Chapter XXVIII: Appendix: Hypnotism and the Dance Among the Dervishes (6)

In the old days an Indian camp during the cutting up of the meat after a buffalo hunt was a scene of the most joyous activity, some faint recollection of which still lingers about ration day at the agency. Thirty years ago, when a grand hunt was contemplated, preparations were made for days and weeks ahead. Couriers were sent out to collect the neighboring bands at a common rendezvous, medicine-men began their prayers and ceremonies to attract the herd, the buffalo songs were sung, and finally when all was ready the confederated bands or sometimes the whole tribe—men, women, children, horses, dogs, and travois—moved out into the buffalo grounds. Here the immense camp of hundreds of tipis was set up, more ceremonies were performed, and the mounted warriors rode out in a body to surround and slaughter the herd. The women followed close after them to strip the hides from the fresh carcasses and cut out the choice portion of the meat and tallow and bring it into camp. Here the meat was cut into thin strips and hung upon frames of horizontal poles to dry, while the tallow was stripped off in flakes. In the dry prairie atmosphere one day is usually sufficient to cure the meat, without the aid of salt or smoke. When thus dried it is known as “jerked beef.” While the meat is fresh, for the first day or two the camp is a scene of constant feasting, the juicy steaks or the sweet ribs being kept broiling over the coals in one tipi or another until far into the night. It is the harvest home of the prairie tribes. As soon as the meat is dry, the tipis are taken down and packed into the wagons along with the meat, and one family after another starts for home until in a short time the great camp is a thing of the past.

The jerked beef or venison is commonly prepared for eating by being boiled until reasonably tender. In eating, the Indian takes a strip thus cooked, dips one end into a soup made by dissolving some salt in warm water, takes the portion thus salted between his teeth, and saws off enough for a mouthful with a knife held in his other hand. Between mouthfuls he takes bites from a strip of dried tallow placed in the dish with the meat.

For pemmican the jerked beef or other meat is toasted over a fire until crisp and is then pounded into a hash with a stone hammer. In the old times a hole was dug in the ground and a buffalo hide was staked over so as to form a skin dish, into which the meat was thrown to be pounded. The hide was that from the neck of the buffalo, the toughest part of the skin, the same used for shields, and the only part which would stand the wear and tear of the hammers. In the meantime the marrow bones are split up and boiled in water until all the grease and oil come to the top, when it is skimmed off and poured over the pounded beef. As soon as the mixture cools, it is sewed up into skin bags (not the ordinary painted parfléche cases) and laid away until needed. It was sometimes buried or otherwise cached. Pemmican thus prepared will keep indefinitely. When prepared for immediate use, it is usually sweetened with sugar, mesquite pods, or some wild fruit mixed and beaten up with it in the pounding. It is extremely nourishing, and has a very agreeable taste to one accustomed to it. On the march it was to the prairie Indian what parched corn was to the hunter of the timber tribes, and has been found so valuable as a condensed nutriment that it is extensively used by arctic travelers and explorers. A similar preparation is in use upon the pampas of South America and in the desert region of South Africa, while the canned beef of commerce is an adaptation from the Indian idea. The name comes from the Cree language, and indicates something mixed with grease or fat. (_Lacombe._)

8. +Le he′yahe′+

Le he′yahe′—Ye′ye!
Le he′yahe′—Ye′ye!
Kañghi-ye oya′te-ye cha-ya waoñ we lo,
Kañghi-ye oya′te-ye cha-ya waoñ we lo.

_Translation_

This one says—_Ye′ye!_
This one says—_Ye′ye!_
I belong indeed to the nation of Crows,
I belong indeed to the nation of Crows.

This song may better be rendered, “I am a Crow nation,” i. e., I represent the nation of Crows, the Crow nation probably typifying the spirits of the dead in the other world, as explained in Arapaho song 36. In several of the ghost songs there occur such expressions as “I am a Crow,” “the Crow woman is going home,” etc. Compare Sioux song 18.

9. +Niya′te-ye′ he′uw′e+

Niya′te-ye′ he′uw′e, niya′te-ye′ he′uw′e,
Wa′ñbăli gălĕ′shka wa′ñ-yañ nihi′youwe,
Wa′ñbăli gălĕ′shka wa′ñ-yañ nihi′youwe.

_Translation_

It is your father coming, it is your father coming,
A spotted eagle is coming for you,
A spotted eagle is coming for you.

This song probably refers to a transformation trance vision, such as is frequently referred to in the ghost songs, where the spirit friend suddenly assumes the form of a bird, a moose, or some other animal.

10. +Miyo′qañ kiñ wañla′ki+

Miyo′qañ kiñ wañla′ki—Ye′yeye′!
Miyo′qañ kiñ wañla′ki—Ye′yeye′!
Hena wa′ñlake,
Hena wa′ñlake,
Ha′eye′ya he′yeye′,
Ha′eye′ya he′yeye′.

_Translation_

You see what I can do—_Ye′yeye′!_
You see what I can do—_Ye′yeye′!_
You see them, you see them,
_Ha′eye′ya he′yeye′! Ha′eye′ya he′yeye′!_

In this song the Father is probably represented as calling his children to witness that he has shown them visions of the spirit world and their departed friends.

