Chapter XXV: Appendix: Hypnotism and the Dance Among the Dervishes (3)

The Blackfoot method, as described by Grinnell, in his Blackfoot Lodge Tales, was the same in all essentials as that of the Arapaho. He adds several details, which were probably common to both tribes and to others, but which my Arapaho informants failed to mention. While the hunter was away in the pit his wife or daughters at home must not use an awl for sewing or for other purposes, as, should they do so, the eagle might scratch the hunter. He took a human skull with him into the pit, in order that he might be as invisible to the eagle as the spirit of the former owner of the skull. He must not eat the berries of the wild rose during this period, or the eagle would not attack the bait, and he must put a morsel of pemmican into the mouth of the dead eagle in order to gain the good will of its fellows and induce them to come in and be caught.

The eagle-catching ceremony of the Caddo, Cherokee, and other eastern tribes will be noticed in treating of the Caddo songs.

48. +Bä′hinä′nina′tä ni′tabä′na+

Bä′hinä′nina′tä ni′tabä′na,
Bä′hinä′nina′tä ni′tabä′na.
Nänä′nina hu′hu,
Nänä′nina hu′hu.

_Translation_

I hear everything,
I hear everything.
I am the crow,
I am the crow.

This is another song expressive of the omniscience of the crow, which, as their messenger from the spirit world, hears and knows everything, both on this earth and in the shadow land. The tune is one of the prettiest of all the ghost songs.

49. +A-bä′qati′ hä′nichä′bi′hinä′na+

A-bä′qati′ hä′nichä′bi′hinä′na,
A-bä′qati′ hä′nichä′bi′hinä′na.
A-wa′täna′ni ani′ä′tähĭ′näna,
A-wa′täna′ni ani′ä′tähĭ′näna.

_Translation_

With the _bä′qati_ wheel I am gambling,
With the _bä′qati_ wheel I am gambling.
With the black mark I win the game,
With the black mark I win the game.

This song is from the northern Arapaho. The author of it, in his visit to the spirit world, found his former friends playing the old game of the _bä′qati_ wheel, which was practically obsolete among the prairie tribes, but which is being revived since the advent of the Ghost dance. As it was a favorite game with the men in the olden times, a great many of the songs founded on these trance visions refer to it, and the wheel and sticks are made by the dreamer and carried in the dance as they sing.

The game is played with a wheel (_bä′qati_, “large wheel”) and two pairs of throwing sticks (_qa′qa-u′nûtha_). The Cheyenne call the wheel _ä′ko′yo_ or _äkwi′u_, and the sticks _hoo′isi′yonots_. It is a man’s game, and there are three players, one rolling the wheel, while the other two, each armed with a pair of throwing sticks, run after it and throw the sticks so as to cross the wheel in a certain position. The two throwers are the contestants, the one who rolls the wheel being merely an assistant. Like most Indian games, it is a means of gambling, and high stakes are sometimes wagered on the result. It is common to the Arapaho, Cheyenne, Sioux, and probably to all the northern prairie tribes, but is not found among the Kiowa or Comanche in the south.

The wheel is about 18 inches in diameter, and consists of a flexible young tree branch, stripped of its bark and painted, with the two ends fastened together with sinew or buckskin string. At equal distances around the circumference of the wheel are cut four figures, the two opposite each other constituting a pair, but being distinguished by different colors, usually blue or black and red, and by lines or notches on the face. These figures are designated simply by their colors. Figures of birds, crescents, etc., are sometimes also cut or painted upon the wheel, but have nothing to do with the game. (See plate +CXI+.)

The sticks are light rods, about 30 inches long, tied in pairs by a peculiar arrangement of buckskin strings, and distinguished from one another by pieces of cloth of different colors fastened to the strings. There is also a pile of tally sticks, usually a hundred in number, about the size of lead pencils and painted green, for keeping count of the game. The sticks are held near the center in a peculiar manner between the fingers of the closed hand. When the wheel is rolled, each player runs from the same side, and endeavors to throw the sticks so as to strike the wheel in such a way that when it falls both sticks of his pair shall be either over or under a certain figure. It requires dexterity to do this, as the string has a tendency to strike the wheel in such a way as to make one stick fall under and the other over, in which case the throw counts for nothing. The players assign their own value to each figure, the usual value being five points for one and ten for the other figure, with double that number for a throw which crosses the two corresponding figures, and one hundred tallies to the game.

The wheel-and-stick game, in some form or another, was almost universal among our Indian tribes. Another game among the prairie tribes is played with a netted wheel and a single stick or arrow, the effort being to send the arrow through the netting as nearly as possible to the center or bull’s-eye. This game is called _ana′wati′n-hati_, “playing wheel,” by the Arapaho.

50. +Ani′äsa′kua′na dă′chäbi′hati′tani+

Ani′äsa′kua′na dă′chäbi′hati′tani bä′qati′bä,
Ani′äsa′kua′na dă′chäbi′hati′tani bä′qati′bä.
Ni′ati′biku′thahu′ bä′qatihi,
Ni′ati′biku′thahu′ bä′qatihi.
Di′chäbi′häti′ta′ni′,
Di′chäbi′häti′ta′ni′.

_Translation_

I am watching where they are gambling with the _bä′qati_ wheel,
I am watching where they are gambling with the _bä′qati_ wheel.
They are rolling the _bä′qati_,
They are rolling the _bä′qati_.
While they gamble with it,
While they gamble with it.

In this song the dancer tells how he watched a group of his friends in the spirit world playing the game of the _bä′qati_, as has been explained in the song last treated.

51. +Ni′chi′a i′theti′hi+

Ni′chi′ă i′theti′hi,
Ni′chi′ă i′theti′hi,
Chana′ha′ti i′nĭt—
Chana′ha′ti i′nĭt—
Gu′n baa′-ni′bină thi′aku′-u,
Gu′n baa′-ni′bină thi′aku′-u.

_Translation_

(There) is a good river,
(There) is a good river,
Where there is no timber—
Where there is no timber—
But thunder-berries are there,
But thunder-berries are there.

This song refers to a trance vision in which the dreamer found his people camped by a good, i. e., perennial, river, fringed with abundant bushes or small trees of the _baa-ni′bin_ or “thunder-berry,” which appears to be the black haw, being described as a sort of wild cherry, in size between the chokecherry and the wild plum. It was eaten raw, or dried and boiled, the seeds having first been taken out. It is very scarce, if found at all, in the southern plains.

52. +Ni′nini′tubi′na hu′hu′+ (former closing song)

[Music]

Ni′nini′tubi′na hu′hu′,
Ni′nini′tubi′na hu′hu′.
Bäta′hina′ni hu′hu′,
Bäta′hina′ni hu′hu′,
Nă′hinä′ni häthi′na,
Nă′hinä′ni häthi′na.

_Translation_

The crow has given me the signal,
The crow has given me the signal.
When the crow makes me dance,
When the crow makes me dance,
He tells me (when) to stop,
He tells me (when) to stop.

This was formerly the closing song of the dance, but is now superseded as such by number 73, beginning _Ahu′yu häthi′na_. It was also the last song sung when a small party gathered in the tipi at night for a private rehearsal, and was therefore always held in reserve until the singers were about ready to separate. The tune is one of the best. The special office of the crow as the messenger from the spirit world and representative of the messiah has been already explained. He is supposed to direct the dance and to give the signal for its close.

53. +Anihä′ya atani′tă′nu′nawa′+

Anihä′ya atani′tă′nu′nawa′,
Anihä′ya atani′tă′nu′nawa′,
Häthi′na hesûna′nĭn,
Häthi′na hesûna′nĭn,
Da‛chä′-ihi′na he′sûna′nĭn,
Da‛chä′-ihi′na he′sûna′nĭn—Ih! Ih!

