguwaye´nĭ andisgâ´ĭ. Sâi´yĭ tsika´nâhe itsu´laha´gwû.

Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga, * * hĭlû(stû´‘lĭ), (* *) ditsa(dâ´ita). A´yû 0 0 tsila(stû´‘lĭ). Hiye´la tsĭkĭ´ tsĭkû´. (Yû!)

Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ), * * ditsa(dâ´íta). A´yû 0 0 tsûwi´ya tsĭkĭ´ tsĭkû´. Yû!

Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ) * * ditsa(dâ´íta). A´yû 0 0 tsûwatsi´la tsĭkĭ´ tsĭkû´ a´yû. Yû!

Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ), * * ditsadâ´(ita). A´yû 0 0 tsûnahŭ´ tsĭkĭ´ tsĭkû´. Yû!

Sgĕ! “Ha-nâ´gwa ada´ntĭ dutsase´, tsugale´ntĭ nige´sûnna,” tsûdûneĭ, Hĭkayû´nlige galû´nlatĭ. Kananĕ´skĭ Û´nnage galû´nlatĭ (h)etsatsâ´ûntănile´ĭ. Tsănilta´gĭ tsûksâ´ûntanile´ĭ. * * gûla(stû´‘lĭ), * * ditsadâ´(ita). Dudantâ´gĭ uhani´latâ tĭkwenû´ntani´ga. Kûlkwâ´gĭ igûlsta´lagĭ iyû´nta yû´nwĭ adayû´nlatawă´ dudûne´lida´lûnuhisa´‘tĭ nige´sûnna.

Sgĕ! Ha-nâ´gwatĭ uhisa´‘tĭ dutlû´ntani´ga. Tsû´nkta daskâ´lûntsi´ga. Sâ´gwahĭ di´kta de´gayelûntsi´ga. Ga´tsa igûnû´nugâ´ĭstû uda´ntâ? Usû´hita nudanû´nna ûltûnge´ta gûnwadûneli´dege´stĭ. Igûnwûlsta´‘ti-gwû duwâlu´wa‘tûntĭ nige´sûnna. Kananĕ´skĭ Ûnnage´ĭ tsanildew’se´stĭ ada´ntâ uktûnlesi´dastĭ nige´sûna. Gadâyu´stĭ tsûdâ´ita ada´ntĭ tside´atsasi´ga. A´ya a´kwatseli´ga.

Sgĕ! Ha-nâ´gwûlĕ´ hûnhatûnga´ga, Hĭkayû´nlĭ Gi´gage. Tsetsûli´sĭ hiye´lastûna‘ta´hisi´ga. Ada´ntâ hasû‘gû´‘lawĭ´stani´ga, tsa´skaláhĭstĭ nige´sûnna. Hĭkayû´nlige denătsegû‘la´wĭstani´ga. Agĕ´‘ya gĭ´nsûngû‘lawĭs´tani´ga uda´ntâuwahisĭ´sata. Dĭgĭnaskûlâ´hĭstĭ nige´sûnna. Yû!

Hi´ănasgwû´ u‘tlâ´yi-gwû dĭgalû´nwistan´tĭ snûnâ´yĭ hani´‘lihûngûnasgi´stĭ. Gane´tsĭ aye´‘lĭ asi´tadis´tĭ watsi´la, ganûnli´yetĭ aguwaye´nĭ andisgâ´ĭ. Sâi´yĭ tsika´nâhe itsu´laha´gwû.

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

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

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

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

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 Ayâsta. 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! Yû!

(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.

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‘yû´ninĭ, 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‘yû´ninĭ, this must be done stealthily at night while the woman is asleep, the husband rubbing his spittleon 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” (tsetsûli´sĭ) is an expression frequently used in addressing the more important deities.

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