11. +Michĭ′nkshi mita′waye+

E′yaye′ye′! E′yaye′ye′!
Michĭ′nkshi mita′waye,
Michĭ′nkshi mita′waye.

_Translation_

_E′yaye′ye′! E′yaye′ye′!_
It is my own child,
It is my own child.

The form of the verb indicates that this song was composed by a woman, who had evidently met her dead child in the spirit world.

12. +A′te he′ u-we+

A′te he′ u-we, A′te he′ u-we,
A′te eya′ya he′ u-we′ lo,
A′te eya′ya he′ u-we′ lo,
Ya′nipi-kta′ e′ya u′-we lo,
Ya′nipi-kta′ e′ya u′-we lo.

_Translation_

There is the father coming,
There is the father coming.
The father says this as he comes,
The father says this as he comes,
“You shall live,” he says as he comes,
“You shall live,” he says as he comes.

This is a reiteration of the messiah’s promise of eternal life in the new spirit world.

13. +Wa′sna wa′tiñ-kta′+

Wa′sna wa′tiñ-kta′—E′yeye′yeye′!
Wa′sna wa′tiñ-kta′—E′yeye′yeye′!
Le′chiya′-ya eya′pi-lo—E′yeye′yeye′!
Le′chiya′-ya eya′pi-lo—E′yeye′yeye′!
E′ya he′-ye lo, E′ya he′-ye lo,
A′te-ye he′ye lo, A′te-ye he′ye lo.

_Translation_

I shall eat pemmican—_E′yeye′yeye′!_
I shall eat pemmican—_E′yeye′yeye′!_
They say so, they say so,
The father says so, the father says so.

For the explanation of this song reference, see song number 7.

14. +A′te lena ma′qu-we+

A′te lena ma′qu-we—Ye′ye′ye′!
A′te lena ma′qu-we—Ye′ye′ye′!
Peta wañ—yañyañ ma′qu-we—Ye′ye′ye′!
Peta wañ—yañyañ ma′qu-we—Ye′ye′ye′!
A′te ma′qu-we—Ye′ye′ye′!
A′te ma′qu-we—Ye′ye′ye′!

_Translation_

It was the father who gave us these things—_Ye′ye′ye′!_
It was the father who gave us these things—_Ye′ye′ye′!_
It was the father who gave us fire—_Ye′ye′ye′!_
It was the father who gave us fire—_Ye′ye′ye′!_
The father gave it to us—_Ye′ye′ye′!_
The father gave it to us—_Ye′ye′ye′!_

This was frequently used as the opening song of the Sioux Ghost dance. Fire is held in reverence among all Indian tribes as one of the greatest gifts of the Author of Life, and every tribe has a myth telling how it originated and how it was obtained by the people. In most of these myths the fire is represented as being at first in the possession of some giant or malevolent monster, from whom it is finally stolen by a hero, after a series of trials and difficulties worthy of the heroes of the Golden Fleece.

15. +Ina′ he′kuwo′+

Ina′ he′kuwo′; ina′ he′kuwo′.
Misu′nkala che′yaya oma′ni-ye,
Misu′nkala che′yaya oma′ni-ye.
I′na he′kuwo′; i′na he′kuwo′.

_Translation_

Mother, come home; mother, come home.
My little brother goes about always crying,
My little brother goes about always crying.
Mother, come home; mother, come home.

This touching song was a favorite among the Sioux. It was composed by a young woman who saw her dead mother in the other world, and on waking out of her trance vision implores the mother to come back to them again, as her little brother is forever crying after her.

16. +Wa′na wanasa′pi-kta+

Wa′na wanasa′pi-kta,
Wa′na wanasa′pi-kta.
Ŭñchi′ ita′zipa michu′-ye,
Ŭñchi′ ita′zipa michu′-ye,
A′te he′ye lo, a′te he′ye lo.

_Translation_

Now they are about to chase the buffalo,
Now they are about to chase the buffalo,
Grandmother, give me back my bow,
Grandmother, give me back my bow,
The father says so, the father says so.

The author of this song, in his trance vision of the spirit world, sees his old-time friends about to start on a buffalo hunt, and calls to his grandmother to give him back his bow, so that he may join them. The form, “give it back to me,” is intended to show how far remote is the old life of the Indians, before they used the guns and other things of the white man. The last line has no particular connection with the rest, except as a common refrain of the ghost songs.

17. +He′! kii′ñyañka a′gali′-ye+

He′! kii′ñyañka a′gali′-ye,
He′! kii′ñyañka a′gali′-ye,
Wañ! le′chiya wanasa′pi-kta′ keya′pi lo,
Wañ! le′chiya wanasa′pi-kta′ keya′pi lo,
Wañhi′nkpe ka′gha-yo!
Wañhi′nkpe ka′gha-yo!
A′te he′ye lo, A′te he′ye lo.

_Translation_

_He!_ They have come back racing,
_He!_ They have come back racing,
Why, they say there is to be a buffalo hunt over here,
Why, they say there is to be a buffalo hunt over here,
Make arrows! Make arrows!
Says the father, says the father.