_Translation_

I use the yellow (paint),
I use the yellow (paint),
Says the father,
Says the father,
In order to please me, the father,
In order to please me, the father—_Ih! Ih!_

The meaning of this song is somewhat obscure. It seems to be a message from the messiah to the effect that he paints himself with yellow paint, because it pleases him, the inference being that it would please him to have his children do the same. Those who take part in the sun dance are usually painted yellow, that being the color of the sun. This song is peculiar in having at the end two sharp yelps, in the style of the ordinary songs of the warrior dances.

54. +Ni′naä′niahu′tawa bi′taa′wu+

A′-näni′sa′na, a′-näni′sa′na,
Ni′naä′niahu′tawa bi′taa′wu,
Ni′naä′niahu′tawa bi′taa′wu,
A′-tini′chi′ni′na nä′nisa′na,
A′-tini′chi′ni′na nä′nisa′na,
Häthi′na hesûna′nĭn,
Häthi′na hesûna′nĭn.

_Translation_

My children, my children,
I am flying about the earth,
I am flying about the earth.
I am a bird, my children,
I am a bird, my children,
Says the father,
Says the father.

In this song the messiah, addressing his children, is represented as a bird (crow?) flying about the whole earth, symbolic of his omniscience. The song has one or two variants.

55. +I′nita′ta′-usä′na+

I′nita′ta′-usä′na,
I′nita′ta′-usä′na.
Hä′tini′tubibä′ hu′hu,
Hä′tini′tubibä′ hu′hu.
Hä′tina′ha′wa′bä hu′hu,
Hä′tina′ha′wa′bä hu′hu.

_Translation_

Stand ready,
Stand ready.
(So that when) the crow calls you,
(So that when) the crow calls you.
You will see him,
You will see him.

This song was composed by Little Raven, one of the delegation of seven from the southern Arapaho and Cheyenne which visited the messiah in Nevada in August, 1891. It is a message to the believers to be ready for the near coming of the new earth. The first line is sometimes sung _I′nita′ta-u′sä-hu′na_.

56. +Wa′wäthä′bi+

Nä′nisa′na-ŭ′, nä′nisa′na-ŭ′,
Wa′wäthä′bichä′chinĭ′nabä′nagu′wa-u′i′naga′thi—He′e′ye′!
Häthi′na ne′nahu′,
Häthi′na ne′nahu′.

_Translation_

My children, my children,
I have given you magpie feathers again to wear on your heads—_He′e′ye′!_
Thus says our mother,
Thus says our mother.

This song affords a good specimen of the possibilities of Indian word building. The second word might serve as a companion piece to Mark Twain’s picture of a complete word in German. It consists of seventeen syllables, all so interwoven to complete the sense of the word sentence that no part can be separated from the rest without destroying the whole. The verbal part proper indicates that “I have given you (plural) a headdress again.” The final syllables, _wa-u′i-naga′thi_, show that the headdress consists of the tail feathers (_wagathi_) of the magpie (_wa-u-i_). The syllable _cha_ implies repetition or return of action, this being probably not the first time that the messiah had given magpie feathers to his visitors.

The magpie (_Pica hudsonica_ or _mittalii_) of the Rocky mountains and Sierra Nevada and the intermediate region of Nevada and Utah is perhaps the most conspicuous bird in the Paiute country. It bears a general resemblance to a crow or blackbird, being about the size of the latter, and jet black, with the exception of the breast, which is white, and a white spot on each wing. In its tail are two long feathers with beautiful changeable metallic luster. It is a home bird, frequenting the neighborhood of the Paiute camps in small flocks. It is held sacred among the Paiute, by whom the long tail feathers are as highly prized for decorative purposes as eagle feathers are among the tribes of the plains. The standard price for such feathers in 1891 was 25 cents a pair. The delegates who crossed the mountains to visit the messiah brought back with them quantities of these feathers, which thenceforth filled an important place in the ceremonial of the Ghost dance. In fact they were so eagerly sought after that the traders undertook to meet the demand, at first by importing genuine magpie feathers from the mountains, but later by fraudulently substituting selected crow feathers from the east at the same price.

The song is also peculiar in referring to the messiah as “my mother” (_nena_) instead of “our father” (_hesûnanin_), as usual.

57. +Ani′qa hĕ′tabi′nuhu′ni′na+

Ani′qa hĕ′tabi′nuhu′ni′na,
Ani′qa hĕ′tabi′nuhu′ni′na.
Hatăna′wunăni′na hesûna′nĭn,
Hatăna′wunăni′na hesûna′nĭn.
Ha′tăni′ni′ahu′hi′na he′sûna′nĭn,
Ha′tăni′ni′ahu′hi′na he′sûna′nĭn.

_Translation_

My father, I am poor,
My father, I am poor.
Our father is about to take pity on me,
Our father is about to take pity on me.
Our father is about to make me fly around.
Our father is about to make me fly around.

This song refers to the present impoverished condition of the Indians, and to their hope that he is now about to take pity on them and remove them from this dying world to the new earth above; the feathers worn on their heads in the dance being expected to act as wings, as already explained, to enable them to fly to the upper regions.

58. +Nä′nisa′taqu′thi hu′na+

Nä′nisa′taqu′thi hu′na—Hi′ă hi′ni′ni′!
Nä′nisa′taqu′thi hu′na—Hi′ă hi′ni′ni′!
Hi′bithi′ni′na gasi′tu—Hi′ă hi′ni′ni′!
Hi′bithi′ni′na gasi′tu—Hi′ă hi′ni′ni′!

_Translation_

The seven crows—_Hi′ă hi′ni′ni′!_
The seven crows—_Hi′ă hi′ni′ni′!_
They are flying about the carrion—_Hi′ă hi′ni′ni′!_
They are flying about the carrion—_Hi′ă hi′ni′ni′!_

In this song the dreamer tells of his trance visit to the spirit world, where he found his friends busily engaged cutting up the meat after a successful buffalo hunt, while the crows were hovering about the carrion. Four and seven are the constant sacred numbers of the Ghost dance, as of Indian ritual and story generally.

59. +Ahu′nä he′sûna′nĭn+

Ahu′nä he′sûna′nĭn—
Ahu′nä he′sûna′nĭn—
Ni′tabä′tani′ bäta′hina′ni,
Ni′tabä′tani′ bäta′hina′ni,
Ha′kă hä′sabini′na he′sûna′nĭn,
Ha′kă hä′sabini′na he′sûna′nĭn.

_Translation_

There is our father—
There is our father—
We are dancing as he wishes (makes) us to dance,
We are dancing as he wishes (makes) us to dance,
Because our father has so commanded us,
Because our father has so commanded us.

The literal meaning of the last line is “because our father has given it to us,” the prairie idiom for directing or commanding being to “give a road” or to “make a road” for the one thus commanded. To disobey is to “break the road” and to depart from the former custom is to “make a new road.” The idea is expressed in the same way both in the various spoken languages and in the sign language.

60. +Ga′awa′hu+

Ga′awa′hu, ga′awa′hu,
Ni′hii′nä gu′shi′nä,
Ni′hii′nä gu′shi′nä.
A′tanä′tähinä′na,
A′tanä′tähinä′na.

_Translation_

The ball, the ball—
You must throw it swiftly,
You must throw it swiftly.
I want to win,
I want to win.

The author of this song was a woman who in her trance vision saw her girl friends in the other world playing the ball game, as described in song number 7. In this case, however, her partner is urged to _throw_ the ball, instead of to strike it.

61. +Ahu′ ni′higa′hu+

Ahu′ ni′higa′hu,
Ahu′ ni′higa′hu.
Ha′tani′ni′tani′na,
Ha′tani′ni′tani′na.

_Translation_

The Crow is running,
The Crow is running.
He will hear me.
He will hear me.

This song implies that the Crow (messiah) is quick to hear the prayer of the dancer and comes swiftly to listen to his petition.

62. +Ya′thä-yû′na ta′na-u′qahe′na+

Ne′sûna′—He′e′ye′!
Ne′sûna′—He′e′ye′!
Ya′thä-yûna ta′na-u′qahe′na—He′e′ye′!
Ya′thä-yûna ta′na-u′qahe′na—He′e′ye′!
Ta′bini′na hi′ticha′ni—He′e′ye′!
Ta′bini′na hi′ticha′ni—He′e′ye′!
Bi′taa′wu ta′thi′aku′tawa′—He′e′ye′!
Bi′taa′wu ta′thi′aku′tawa′—He′e′ye′!

_Translation_

My father—_He′e′ye′!_
My father—_He′e′ye′!_
He put me in five places—_He′e′ye′!_
He put me in five places—_He′e′ye′!_
I stood upon the earth—_He′e′ye′!_
I stood upon the earth—_He′e′ye′!_

The author of this song tells how in his trance he went up to the other world, where he stood upon the new earth and saw the messiah, who took him around to five different places and gave him a pipe. The number five may here have some deeper mythic meaning besides that indicated in the bare narrative.

63. +Ni′naäqa′wa chibä′ti+

Ni′naäqa′wa chibä′ti,
Ni′naäqa′wa chibä′ti.
Ha′-ina′tä be′yi thi′äya′na,
Ha′-ina′tä be′yi thi′äya′na.

_Translation_

I am going around the sweat-house,
I am going around the sweat-house.
The shell lies upon the mound,
The shell lies upon the mound.

The maker of this song saw in his vision a sweat-house with a white shell lying upon the mound in front, where a buffalo skull is usually placed. The song evidently refers to some interesting religious ceremony, but was heard only once, and from a young man who could give no fuller explanation. I have never seen a shell used in this connection. It may be, as suggested by Reverend H. R. Voth, that the word shell is really a figurative expression for skull. In the old days the whole buffalo head was used, instead of the mere skull.

64. +Hise′hi, hise′hi+

Hise′hi, hise′hi,
Hä′tine′bäku′tha′na,
Hä′tine′bäku′tha′na,
Häti′ta-u′seta′na,
Häti′ta-u′seta′na.

_Translation_

My comrade, my comrade,
Let us play the awl game,
Let us play the awl game,
Let us play the dice game,
Let us play the dice game.

The woman who composed this song tells how, on waking up in the spirit world, she met there a party of her former girl companions and sat down with them to play the two games universally popular with the women of all the prairie tribes.

The first is called _nĕ′bäku′thana_ by the Arapaho and _tsoñä_ or “awl game” (from _tsoñ_, an awl) by the Kiowa, on account of an awl, the Indian woman’s substitute for a needle, being used to keep record of the score. The game is becoming obsolete in the north, but is the everyday summer amusement of the women among the Kiowa, Comanche, and Apache in the southern plains. It is very amusing on account of the unforeseen “rivers” and “whips” that are constantly turning up to disappoint the expectant winner, and a party of women will frequently sit around the blanket for half a day at a time, with a constant ripple of laughter and good-humored jokes as they follow the chances of the play. It would make a very pretty picnic game, or could readily be adapted to the parlor of civilization.

The players sit upon the ground around a blanket marked in charcoal with lines and dots, and quadrants in the corners, as shown in figure 95. In the center is a stone upon which the sticks are thrown. Each dot, excepting those between the parallels, counts a point, making twenty-four points for dots. Each of the parallel lines, and each end of the curved lines in the corners, also counts a point, making sixteen points for the lines or forty points in all. The players start from the bottom, opposing players moving in opposite directions, and with each throw of the sticks the thrower moves her awl forward and sticks it into the blanket at the dot or line to which her throw carries her. The parallels on each of the four sides are called “rivers,” and the dots within these parallels do not count in the game. The rivers at the top and bottom are “dangerous” and can not be crossed, and when the player is so unlucky as to score a throw which brings her upon the edge of the river (i. e., upon the first line of either of these pairs of parallels), she “falls into the river” and must lose all she has hitherto gained, and begin again at the start. In the same way, when a player moving around in one direction makes a throw which brings her awl to the place occupied by the awl of her opponent coming around from the other side, the said opponent is “whipped back” to the starting point and must begin all over again. Thus there is a constant succession of unforeseen accidents which furnish endless amusement to the players.

The game is played with four sticks, each from 6 to 10 inches long, flat on one side and round on the other (figure 96). One of these is the trump stick and is marked in a distinctive manner in the center on both sides, and is also distinguished by having a green line along the flat side (figure 97), while the others have each a red line. The Kiowa call this trump stick _sahe_, “green,” on account of the green stripe, while the others are called _guadal_, “red.” There are also a number of small green sticks, about the size of lead pencils, for keeping tally. Each player in turn takes up the four sticks together in her hand and throws them down on end upon the stone in the center. The number of points depends on the number of flat or round sides which turn up. A lucky throw with the green or trump stick generally gives the thrower another trial in addition. The formula is:

One flat side up counts 1
One flat side (if _sahe_) counts 1 and another throw.
Two flat sides up, with or without _sahe_, count 2
Three flat sides up count 3
Three flat sides up, including _sahe_, count 3 and another throw.
All four flat sides up count 6 and another throw.
All four round sides up count 10 and another throw.

Only the flat sides count except when all the sticks turn round side up. This is the best throw of all, as it counts ten points and another throw. On completing one round of forty points the player takes one of the small green tally sticks from the pile and she who first gets the number of tally sticks previously agreed on wins the game. Two, four, or any even number of persons may play the game, half on each side. When two or more play on a side, all the partners move up the same number of points at each throw, but only the lucky thrower gets a second trial in case of a trump throw.

The other woman’s game mentioned, the dice game, is called _ta-u′sĕta′tina_ (literally, “striking,” or “throwing against” something) by the Arapaho, and _mo′nshimûnh_ by the Cheyenne, the same name being now given to the modern card games. It was practically universal among all the tribes east and west, and under the name of “hub-bub” is described by a New England writer as far back as 1634, almost precisely as it exists today among the prairie tribes. The only difference seems to have been that in the east it was played also by the men, and to the accompaniment of a song such as is used in the hand games of the western tribes.

The requisites are a small wicker bowl or basket (_hatĕchi′na_), five dice made of bone or of plum stones, and a pile of tally sticks such as are used in the awl game. The bowl is 6 or 8 inches in diameter and about 2 inches deep, and is woven in basket fashion of the tough fibers of the yucca (figure 98). The dice may be round, elliptical, or diamond-shape and are variously marked on one side with lines and figures, the turtle being a favorite design among the Arapaho (figure 99). Two of the five must be alike in shape and marking. The other three are marked with another design and may also be of another shape. Any number of women or girls may play, each throwing in turn, and sometimes one set of partners playing against another. The players toss up the dice from the basket, letting them drop again into it, and score points according to the way the dice turn up in the basket. The first throw by each player is made from the hand instead of from the basket. One hundred points usually count a game, and stakes are wagered on the result as in almost every other Indian contest of skill or chance. For the purpose of explanation, we shall designate two of the five as “rounds” and the other three as “diamonds,” it being understood that only the marked side counts in the game, excepting when the throw happens to turn up the three diamonds blank while the other two show the marked side, or, as sometimes happens, when all five dice turn up blank. In every case all of one kind at least must turn up to score a point. A successful throw entitles the player to another throw, while a failure obliges her to pass the basket to some one else. The formula is:

1 only of either kind 0
2 rounds 3
3 diamonds (both rounds with blank side up) 3
3 diamonds blank (both rounds with marked side up) 3
4 marked sides up 1
5 (all) blank sides up 1
5 (all) marked sides up 8

A game similar in principle, but played with six dice instead of five, is also played by the Arapaho women, as well as by those of the Comanche and probably also of other tribes.