This song may be considered supplementary to the last. In the old times, when going on a buffalo hunt, it was customary among the Sioux to send out a small advance party to locate the herd. On finding it, these men at once returned at full gallop to the main body of hunters, but instead of stopping on reaching them they dashed past and then turned and fell in behind. It is to this custom that the first line refers. The author of the song, on waking up in the spirit world, sees the scouting party just dashing in with the news of the presence of the buffalo. Everyone at once prepares to join the hunt and “the father” commands him to make (or get ready) his arrows and go with them.

18. +Mi′ye wañma′yañka-yo+

Mi′ye wañma′yañka-yo!
Mi′ye wañma′yañka-yo!
Ka′ñghi oya′te wañ chañku′ waka′ghe lo,
Ka′ñghi oya′te wañ chañku′ waka′ghe lo,
Yani′pi-kta′-cha, yani′pi-kta′-cha.
Kola he′ye lo, kola he′ye lo.

_Translation_

Look at me! Look at me!
I make a road for one of the Crow nation (?),
I make a road for one of the Crow nation (?).
You shall live indeed, you shall live indeed.
Our friend says so, our friend says so.

The idea of this song is somewhat similar to that of number 8. It has no reference to the Crow Indians. As has been already explained, the crow is symbolic of the spirit world, and when the “friend”—the father or messiah—declares that he makes a road for one of the Crow nation he means that he has prepared the way for the return of their friends who are gone before.

19. +Maka′ sito′maniyañ+

Maka′ sito′maniyañ ukiye,
Oya′te uki′ye, oya′te uki′ye,
Wa′ñbali oya′te wañ hoshi′hi-ye lo,
Ate heye lo, ate heye lo,
Maka o′wañcha′ya uki′ye.
Pte kiñ ukiye, pte kiñ ukiye,
Kañghi oya′te wañ hoshi′hi-ye lo,
A′te he′ye lo, a′te he′ye lo.

_Translation_

The whole world is coming,
A nation is coming, a nation is coming,
The Eagle has brought the message to the tribe.
The father says so, the father says so.
Over the whole earth they are coming.
The buffalo are coming, the buffalo are coming,
The Crow has brought the message to the tribe,
The father says so, the father says so.

This fine song summarizes the whole hope of the Ghost dance—the return of the buffalo and the departed dead, the message being brought to the people by the sacred birds, the Eagle and the Crow. The eagle known as _wañ′bali_ is the war eagle, from which feathers are procured for war bonnets.

20. +Le′na wa′kañ+

Le′na wa′kañ waka′gha-che,
A′te he′ye lo, a′te he′ye lo,
O′găle kiñhañ wakañ waka′gha-che,
A′te he′ye lo, a′te he′ye lo,
Chănoñ′pa kiñ waka′gha-che,
A′te he′ye lo, a′te he′ye lo.

_Translation_

It is I who make these sacred things,
Says the father, says the father.
It is I who make the sacred shirt,
Says the father, says the father.
It is I who made the pipe,
Says the father, says the father.

This song refers to the sacred pipe (see Sioux song 2 and Arapaho song 2) and the ghost shirt.

21. +Miyo′qañ kiñ chichu′-che+

Miyo′qañ kiñ chichu′-che,
A′te he′ye lo′, a′te he′ye lo′,
O′găle kiñ ni′niye′-kta,
A′te he′ye lo′, a′te he′ye lo′.

_Translation_

Verily, I have given you my strength,
Says the father, says the father.
The shirt will cause you to live,
Says the father, says the father.

This song also refers to the ghost shirt, which was supposed to make the wearer invulnerable.

22. +Michĭ′nkshi tahe′na+

Michĭ′nkshi tahe′na ku′piye,
Michĭ′nkshi tahe′na ku′piye,
Mako′che wañ washte aya′găli′pi-kte,
A′te he′ye lo′, a′te he′ye lo′.

_Translation_

My child, come this way,
My child, come this way.
You will take home with you a good country,
Says the father, says the father.

This song may refer to the vision of the new earth, which the messiah showed to the Sioux delegates when they visited him. (See page 797.) The first line means literally “return in this direction,” the imperative form used being between a command and an entreaty.

23. +Wana wichĕ′shka+

Wana wichĕ′shka a′ti-ye,
Wana wichĕ′shka a′ti-ye.
Wihu′ta oho′măni, wihu′ta oho′măni,
Oka′tañna, oka′tañna,
Koyañ wowa′hiñ-kte,
Koyañ wowa′hiñ-kte.

_Translation_

Now set up the tipi,
Now set up the tipi.
Around the bottom,
Around the bottom,
Drive in the pegs,
Drive in the pegs.
In the meantime I shall cook,
In the meantime I shall cook.

The form of the verb _oka′tañna_ shows that it is a woman speaking, even if we did not learn this from the context. To those who know the Indian life it brings up a vivid picture of a prairie band on the march, halting at noon or in the evening. As soon as the halt is called by some convenient stream, the women jump down and release the horses from the wagons (or the travois in the old times, and hobble them to prevent them wandering away. Then, while some of the women set up the tipi poles, draw the canvas over them, and drive in the pegs around the bottom and the wooden pins up the side, other women take axes and buckets and go down to the creek for wood and water. When they return, they find the tipis set up and the blankets spread out upon the grass, and in a few minutes fires are built and the meal is in preparation. The woman who composed the song evidently in her vision accompanied her former friends on such a march.

24. +A′te mi′chuye+

A′te mi′chuye,
A′te mi′chuye,
Wañhi′nkpe mi′chuye,
Wañhi′nkpe mi′chuye,
A′hiye, a′hiye.
Wa′sna wa′tiñkte,
Wa′sna wa′tiñkte.

_Translation_

Father, give them to me,
Father, give them to me,
Give me my arrows,
Give me my arrows.
They have come, they have come.
I shall eat pemmican,
I shall eat pemmican.

The maker of this song, while in the spirit world, asks and receives from the Father some of the old-time arrows with which to kill buffalo, so that he may once more feast upon pemmican.

25. +Hañpa wecha′ghe+

Hañpa wecha′ghe,
Hañpa wecha′ghe,
Tewa′qila-la he,
Tewa′qila-la he.
Wa′ñbleni′chala he kaye lo,
Wa′ñbleni′chala he kaye lo,
Toke′cha wa′ñwegalaki′ñ-kte,
Toke′cha wa′ñwegalaki′ñ-kte,
Nihu′ñ koñ he he′ye lo,
Nihu′ñ koñ he he′ye lo.

_Translation_

I made moccasins for him,
I made moccasins for him,
For I love him,
For I love him.
To take to the orphan,
To take to the orphan.

Soon I shall see my child,
Soon I shall see my child,
Says your mother,
Says your mother.

This song evidently relates the trance vision of a mother who saw her child in the spirit world, and expresses the hope that she may soon be reunited with him. In accordance with the custom of the Ghost dance, it is probable that she made a pair of moccasins to give him when next they met, and that she carried them in the dance as she sang.

26. +Waka′ñyañ iñya′ñkiñ-kte+

Waka′ñyañ iñya′nkiñ-kte,
Waka′ñyañ iñya′nkiñ-kte,
Chañgăle′shka wañ luza′hañ iñya′ñkiñ-kte,
Chañgăle′shka wañ luza′hañ iñya′ñkiñ-kte,
Wañwa′yag upo, wañwa′yag upo,
A′te he′ye lo, a′te he′ye lo.

_Translation_

The holy (hoop) shall run,
The holy (hoop) shall run,
The swift hoop shall run,
The swift hoop shall run.
Come and see it,
Come and see it,
Says the father,
Says the father.

This song refers to the game wheel and sticks (_bä′qati_, Arapaho) already described in the Arapaho songs. It is said that the medicine-man of Big Foot’s band carried such a hoop with him in their flight from the north, and displayed it in every dance held by the band until the fatal day of Wounded Knee. A similar hoop was carried and hung upon the center tree at the dance at No Water’s camp near Pine Ridge. To the Indian it symbolizes the revival of the old-time games.

SIOUX GLOSSARY

_A′găli_ (_-ye_)—they have returned; _waku_, I am returning or
coming home; _wagali′_, I have returned.

_Ahi′_ (_-ye_)—they have come; _wa-u′_, I come; _hi_, he has come.

_A-icha′gha_—growing upon; from _kagha_, to grow or spring up.

_A′te_ or _Ate-ye_—father; _ate kiñ_, the father; _ate-mita_, my
father; _ni′-ate_, your father; _at-kuku_, his or her father.
_Ye_ is a syllable sometimes added to fill in the meter.

_Ati′-ye_—set up the tipi; here _ye_ is the imperative suffix.

_Aya′găli′pi-kte_—you (plural) will take home with you, you will
bring back with you; from _awa′găle_, I take it home.

_Chañgăle′shka_—a hoop; the _bä′qati_ hoop. See Sioux song 26, and
Arapaho songs.

_Chañku′_—road, trail.

_Chăno′ñpa_—pipe; _o′ñpa_, to smoke; _cha′ñ-li_, tobacco.

_Cha-yani′pi-kta_—you (plural) will live; from _ni′wa-uñ_, I live,
I go about alive; the regular form is _Yanipi-kta_ q. v.

_Cheya′ya_—he is constantly crying. _Wa-che′yă_, I cry; the final
_ya_ implies repetition or habit.

_Chi′cha-u′pi_—I bring it to you (plural). _Chicha_ implies I to
thee, or I mean thee; _u_ implies _come_, from _wa-u_, I come;
_pi_ is the plural participle, and with _chicha_ implies I
bring it to you, or I come with it to you.

_Chichu′-chĕ_—I give it to you, indeed; _waku′_, I give it to him;
_chĕ_ conveys the idea of verily or indeed. Compare _Maqu′-we_.

_Chiñyi_—for _Kiñhiñ_, when, when it is so.

_Echani_—you think so about it; _echa′mi_, I think; _echa′ni hwo_,
who do you think?