65. +Na′tu′wani′sa+

Nänisa′na, nänisa′na,
Na′tu′wani′sa, na′tu′wani′sa—
Hä′nätä′hĭ′näti′,
Hä′nätä′hĭ′näti′.

_Translation_

My children, my children,
My top, my top—
It will win the game,
It will win the game.

The man who made this song when he entered the spirit world in his vision met there one of his boy friends who had died long years before, and once more spun tops with him as in childhood.

Tops are used by all Indian boys, and are made of wood or bone. They are not thrown or spun with a string, but are kept in motion by whipping with a small quirt or whip of buckskin. In winter they are spun upon the ice. The younger children make tops to twirl with the fingers by running a stick through a small seed berry.

66. +He′na′ga′nawa′nen+

He′na′ga′nawa′nen näa′wu′nani′nä bi′gushi′shi He′sûna′nini′—Ahe′e′ye′!
He′na′ga′nawa′nen näa′wu′nani′nä bi′gushi′shi He′sûna′nini′—Ahe′e′ye′!
Nithi′na hesûna′nini′—Ahe′e′ye′!
Nithi′na hesûna′nini′—Ahe′e′ye′!

_Translation_

When we dance until daylight our father, the Moon, takes pity on
us—_Ahe′e′ye′!_
When we dance until daylight our father, the Moon, takes pity on
us—_Ahe′e′ye′!_
The father says so—_Ahe′e′ye′!_
The father says so—_Ahe′e′ye′!_

With the Arapaho, as with many other tribes, the moon is masculine, and the sun is feminine. In mythology the two are brother and sister. There are various myths to account for the spots on the moon’s surface, some discerning in them a large frog, while to others they bear a likeness to a kettle hung over the fire. The Arapaho name for the moon, _bi′gushish_, means literally “night sun,” the sun itself being called _hishinishish_, “day sun.” A similar nomenclature exists among most other tribes.

67. +Ni′nä′nina′ti′naku′ni′na na′ga′qu′+

[Music]

A′näni′sa′na, a′näni′sa′na,
Ni′nä′nina′ti′naku′ni′na na′ga′qu′,
Ni′nä′nina′ti′naku′ni′na na′ga′qu′;
Ti′naha′thihu′ nä′nisa′na,
Ti′naha′thihu′ nä′nisa′na,
Häthi′na He′sûna′nĭn,
Häthi′na He′sûna′nĭn.

_Translation_

My children, my children,
It is I who wear the morning star on my head.
It is I who wear the morning star on my head;
I show it to my children,
I show it to my children,
Says the father,
Says the father.

This beautiful song originated among the northern Arapaho, and is a favorite north and south. In it the messiah is supposed to be addressing his children. There is a rhythmic swing to the vocalic syllables that makes the tune particularly pleasing, and the imagery of thought expressed is poetry itself. The same idea occurs in European ballad and legend, and has a parallel in the angel of the evangelist, “clothed with a cloud, and a rainbow upon his head.”

68. +A′-nena′ tabi′ni′na+

A′-nena′ tabi′ni′na nĕ′tĭqta′wa′hu′,
A′-nena′ tabi′ni′na nĕ′tĭqta′wa′hu′.
Ä′nii′nahu′gahu′nahu,
Ä′nii′nahu′gahu′nahu.
Tahu′naha′thihi′na nä′nisa′na,
Tahu′naha′thihi′na nä′nisa′na.

_Translation_

My mother gave me my _tĭ′qtawa_ stick,
My mother gave me my _tĭ′qtawa_ stick.
I fly around with it,
I fly around with it,
To make me see my children,
To make me see my children.

This song was composed by a woman of the southern Arapaho. The reference is not entirely clear, but it is probable that in her trance vision she saw her children in the other world playing the game mentioned, and that afterward she made the game sticks and carried them in the dance, hoping by this means to obtain another vision of the spirit world, where she could again talk with her children who had gone before her to the shadow land. In one Ghost dance seven different women carried these game sticks.

The _băti′qtûba_ (abbreviated _ti′qtûp_) game of the Arapaho and other prairie tribes somewhat resembles the Iroquois game of the “snow snake,” and is played by children or grown persons of both sexes. It is a very simple game, the contestants merely throwing or sliding the sticks along the ground to see who can send them farthest. Two persons or two parties play against each other, boys sometimes playing against girls or men against women. It is, however, more especially a girl’s game. The game sticks (_bătĭqta′wa_) are slender willow rods about 4 feet long, peeled and painted and tipped with a point of buffalo horn to enable them to slide more easily along the ground. In throwing, the player holds the stick at the upper end with the thumb and fingers, and, swinging it like a pendulum, throws it out with a sweeping motion. Young men throw arrows about in the same way, and small boys sometimes throw ordinary reeds or weed stalks. Among the Omaha, according to Dorsey, bows, unstrung, are made to slide along the ground or ice in the same manner.

69. +Yĭ′hä′ä′ä′hi′hĭ′+

Yĭ′hä′ä′ä′hi′hĭ′, Yĭ′hä′ä′ä′hi′hĭ′,
Hä′nänä′hi′gutha′-u ga′qaä′-hu′hu′,
Hä′nänä′hi′gutha′-u ga′qaä′-hu′hu′.

_Translation_

_Yĭ′hä′ä′ä′hi′hĭ′, Yĭ′hä′ä′ä′hi′hĭ′_,
I throw the “button,”
I throw the “button.”

In his trance vision the author of this song entered a tipi and found it filled with a circle of his old friends playing the _ga′qutit_, or “hunt the button” game. This is a favorite winter game with the prairie tribes, and was probably more or less general throughout the country. It is played both by men and women, but never by the two sexes together. It is the regular game in the long winter nights after the scattered families have abandoned their exposed summer positions on the open prairie, and moved down near one another in the shelter of the timber along the streams. When hundreds of Indians are thus camped together, the sound of the drum, the rattle, and the gaming song resound nightly through the air. To the stranger there is a fascination about such a camp at night, with the conical tipis scattered about under the trees, the firelight from within shining through the white canvas and distinctly outlining upon the cloth the figures of the occupants making merry inside with jest and story, while from half a dozen different directions comes the measured tap of the Indian drum or the weird chorus of the gaming songs. Frequently there will be a party of twenty to thirty men gaming in one tipi, and singing so that their voices can be heard far out from the camp, while from another tipi a few rods away comes a shrill chorus from a group of women engaged in another game of the same kind.

The players sit in a circle around the tipi fire, those on one side of the fire playing against those on the other. The only requisites are the “button” or _ga′qaä_, usually a small bit of wood, around which is tied a piece of string or otter skin, with a pile of tally sticks, as has been already described. Each party has a “button,” that of one side being painted black, the other being red. The leader of one party takes the button and endeavors to move it from one hand to the other, or to pass it on to a partner, while those of the opposing side keep a sharp lookout, and try to guess in which hand it is. Those having the button try to deceive their opponents as to its whereabouts by putting one hand over the other, by folding their arms, and by putting their hands behind them, so as to pass the _ga′qaä_, on to a partner, all the while keeping time to the rhythm of a gaming chorus sung by the whole party at the top of their voices. The song is very peculiar, and well-nigh indescribable. It is usually, but not always or entirely, unmeaning, and jumps, halts, and staggers in a most surprising fashion, but always in perfect time with the movements of the hands and arms of the singers. The greatest of good-natured excitement prevails, and every few minutes some more excitable player claps his hands over his mouth or beats the ground with his flat palms, and gives out a regular war-whoop. All this time the opposing players are watching the hands of the other, or looking straight into their faces to observe every telltale movement of their features, and when one thinks he has discovered in which hand the button is, he throws out his thumb toward that hand with a loud “_that!_” Should he guess aright, his side scores a certain number of tallies, and in turn takes the button and begins another song. Should the guess be wrong, the losing side must give up an equivalent number of tally sticks. So the play goes on until the small hours of the night. It is always a gambling game, and the stakes are sometimes very large.