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

_Eya_—he says; _epa_, I say. _Eya′ya_, he reiterates, he says
again; _e′yahe_, _eya′pi_, they say.

_E′yahe_—another form of _eya_, he says, q. v.

_Eya′pi_—they say. Compare _Eya_.

_Eya′ya_—he reiterates, he says again. The final _ya_ implies
repetition. Compare _Eya_.

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

_E′yayo′!_—an unmeaning exclamation used in the songs to fill in
the measure.

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

_Găle′shka_—spotted.

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

_Hañpa_—moccasin.

_Ha′yeye′!_—an unmeaning exclamation used in the songs.

_He_—(1) an exclamation, look! look here! (2) an interrogative
particle, after the sentence; (3) the demonstrative “that.”

_Hĕku′wo_—come home now, return home at once; _wa-u_, I come; _he_,
a prefix implying now, or directly.

_He′na_—those, plural of _he_, that.

_He′uwĕ_—that is he coming; from _he_, that; _u_, coming; and _wĕ_,
the feminine particle.

_Heyahe (-ye)_—he says that, he says this; _ye_ is usually the
female suffix. Compare _He′ye_.

_He′ye_—he says.

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

_Hiyumichi′chiya′na_—hand me my own; _na_, the female imperative
particle.

_Hoshi′hi (-ye)_—he has arrived with a message; he has brought a
message; from _hoshi′_, to tell news, to carry a message.

_Hûñku_—his mother; _inû′ñ_, mother.

_Hwo_—an interrogative sign, used by a man; a woman says _wi_.

_Ina′_—mother; my mother.

_Ini′chaghapi-kte_—you (plural) will grow or live. Compare
_Inichaghe-kte_.

_Inichaghe-kte_—you (singular) will grow, i. e., you will live;
_icha′ghehe_, it is growing.

_Iñyañkiñ-kte_—it shall run; from _iñyañka_, to run.

_Ita′zipa_—a bow (to shoot with).

_Ka′gha-yo_—make them; _waka′ghe_, I make it; _yo_, an imperative
particle.

_Kañghi′_—a crow.

_Kaye_—another form of _kaya_, to take to one.

_Keya′pi_—they say that, they say it; _epa_, to say.

_Kii′ñyañka_—racing; from _iñyañka_, to run; the prefix _ki_
implies a contest or emulation.

_Kiñ_—the.

_Kiñhañ_—explained as another form of _kiñ_; the ordinary meaning
is _when_ or _if_.

_Ko′la_—friend.

_Koñ_—that (demonstrative); it sometimes conveys the idea of
“aforesaid.”

_Ko′yañ_—in the meantime.

_Ku′pi-ye_—you will return.

_Lechel_—thus, in this way; from _le_, this.

_Lechi′ya_—over here in this place; from _le_, this.

_Lena_—these things; from _le_, this.

_Lo_—an emphatic or euphonic particle used at the end of a phrase
or sentence; it may be described as an emphatic or euphonic
period. _Lo_ is used by men, _ye_ by women.

_Lu′zahañ_—swift.

_Maka′_—earth, the earth.

_Mako′che_—a country.

_Mani′ye_—he walks (habitual); _mawani_, I walk; the suffix _ye_
usually denotes a female speaker.

_Maq′pe-Luta_—Red Cloud, the noted chief of the Ogalala Teton Sioux
at Pine Ridge; from _maqpi′ya_, a cloud, and _luta_, red.

_Maqu′-we_—he gave to me, indeed; from _waku′_, I give it; _we_ is
an emphatic particle. Compare _Chichu′-chĕ_.

_Ma′yuza (-ye)_—grasp it with me, let me grasp it.

_Michĭ′nkshi (-yi)_—my son, my offspring; _chĭnksh_, son.

_Mi′chu (-ye)_—give it back to me.

_Mila_—knife.

_Misu′ñkala_—my little brother. _Mi_, my; _la_, the diminutive.

_Mita′wă_ or _Mita′waye_—it is mine, from _mi_, I, my, and _tawă_,
it belongs.

_Mi′ye_—I, myself, me.

_Miyo′qañ_—my power, my work. Compare _Miyo′qañ-kte_.

_Miyo′qañ-kte_—it will be my work, my power, the way I shall do;
from _mi_, my; _o′qañ_, action, work, strength, and _kte_, the
future suffix.

_Nañpe_—hand; _mi-na′ñpe_, my hand.

_Nihi′youwĕ_—he is coming for you; from the root _u_, to come; _wĕ_
is the feminine particle, which shows that a woman is speaking.

_Nihu′ñ_—your (singular) mother.

_Niniye′-kta_—it will cause you to live; _miye′_, to come to live;
_ni_, in composition, you, your; _kta_, the future suffix.

_Nita′kuye_—your kindred; _mita′kuye_, my relative.

_Nitu′ñkañshi′la_—your grandfather; _mitu′ñkañshi′la_, my
grandfather. The final _la_ is a euphonic diminutive.

_Niya′te_—for _Ni-a′te_, your father.

_O′găle_—shirt, coat.

_Oho′măni_—around, round about.

_Oka′tañna_—drive it in, drive them in (as nails or tipi pegs);
_na_ is the female imperative particle.

_Oki′le_—looking for its own; _owa′le_, I look for it; _owa′kile_,
I look for my own.

_Oma′ni (-ye)_—walking around, going about.

_Oñchi_—grandmother.

_O′wañcha′ya_—all over, everywhere.

_Oya′te_—tribe, nation.

_Peta_—fire.

_Pte_—buffalo (generic), buffalo cow.

_Puze_ or _Puza_—dry.

_Shaie′la_ or _Shaie′na_—“red,” i. e., “alien;” the Sioux name for
the Cheyenne. The root of the word is _sha_, red, with _la_ or
_na_, the diminutive, frequently used merely for euphony.

_Sitomăni-yañ_—everybody, all over, everywhere.

_Tahe′na_—on this side, this way, in this direction.

_Ta′ku_—something, whatever.

_Tatañka_—a buffalo bull; _pte_, a buffalo cow, or a buffalo
(generic).

_Tewa′qi′la_ or _Tewa′qila-la_—I love him; the final _la_ is a
diminutive or endearing particle, sometimes added to verbs as
well as to nouns.

_Tipi_—a tent, a house; from, _ti_, to dwell or abide.

_Toke′cha_—soon, before long.

_Tuwe′-cha_—who indeed? who can it be? _tu′we_, who?

_U_—coming; _wa-u_, I come.

_Uki′ye_—they are coming; _wa′-u_, I come.

_Uñchi′_—grandmother, my grandmother.

_Upo_—you come (plural imperative); from _wa′-u_, I come.

_U-we_—coming, as he comes; see _u_; _we_ is another form of _ye_,
an emphatic or euphonic particle.

_Wa′chipi_—a dance.

_Wa′kañ_—sacred, mysterious, sacred thing.

_Waka′gha-chĕ_—it is I who made it, I made it indeed. The particle
_chĕ_ conveys the idea of indeed, verily.

_Waka′ghe_—I make it.

_Wakaghi′ñyiñ-kte_—I shall make it; _waka′ghe_, I make it.

_Waka′ñyañ_—sacredly, mysteriously; from _wa′kañ_, sacred,
mysterious.

_Wañ_—a.

_Wañ!_—look! see! why!

_Wana_—now.

_Wana′ghi_—ghost, spirit of the dead.

_Wana′ghi wa′chipi_—Ghost dance, from _wana′ghi_, ghost, or spirit
of the dead, and _wa′chipi_, a dance.

_Wanasa′pi_—see _Wanasa′pi-kta_.

_Wanasa′pi-kta_—they will chase buffalo, they are about to chase
buffalo; from _wana′sa_, to hunt game by surrounding and
shooting it. _Kta_ or _kte_ is the future sign.

_Wañbale′nichala_—a little orphan; from _wa′ñbăle′nicha_, an orphan.

_Wa′ñbăli_—eagle, the war eagle.

_Wañhi′nkpe_—arrow, arrows.

_Wañ-la′ki_—you see it; _wañbăla′ki_, I see it.

_Wañma′yañka-yo_—look at me! _wañbăla′ka_, I see it; _yo_, the
imperative suffix.

_Wa′oñ we_—I am in that condition, I am it; _we_ is the feminine
suffix.

_Wañwayag_—to see it. Compare _Wañma′yañka-yo_.

_Wañwe′gala′kiñ-kte_—I shall see my own. Compare _Wañma′yañka-yo_.

_Wañyañ_—for _wañ_, a (the article).

_Wañyegalake-kta_—you (plural) shall see your own; from
_wañbăla′ki_, I see it. _Kte_ or _kta_ is the future suffix.

_Washte′_—good.

_Wa′sna_—pemmican. See Sioux song 7.

_Wati′ñ-kte_—I shall eat; _wawa′te_, I eat.

_Wawa′kabla-kte_—I shall spread out the meat to dry; _ka′bla_, to
spread out meat for drying.

_Wa′yana_—now; another form of _wana_.

_We_—an emphatic suffix particle equivalent to verily or indeed.

_Wecha′ghe_—I made them for him.

_Wichĕ′shka_—a tipi; the word literally means only the opening at
the top of the tipi.

_Wihu′ta_—the bottom of a tipi.

_Wowa′hiñ-kte_—I shall cook; _wowa′hañ_, I cook (generic).

_Yanipi-kta_—you (plural) will live; from _ni′wa-uñ_, I am alive.

_Yañyañ_—an unmeaning word used in the songs to fill up the measure.

_Ye_—an emphatic, imperative, or precatory particle or suffix,
usually spoken by a woman. In the songs it seems frequently to
be used merely for euphony.

_Ye′ye!_—an unmeaning exclamation used in the songs.

_Yoyoyo_—ibid.

THE KIOWA AND KIOWA APACHE

KIOWA TRIBAL SYNONYMY

_Be′shĭltchă_—Kiowa Apache name, meaning unknown.

_Caygua_—Spanish form, from their proper name, _Kaigwu_.

_Gahe′wa_—Wichita and Kichai name; another form of Kiowa.