The first line of the song here given is an imitation of one of these gambling songs. Among the prairie tribes each song has one or perhaps two words with meaning bearing on the game, the rest of the song being a succession of unmeaning syllables. Among some other tribes, particularly among the Navaho, as described by Dr Washington Matthews, the songs have meaning, being prayers to different animal or elemental gods to assist the player.

As specimens of another variety of gambling songs, we give here two heard among the Paiute of Nevada when visiting the messiah in the winter of 1891–92. They have pretty tunes, very distinct from those of the prairie tribes, and were borrowed by the Paiute from the Mohave, in whose language they may have a meaning, although unintelligible to the Paiute.

_Paiute gambling song_

[Music]

1. Yo′ho′ maho′yo owa′na,
Ha′yămă ha′yămă kăni′yowĭ′. (_Repeat._)
2. Ho′tsăni′ăni tsai′-owi′ani′,
Iha′ha′ tsima′nimina′ ha′ tsima′nimina′. (_Repeat._)

70. +Ni′qa-hu′hu′+

Ni′qa-hu′hu′, ni′qa-hu′hu′,
Hu′wĭ′säna′, hu′wĭ′säna′—
Ga′qa′ä-hu′hu′, ga′qa′ä-hu′hu′.

_Translation_

My father, my father,
I go straight to it, I go straight to it—
The _ga′qaä_, the _ga′qaä_.

This song also refers to the game of _ga′qutit_, just described. The _ga′qaä_ is the “button.”

71. +A′hu′nawu′hu′+

A′hu′nawu′hu′-u′-u′, a′hu′nawu′hu′-u′-u′,
Hă′tani′i′bii′na—He′e′ye′!
Hă′tani′i′bii′na—He′e′ye′!
Ga′qu′tina′ni,
Ga′qu′tina′ni,
Hi′nä′ähä′k ga′qa′ä—He′e′ye′!
Hi′nä′ähä′k ga′qa′ä—He′e′ye′!

_Translation_

With red paint, with red paint,
I want to paint myself—_He′e′ye′!_
I want to paint myself—_He′e′ye′!_
When I play _ga′qutit_,
When I play _ga′qutit_.
It is the “button”—_He′e′ye′!_
It is the “button”—_He′e′ye′!_

This song refers to the same game described under songs 69 and 70, and like them is based on the trance experience of the composer.

72. +Ani′qa naga′qu+

Ani′qa naga′qu!
Ani′qa naga′qu!
Ina′habi′ä nina′gănawa′ni,
Ina′habi′ä nina′gănawa′ni.
Awu′năni′ä—Hi′i′i′!
Awu′năni′ä—Hi′i′i′!

_Translation_

Father, the Morning Star!
Father, the Morning Star!
Look on us, we have danced until daylight,
Look on us, we have danced until daylight.
Take pity on us—_Hi′i′i′!_
Take pity on us—_Hi′i′i′!_

This song is sung about daylight, just before the closing song, after the dancers have danced all night and are now ready to quit and go home. When the new doctrine came among the prairie tribes, the Ghost dance was held at irregular and frequent intervals, almost every other night, in fact—lasting sometimes until about midnight, sometimes until daylight, without any rule. As the ceremonial became crystallized, however, the messiah gave instructions that the dance should be held only at intervals of six weeks, and should then continue four consecutive nights, lasting the first three nights until about midnight, but on the fourth night to continue all night until daylight of the next morning. The original letter containing these directions is given in chapter X. For a long time these directions were implicitly followed, but the tendency now is to the original fashion of one-night dances, at short intervals. This song to the morning star was sung just before daylight on the final morning of the dance.

With all the prairie tribes the morning star is held in great reverence and is the subject of much mythological belief and ceremony. It is universally represented in their pictographs as a cross, usually of the Maltese pattern. In this form it is frequently pictured on the ghost shirts. The Arapaho name, _nagaq′_, means literally “a cross.” The Kiowa know it as _t’aiñso_, “the cross,” or sometimes, as _dä-e′dal_, “the great star.”

73. +Ahu′yu häthi′na+ (closing song)

[Music]

Ahu′yu häthi′na hesûna′nini hu′hu,
Ahu′yu häthi′na hesûna′nini hu′hu,
Yathû′n äta′-usä′bä—

Yathû′n äta′-usä′bä—
Nithi′na hesûna′nĭn,
Nithi′na hesûna′nĭn.

_Translation_

Thus says our father, the Crow,
Thus says our father, the Crow.
Go around five times more—
Go around five times more—
Says the father,
Says the father.

This is the closing song of the dance since the return of the great delegation of southern Arapaho and Cheyenne who visited the messiah in August, 1891. Before that time the closing song had been number 52, beginning _Ni′nini′tubi′na hu′hu′_. The literal rendering of the second part is “stop five times,” the meaning and practice being that they must make five circuits singing this song and then stop. As already stated, in accordance with the instructions of the messiah, the Ghost dance is now held (theoretically) at intervals of six weeks and continues for four consecutive nights, closing about midnight, excepting on the last night, when the believers dance until daylight. As daylight begins to appear in the east, they sing the song to the morning star, as just given (number 72), and then, after a short rest, the leaders start this, the closing song, which is sung while the dancers make five circuits, resting a few moments between circuits. Then they unclasp hands, wave their blankets in the air to fan away all evil influences, and go down to the river to bathe, the men in one place and the women in another. After bathing, they resume their clothing and disperse to their various camps, and the Ghost dance is over.

ARAPAHO GLOSSARY

In this and the other glossaries here given it is intended only to give a concise definition of the meaning of each word without going into details of grammar or etymology. The Ghost dance was studied for its mythology, psychology, ritual, and history, and language in this connection was only the means to an end, as it was impossible in a few months of time to devote close attention to the numerous languages spoken by the tribes represented in the dance.

The Arapaho language, as will be seen from the specimens given, is eminently vocalic, almost every syllable ending in a vowel, and there being almost no double consonant sounds. Like the Cheyenne language, it lacks _l_ and _r_. The most prominent vowel sounds are _a_, _ä_, and _i_, and in some instances there are combinations of several vowel sounds without any intervening consonant. The soft _th_ sound is also prominent. The _g_ and _d_ frequently approximate to _k_ and _t_, respectively, and _b_ in the standard dialect becomes _v_ among the northern Arapaho. The only sound of the language (excepting the medial _k_ and _t_) not found in English is the gutteral _q_, and the language is entirely devoid of the hissing effect of Cheyenne or the choking sounds of Kiowa.

In the songs it is common to prefix _a_, and to add _i_, _hi_, _hu_, _huhu_, etc, to the ends of words in order to fill out the meter. In a few cases changes are made in the body of the word for the same purpose. In the glossary these unmeaning syllables are not given where they occur at the end of words. Words beginning with a vowel sound may sometimes be written as beginning with the breathing _h_, and _s_ is sometimes pronounced _sh_.

_Aä′ninĕ′na_—the name by which the Arapaho Grosventres of the
Prairie, one of the five principal divisions of the Arapaho,
call themselves. It is said to signify “white clay men,” from
_aäti_, “white clay,” and _hinĕ′na_, “men.” They are called
_Hitu′nĕna_, or “beggars,” by the rest of the tribe, and
are commonly known to the whites under the French name of
Grosventres, “big bellies.”

_Aanû′hawa_—another name for the Ha′nahawunĕ′na division of the
Arapaho. The meaning of the word is unknown.

_Abää′thina′hu_—for _Bääthi′na_.

_A′baha′_—for _Ba′haa′_.

_Äbäna′änahu′u′_—for _Bänaä′na_.

_Abä′nihi_—for _Bä′ni_.

_Abä′qati_—for _Bä′qăti_.