_Kâ′igwŭ_—“real or principal people,” proper tribal name.

_Kai-wă_—Comanche and Caddo name; from their proper name, _Kaigwu_.

_Kiowa_—popular name, a corruption of the name used by themselves.

_Kwŭ’da_—“going out;” old name formerly used by the Kiowa for
themselves.

_Ñĭ′chihinĕ′na_—“river men,” Arapaho name; so called because they
formerly lived on upper Arkansas river, from which the Arapaho
claim to have driven them.

_Tepda_—“coming out,” “issuing;” another old name formerly used by
the Kiowa for themselves.

_Witapä′hat_ or _Witapä′tu_—Cheyenne name, from their Sioux name,
_Witapähä′tu_.

_Wi′tapähä′tu_—“island butte people” (?), Sioux name.

KIOWA TRIBAL SIGN

The Kiowa tribal sign indicates “hair cut off at right ear,” in allusion to a former custom of the warriors. From a careless habit in making this sign it has sometimes been wrongly interpreted to mean “foolish,” or “rattle-brain.”

SKETCH OF THE KIOWA

So far as present knowledge goes, the Kiowa constitute a distinct linguistic stock; but it is probable that more material will enable us to prove their connection with some tribes farther north, from which direction they came. They are noticed in the Spanish records as early at least as 1732. Their oldest tradition, which agrees with the concurrent testimony of the Shoshoni and Arapaho, locates them about the junction of Jefferson, Madison, and Gallatin forks, at the extreme head of Missouri river, in the neighborhood of the present Virginia City, Montana. They afterward moved down from the mountains and formed an alliance with the Crow, with whom they have since continued on friendly terms. From here they drifted southward along the base of the mountains, driven by the Cheyenne and Arapaho. About 1840 they made peace with the latter tribes, with which they have since commonly acted in concert. The Sioux claim to have driven them out of the Black hills, and in 1805 they were reported as living upon the North Platte. According to the Kiowa account, when they first reached Arkansas river they found their passage opposed by the Comanche, who claimed all the country to the south. A war followed, but peace was finally concluded, when the Kiowa crossed over to the south side of the Arkansas and formed a confederation with the Comanche, which continues to the present day. In connection with the Comanche they carried on a constant war upon the frontier settlements of Mexico and Texas, extending their incursions as far south at least as Durango. Among all the prairie tribes they were noted as the most predatory and bloodthirsty, and have probably killed more white men in proportion to their numbers than any of the others. They made their first treaty with the government in 1837, and were put upon their present reservation jointly with the Comanche and Apache in 1868. Their last outbreak was in 1874–75, in connection with the Comanche, Apache, and Cheyenne. While probably never very numerous, they have been greatly reduced by war and disease. Their last terrible blow came in the spring of 1892, when the measles destroyed over 300 of the three confederated tribes. Their present chief is _Gu′i-pä′go_, Lone Wolf. They occupy the same reservation with the Comanche and Apache, between Washita and Red rivers, in southwestern Oklahoma, and numbered 1,017 in 1893.

The Kiowa do not have the gentile system, and there is no restriction as to intermarriage among the divisions. They have six tribal divisions, including the Apache associated with them, who form a component part of the Kiowa camping circle. A seventh division, the _K̔uăto_, is now extinct. The tribal divisions in the order of the camping circle are:

1. _K̔a′ta_—“biters,” i. e., Arikara or Ree; so called, not because of Arikara origin, but because they were more intimate with that tribe in trade and otherwise when the Kiowa lived in the north.

2. _Ko′‛gu′i_—“elks.”

3. _Kâ′igwŭ_—“Kiowa proper.” This is the oldest division, to which belongs the keeping of the medicine tipi, in which is the grand medicine of the tribe.

4. _Kiñep_—“big shields.” This is the largest division in the tribe and of corresponding importance.

5. _Semät_—“thieves,” the Apache.

6. _Koñtä′lyui_—“black boys.” Sometimes also called _Si′ndiyu′i_, “Sindi’s children.” Said to be of darker color than the rest of the tribe, which, if true, might indicate a foreign origin. Sindi is the great mythic hero of the Kiowa.

7. _K̔u′ato_—“pulling up from the ground or a hole.” An extinct division, speaking a slightly different dialect, and exterminated by the Sioux in one battle about the year 1780. On this occasion, according to tradition, the Kiowa were attacked by an overwhelming force of Sioux and prepared to retreat, but the chief of the K̔uato exhorted his people not to run, “because, if they did, their relatives in the other world would not receive them.” So they stood their ground and were killed, while the others escaped. Their place in the tribal camp circle is not known.

In the annual sun dance and in other great tribal gatherings the several divisions camped in the order shown in figure 104.

Although brave and warlike, the Kiowa are considered inferior in most respects to the Comanche. In person they are dark and heavily built, forming a marked contrast to the more slender and brighter-complexioned prairie tribes farther north. Their language is full of choking and nasal sounds, and is not well adapted to rhythmic composition, for which reason they frequently used the Arapaho songs in the Ghost dance, without any clear idea of the meaning or correct pronunciation, although they have quite a number of songs of their own.