_Ächiqa′hăwa_—I am looking at him. Also _Nina′hawa_, I look at
him. _Nă′hănĭ_, Here! Look! _nahata_, look at it (imperative
singular); _ina′habi′ä_, look on us. Compare _Hätina′hawa′bä_.

_Ächĭshinĭ′qahi′na_—he was taking me around.

_A′gană′_—bed-covers of buffalo skin; singular, _a′gă′_.

_Aha′känĕ′na_—“crazy men,” one of the degrees of the Arapaho
military organization. The word is derived from _aha′ka_,
crazy, and _hinĕna_, men. The “fire moth,” which flies around
and into the fire, is called _aha′kăa′_, or “crazy,” and the
_Aha′känĕna_ are supposed to imitate the action of this moth in
the fire dance. See Arapaho song 43 and Cheyenne song 10.

_Aha′känithi′ĭ_—they are crazy. In the Indian idea “foolish” and
“crazy” are generally synonymous. Compare _Aha′känen′a_ and
_Ahaka′wŭ_.

_Ahaka′wŭ_—the crazy dance. It is called _Psam_ by the Cheyenne,
from _psa_, crazy. See Arapaho song 43 and Cheyenne song 10.

_Ahe′eye′!_—an unmeaning exclamation used in the songs.

_A′hene′heni′ăă!_—an unmeaning exclamation used in the songs.

_A′hesûna′nini_—for _Hesŭna′nĭn_.

_A′heye′ne′hene′!_—an unmeaning exclamation used in the songs.

_Ahe′yuhe′yu!_—an unmeaning exclamation used in the songs.

_Ahu′_—for _Ho_.

_Ahu′hu_—for _Ho_.

_Ahu′nä_—there it is; there he is.

_Ahu′nawu′hu_—for _Hĭnăw′_, paint. Compare _Hĭna′wûn_.

_Ahu′yu_—thus; in this way.

_Änani′nibinä′si_—for _Nani′nibinä′sĭ_.

_Anä′nisa′na_—for _Näni′sanăû_.

_Ana′wati′n-hati_—“playing wheel” (_hati_, wheel); a netted gaming
wheel. See Arapaho song 50.

_Anĕä′thibiwă′hana_—for _Nĕü′thibiwa′na_.

_Ane′na_—for _Ne′na_.

_Ani′anethahi′nani′na_—for _Ni′anĕ′hahi′nani′na_.

_Aniäsa′kua′na_—for _Ni′äsa′kua′na_.

_Ani′ätähĭ′näna_—for _Hänä′tähĭnä′na_.

_A′niesa′na_—for _Niesa′na_.

_Anihä′ya_—the yellow (paint).

_Ä′nii′nahu′gahu′nahu_—for _Häni′inĭahu′na_.

_Ani′niha′niahu′na_—for _Niniha′niahu′na_.

_Ani′qa_—for _Ni′qa_.

_Ani′qu_—for _Ni′qa_.

_Ani′qana′ga_—for _Ni′qana′ga_.

_A′nisûna′ahu_—for _Nisû′na_.

_Aqa′thinĕ′na_—“pleasant men,” from _aqa′thi_, “pleasant,” and
_hinĕ′na_, “men.” One of the five bands of the southern Arapaho.

+Ärä′păho+—the popular name for the Arapaho tribe. The derivation
is uncertain, but it may be, as Dunbar suggests, from the
Pawnee verb _tirapihu_ or _larapihu_, “he buys or trades,” in
allusion to the Arapaho having formerly been the trading medium
between the Pawnee, Osage, and others in the north, and the
Kiowa, Comanche, and others to the southwest (_Grinnell_). It
is worthy of note that old frontiersmen pronounce the name
Aräpihu. It is not the name by which they are called by the
Cheyenne, Sioux, Shoshoni, Kiowa, Comanche, Apache, Caddo, or
Wichita.

+Äräpa′kata+—the Crow name for the Arapaho, evidently another form
of the word Arapaho.

_Atănätähĭnä′na_—I wish to win or beat.

_Atani′tanu′newa_—I use it. _Ati′tănu′wă_, use it! (imperative
singular).

_Äta′-usä′bä_—stop _so many_ times (plural imperative). The verb
applies only to walking, etc; the generic imperative for
stopping or quitting is _nä′hinä′ni_, q. v.; _Hithĕta′-usä_,
stop! (singular imperative).

_Ate′be_—for _Tĕ′bĕ_.

_Ate′betana′-ise′ti_—for _Tĕ′bĕ‛tana′-isĕt_.

_Ätĭ′‛chäbi′näsä′nă_—let us go out gambling.

_Äti′chanĭ′na_—your pipes. _Hicha_, a pipe; _hiti′cha_, this pipe;
_sĕ′icha_, the sacred “flat pipe.” See Arapaho song 2.

_Atini′ehini′na_—for _Thĕni′ehi′nina_.

+Atsi′na+—the Blackfoot name for the _Aä′ninĕna_ or Arapaho
Grosventres. The word signifies “gut people.”

_Awawa_—for _Wa′wa_.

_Awatänani_—for _Watäna′ni_.

_Awu′năni′ä_—another form of _ne′chawu′nani_—take pity on us.

_Ba_(_-hu_)—a road or trail.

_Ba′achinĕ′na_—Another name for the _Nakasinĕ′na_ (q. v.) or
northern Arapaho. The word may mean “red willow (i. e.,
kinikinik) men,” or “blood-pudding men,” the latter etymology
being derived from _bä_, blood, and _chĭni′niki_, to put liquid
into a bladder.

_Bääku′ni_—“Red Feather,” the Arapaho name of Paul Boynton, a
Carlisle student, and formerly interpreter at Cheyenne and
Arapaho agency.

_Baa′-ni′bina_—“thunder-berries,” from _băa′_, thunder, and
_ni′bin_, berry; a wild fruit, perhaps the black haw. See
Arapaho song 51.

_Bääthi′na_—cedar tree. See Arapaho song 31.

+Bad Pipes+—one of the three bands of the northern Arapaho. Their
present chief is Sharp Nose.

_Băĕ′na_—turtle. See Arapaho song 25.

_Ba′haa′_, or _Băa′_—the Thunder. See Arapaho song 14.

_Bähibiwă′hĭna_—on their account I am made to cry (immediate
present). _Bäniwa′nă_ or _nibiwa′na_, I am crying;
_hä′nibiwăhĭna_, on its account I am made to cry, for its sake
I am crying; _nähibiwa′huna′na_, then I wept; _nähibiwa′huna_,
then I began to cry or lament; _nĕä thibiwa′na_, the place
where crying begins.

_Bä′hinänina′tä_—everything.

+Bahwetegow-eninneway+—the Ojibwa name for the _Aä′ninĕna_ or
Arapaho Grosventres (_Tanner_). It signifies “men, or people
of the falls,” from _bawitig_, “falls,” and _ininiwŭg_, “men,
or people.” They are so called on account of their former
residence at the rapids of the Saskatchewan.

_Bänaä′na_—the thunderbirds; singular _Ba′haa′_, or _Ba′awa_.

_Bä′ni_—my (male) comrade. Vocative. Used by a boy or young man
speaking to his comrade or partner of the same sex. The
corresponding female term is _hisä_.

_Bä′qati_—“great wheel,” from —— great, and _hati′_, a gaming
wheel, a wagon. An ordinary wheel is called _ni′nae′gûti_,
“turner.” See Arapaho song 49.

_Bä′qătibä_—with the _bä′qăti_, q. v.

_Bäsawunĕ′na_—one of the five divisions of the Arapaho, and
formerly a distinct tribe. The name is variously rendered “wood
lodge men” or “big lodge men,” or people, the terminal part
being derived from _hinĕ′na_ “men.”

_Bäta′hina′ni_—he makes me dance. (In the songs _when_, _where_,
etc., are sometimes understood with verbs). _Bäta′t_, a
dance; _nibä′tana_, I dance; _nitabä′tani_, we are dancing;
_bätäna′ni_, when we dance; _Thi′gûnăwa′t_, the Ghost dance.
Compare also _Hena′gana′wanĕn_.

_Bätäna′ni_—when we dance. Compare _Bäta′hina′ni_.

_Bătĭ′qtawa_—the throwing-stick used in the _bătĭ′qtûba_ game. See
Arapaho song 68.

_Bătĭ′qtûba_—the game of the “throwing-stick” or “snow-snake” among
the prairie tribes. See Arapaho song 68.

_Bena_—for _Băĕ′na_.

_Bĕni′nĕna_—“warriors,” the military organization of the Arapaho.
See Arapaho song 43.

_Bĕni′nina_—he gave it to me. _Bĕni′na_, I gave it to him;
_bĕ′ninĕ′thĭn_, I gave it to you; _niibi′nu_, I gave it to
them; _häsa-bini′na_, he has given it to us; _tabini′na_,
he (she) gave it to me; _da′chi′bini′na_, he will give me a
hawk-feather.

_Bĕtidĕĕ_—the Kiowa Apache name for the Arapaho.

_Beyi_—a (white) shell.

_Bi′ga_—night.

_Bi′gushish_—the moon, literally “night sun,” from _bi′ga_,
night, and _hishi′sh_, sun, or celestial luminary. The sun is
distinguished as _hishi-nishi′sh_, or “day sun,” from _hishĭ_,
day, and _hishi′sh_. In many Indian languages the sun and
moon have but one name, with an adjective prefix or suffix to
distinguish between day and night. See Arapaho song 66. The
morning star is called _naga′q_, “the cross;” the milky way is
_hi′thina′na-ba_, “the buffalo road,” or _thi′gûni-ba_, “the
spirit or ghost road;” the pleiades are _bä′nakŭth_, “the group
(sitting).”

_Biqăna′kaye′na_—I am crying on account of thirst. _Naka′yena_, I
am thirsty.

_Bishqa′wa_—coming into sight, approaching from a distance. (Third
person, singular.)

_Bitaa′wu_—the earth.

_Bitaha′wŭ_—the dance of the _Bita′hinĕna_. See Arapaho song 43.

_Bita′hinĕna_—“spear men;” one of the degrees of the Arapaho
military organization. The name comes from the Cheyenne word
for spear, _bitahä′na_; the Arapaho word for spear is _qawă′_.
See Arapaho song 43.

_Bi′täye_—captor, seizer; the name by which the Arapaho
_Hänä′chäthi′ăk_, “Sitting Bull,” was called when a boy.

_Chăna′ha′t_—where there is none. _Iyahu′h_, it is all gone.

_Chäniĭ′nagu′nĭt_—he wears them, he is wearing them.

_Cha′qtha_ (singular, _Chaq_)—“enemies,” the Arapaho name for the
Comanche.

_Chä′säq_—another, another of them; from _chä′saiy’_, one. See
_Yathûn_.

_Chĕbi′nk_—greasy, something greasy; figuratively used for
pemmican. See Arapaho song 46.

_Chi′bät_—a sweat-house.

_Chĭ′chita′nĕ_—literally, a target, a mark to shoot at. A boy’s
game. See Arapaho song 4.

_Chĭnachi′chibä′iha_—venerable, (memorable or ancient) priests
of the _Chĭ′nachichi′bät_, or sacred sweat-lodge, from
_chĭnachichi′bät_, the sacred sweat-lodge, and _bäiä_, old man.
See Arapaho song 43.

_Chĭ′nachichi′bät_—the sacred large sweat-house; from _chi′bät_,
sweat-house. See Arapaho song 43.

_Chĭnăchi′chibä′tĭna_—immortal, venerable, or never-to-be-forgotten
priests of the sweat-house; from _chi′bät_, sweat-house. See
Arapaho song 43.

_Chĭ′nachinĕ′na_—water-pouring men; the highest degree of the
Arapaho military organization. See Arapaho song 43.

_Dă′chäbi′hati′taniĭ′_—where there is gambling; where they
are gambling. In the Arapaho language there is no generic
term for playing for amusement only. _Chäbi′hĭnä′na_, I
am gambling; _hänĭ′chäbihĭnäna_, I am gambling with it;
_di′chäbihäti′tani′ĭ_, while or when they are gambling with it.

_Da‛chä′-ihi′na_—in order to please me.

_Da‛chi′binina_—he will give me a (chicken-) hawk feather. Compare
_Bĕni′nina_.

_‛chinathi′na_—he having come for me (participle). _Nichĭnû′ti′ha_,
I come for him.

_Da′naa′bäna′wa_—I moved it (“when” is sometimes understood).

_Dä′nasaku′tawa_—I am standing upon it.

_Dăna′tinĕnawa′ŭ_—because I longed, or wished, to see him; _da_ in
composition gives the idea of “because.”

_De′tawuni′na_—he told me. Compare _Häthi′na_.

_Di′chäbihäti′tani′ĭ_—while or when, they are gambling with it.
Compare _Dă′chäbi′hati′taniĭ_.

_Di′chin_—because. _Haka_ is also sometimes used.

_Diinĕ′tita′niĕg_—living people; human existence.

+Dog soldier+—a popular but incorrect name given by the whites to
the military organizations of the prairie tribes. See Arapaho
song 43.

_E′eye′!_—an unmeaning exclamation used in the songs.

_Ehe′eye′!_—ibid.

_E′hihänakuwu′hunĭt_—he turned into a moose. _Naku′wu_, moose;
_iwă′qu_, elk.

_Ehihä′sina′kawu′hunĭt_—for _E′hihänakuwu′hunĭt_.

_Ehihä′sĭniĕhi′nĭt_—he is beginning to be a bird, he is turning
into a bird; _ni′ĕhi_, a bird.

_E′yahe′eye′!_—an unmeaning exclamation used in the songs.

_Eye′ae′yuhe′yu!_—ibid.

_E′yehe′!_—ibid.

+Forks-of-the-river Men+—the principal of the three bands of the
northern Arapaho. Their present chief is Black Coal.

_Gaahi′na_—another form of _Ga′ahinĕ′na_.

_Ga′ahinĕ′na_—“coyote men,” from _ga′a_, coyote, and _hinĕ′na_,
men; singular, _ga′ahinĕ′n_. The camp guards or pickets of the
Arapaho. See Arapaho song 41.

_Ga′awă′_, or _ga′awăha_—a ball, used in the woman’s game of
_gû‛ga′hawa′t_ or shinny. See Arapaho song 7.

_Gaăwa′tina_—canned goods, canned fruits.

_Ga′năni′na_—he wiped me off, he cleaned me. _Ganĕ′naa_, I wipe him
off.

_Ga′qaä_—the “button” or small object hidden by the players in the
_ga′qutit_ game. See Arapaho song 69.

_Ga′qutina′ni_—when I play _ga′qutit_. See Arapaho song 69.

_Ga′qutit_—the “hunt the button” game of the western tribes. See
Arapaho song 69.

_Gasi′tu_—carrion.

_Ga′wunĕ′häna_—another form of _Gawunĕ′na_.

_Gawunĕ′na_—one of the five bands of the southern Arapaho. The name
is the same applied by the Arapaho to the Blackfeet, from whom
this band is said to be derived. It is also the Arapaho name
for the Blackfoot band of Sioux. The name is of foreign origin
and can not be explained by the Arapaho. The Blackfeet are
sometimes also called by them _Watä′nitä′si_, “black feet.”

+Greasy Faces+—one of the three bands of the northern Arapaho.
Their present chief is Spotted Horse.

+Grosventres+ (+of the Prairie+)—the name by which the _Aä′ninĕ′na_
(Arapaho division) are commonly known to the whites.

The correct French form is Gros Ventres des Prairies, “Big Bellies
of the Prairie,” to distinguish them from the Minitari′, or
Hidatsa, who were called Gros Ventres du Missouri. The term
_Gros Ventres_, as applied to this division of the Arapaho, is
derived from a misconception of the Indian gesture sign for the
tribe, which really denotes “belly people,” i. e. “spongers” or
“beggars.”

_Gû‛gă′hawa′t_—the woman’s game of shinny. See Arapaho song 7.

_Gun_—but.

_Gushi′nä_—throw it! (imperative singular). _Asegŭ′_, I throw it;
_chegŭ′_, throw it here!

_Ha′ănake′ĭ_—rock, the rock.

_Ha′anûnä_—forcibly, violently.

_Habätä′nani′hi_—for _Bätäna′ni_.

_Ha′dă′wuha′na_—we have made them desolate; we have deprived them
of all happiness.

_Hageni′stit_—he is making it across the water. Compare _Hani′stit_.

_Ha′hat_—the cottonwood tree (_Populus monilifera_).

_Ha-ina′tä_—it lies there, it lies upon it.

_Häĭ′nawa_—I know. _Ni′hawa_, I do not know.

_Ha′ka_—because. _Dichin_ has the same meaning.

_Ha′nä_—for _Ha′ănûnä_.

_Hänä′chä-thi′ă′k_—Sitting Bull, the Arapaho apostle of the ghost
dance; from _hänä′chä_, a buffalo bull, and _thi′ăk_, he is
sitting. In early youth, before going to Wyoming, he was called
_Bi′täye_, “Captor.”

_Ha′naĕ′hi_—little boy (vocative).

_Ha′nahawu′nĕn_ (singular).

_Ha′nahawunĕ′na_—one of the five divisions of the Arapaho, but now
practically extinct. The meaning of the name is unknown, but
the final syllables are from _hinĕ′na_, signifying “men,” or
“people.”

_Hänäi′säĭ_—at the boundaries.

_Hä′nänä′higu′tha-u_—for _Nä′higu′tha_.

_Häna′nawu′nănu_—those who have been taught (?).

_Hänä′tähĭnä′na_—I win the game (by means of something).

_Hä′nätä′hĭ′nät_—It will win the game. _Ä′nätähĭ′nänä_, I win.

_Hänĭ_—for _Häni′ĭnĭ_.

_Hä′nibiwă′hĭnă_—on its account I am made to cry; for its sake I am
crying. Compare _Bähibiwă′hĭna_.

_Hänĭ′chäbihĭ′näna_—I am gambling with it. Compare
_Dă′chäbi′hati′taniĭ_.

_Häni′ĭnĭ_—by this means, by its means; abbreviated to _häniĭ_ or
_häni_.

_Häni′inĭahu′na_—I fly around with it.

_Hänina′ta_—it is lying there (inanimate). _Säshĭ′năna_, I lie down.

_Häni′nihiga′huna′_—for _Häni′ĭnĭ nĭhiga′huna_,—by its means I am
running swiftly.

_Hani′stit_—he has finished it, now he has finished it. Compare
_Hageni′stit_.

_Hänĭta′quna′nĭ_—in the pitfall; from _ta′quna_, a pitfall. See
Arapaho song 47.

_Ha′qihana_—“wolves,” one of the five bands of the southern Arapaho.

_Hä′sabini′na_—he has given it to us. Compare _Bĕni′nina_.

_Hä′täi′naku′ni_—you may have it. _Näni′thana′na_, I have it.

_Hatăna′wunăni′na_—he is about to take pity on me. _Nä′awu′năna_,
I pity him; _awu′nanĭ_ or _ne′chawu′nani_, have pity on me;
_nitawu′nana_, I take pity on them. Compare _Ti′awawu′nănu_.

_Hă′tanbii′na_—I wish to paint myself with it. _Bii′nanihä′ya_, I
paint myself.

_Hă′tani′i′bii′na_—for _Ha′tanbii′na_.

_Hatăni′ina′danĕ′na_—I am about to use him to “make medicine,” i.
e., to perform a sacred ceremony (remote future). The immediate
future is _hatăni′nadanĕ′na_; _inĭ_ is the root of _to use_;
_nadanĕ′na_, is to “make medicine,” from the root _nĕ′na_,
to sing. The gesture sign for “song” and “medicine” are also
nearly the same. See Arapaho song 33.

_Hatăni′niahu′hi′na_—he is going to make me fly around.
_Hăni′niahu′na_, I am flying; _gaya′ahuha_, I make him fly.

_Ha′tani′nitani′na_—for _Hatni′tăni′na_.

_Hatĕchi′na_—the basket bowl used in the dice game. See Arapaho
song 64.

_Hä′thäbĕ′na_ (_-wa_)—I hand it to you.

_Ha′thahŭ_—star dance; the dance of the _Hă′thahu′ha_. See Arapaho
song 43.

_Hă′thahu′ha_—star people, from _hă′tha_, star; one of the degrees
of the Arapaho military organization. See Arapaho song 43.

_Häthi′na_—he tells me, he says to me. Present, _häthi′na_; future,
_nĭhiithi′na_; perfect, _hatnithi′na_; _he′ităwuni′na_, it
tells me; _de′tawuni′na_, another form for “he told me.”

_Ha′ti_—for _Ha′hat_.

_Hätiku′tha_—the humming toy used by boys of the prairie tribes.
See Arapaho song 25.

_Hätina′hawa′bä_—you (plural) will see him; _nana′hawă_, I see him;
_ni′nahawa′na_, we see them; _nahăbi′na_, he saw me; _na′hawû_,
I saw him; _he′năă′awă_, when I see it; _tahu′naha′thihi′na_,
to make me see them. _Nina′hawa_, I look at him.

_Hätinĕ′bäku′thana_—let us play _nĕ′bäku′thana_, the awl game. See
Arapaho song 64.

_Hätini′tubi′bä_—he is calling you (plural); _nini′tuwa_, I call
him.

_Häti′ta-usĕta′na_—let us play _ta′-usĕta′na_. See Arapaho song 64.

_Hä′tnaa′waa′_—it is about to move (immediate future).

_Hätnaawaa-uhu_—for _Hä′tnaa′waa′_.

_Hätni′tani′na_—he will hear me. _Näni′ta′nă_, I hear him;
_nitabä′na_, I hear it; _nini′dănă′û_, I heard him. In the form
in Arapaho song 61, _Hatani′nitani′na_, the syllable _ni_ is
repeated in the body of the word to fill in the meter.

_Hatni′thi′aka′tana_—we have it in the center. _Nahi′thaä′ntană_, I
am the center; _nähi′thiăni′na′ta_, it is in the center.

_Hayana′-u′si′ya_—for _Ya′‛na-u′si′ya_.

_He!_—an unmeaning exclamation used in the songs.

_Hechä′_—when again.

_He′e′e′!_—an unmeaning exclamation used in the songs.

_He′ee′ä′ehe′yuhe′yu!_—ibid.

_He′eye′!_—ibid.

_He′ităwuni′na_—it tells me. Compare _Häthi′na_.

_He′năă′awă_—when I see it. Compare _Hätina′hawa′bä_.

_He′nagana′‛wanĕn_—when we dance until daylight. The root
is _naga′nh_, daylight, or dawn. _Nibä′tanä_, I dance;
_ni′nagănawa′ni_, we have danced until daylight. Compare
_Bäta′hina′ni_.

_Hesû′na_—the father. _Hesûna′nĭn_, our father; _nisû′na_, my
father, whence _hi-nisû′na-hu_ of the songs.

_Hesûna′nĭn_—our father. Compare _Hesû′na_.

_Hĕtabi′nuhu′ni′na_—I am poor; I am needy.