THE KIOWA APACHE

A small tribe of Athapascan stock, calling themselves _Na′-isha_ or _Na-di′isha-de′na_, and popularly known as Apache or Kiowa Apache, has been associated with the Kiowa as far back as the traditions of either tribe go. While retaining their distinct language, they nearly all speak and understand Kiowa and form a component part of the Kiowa camping circle. In dress and general habits of life they are in no way distinguishable. They have come from the north with the Kiowa, and are mentioned under the name of Cataka as living in the Black-hills country in 1805. La Salle speaks of them under the name of Gattacka as early as 1681. There is no reason to suppose that they ever formed a part of the Apache proper of Arizona and New Mexico, but are probably, like the Sarsi, a distinct Athapascan people who have always lived east of the mountains, and who, having been obliged by weakness of numbers to unite themselves with a stronger tribe, have since shared their migratory fortunes southward along the plains. The Na-isha are called _Ga′taqka_ by the Pawnee and sometimes by the Wichita; _Cataka_ by Lewis and Clark, in 1805; _Kataka_ in their first treaty with the government, made jointly with the Kiowa in 1837; _Ta′shĭn_ by the Comanche; _Gĭnä′s_ by the Wichita; _Ka′ntsi_, “deceivers,” by the Caddo; _Kĭri′năhĭs_ by the Kichais; _Tha‛kahinĕ′na_, “knife-whetting men (?)” by the Arapaho, and _Mûtsiănătä′niuw′_, “whetstone people,” by the Cheyenne. They have several names among the Kiowa, but are commonly known by them as _Semät_, “thieves.” Other Kiowa names for them are _Tagu′i_, of unknown meaning, and _Sa′dălso′mte-k̔iñago_, “weasel people.” The tribal sign for them, as for the Apache, Lipan, and Navaho, conveys the idea of “knife whetters.” In 1891 they numbered 325. In 1893 they had been reduced, chiefly by an epidemic of measles, to 224.

More extended information in regard to the Kiowa and Kiowa Apache will be given in the author’s memoir, “Calendar History of the Kiowa Indians,” now in preparation for the Bureau of Ethnology.

SONGS OF THE KIOWA

1. +Da′ta-i so′da′te+

Da′ta-i so′da′te,
Da′ta-i so′da′te.
Do′m ezä′nteda′te,
Do′m ezä′nteda′te.
De′ĭmhä′date,
De′ĭmhä′date.
Be′a‛ma′nhäyi′,
Be′a‛ma′nhäyi′.

_Translation_

The father will descend,
The father will descend.
The earth will tremble,
The earth will tremble.
Everybody will arise,
Everybody will arise.
Stretch out your hands,
Stretch out your hands.

This is a summary of the Ghost dance doctrine, closing with an invocation to all present to stretch out their hands toward the west and pray to the Father to hasten his coming.

2. +Da′k̔′ñago (ĭm) zä′nteähe′dal+

Da′k̔i′ñago (ĭm) zä′nteähe′dal,
Da′k̔i′ñago (ĭm) zä′nteähe′dal,
De′dom ezä′nteähe′dal,
De′dom ezä′nteähe′dal.
De′ĭmgo (ä-)dä′tode′yo′,
De′ĭmgo (ä-)dä′tode′yo′.
De′beko′datsä′,
De′beko′datsä′.

_Translation_

The spirit army is approaching,
The spirit army is approaching,
The whole world is moving onward,
The whole world is moving onward.
See! Everybody is standing watching,
See! Everybody is standing watching.
Let us all pray,
Let us all pray.

In this song the verb _ĭmzä′nteähe′dal_ implies that the spirits are coming on like an army or like a great herd of animals. The termination _he′dal_ implies that it is a matter of report or common belief and not of personal knowledge.

3. +Gu′ato ädâ′ga+

Gu′ato ädâ′ga nyä′ongu′m,
Gu′ato ädâ′ga nyä′ongu′m,
Go′mtäyä′ ätso′dalsâ′dal,
Go′mtäyä′ ätso′dalsâ′dal.
Ä′nyä‛gâlo′nte,
Ä′nyä‛gâlo′nte.
Tä′lyi ĭmhä′go,
Tä′lyi ĭmhä′go.

_Translation_

I scream because I am a bird,
I scream because I am a bird,
I bellow like a buffalo,
I bellow like a buffalo.
The boy will rise up,
The boy will rise up.

This song was composed by Pa-guadal, “Red Buffalo,” at a Ghost dance held on Walnut creek in the summer of 1893, under the direction of the prophet Pa-iñgya (see page 907), for the purpose of resurrecting Red Buffalo’s son, who had recently died. Pa-iñgya assured the people that if they held the dance as he directed, the dead boy would rise up alive from the ground before their eyes. In the dance Red Buffalo became “crazy” and composed this song. In his trance he evidently imagined himself a bird. His father was one of the “buffalo doctors,” or surgeons of the tribe, who are under the special protection of the buffalo and whose war cry is an imitation of the bellowing of a buffalo bull. Red Buffalo claims to have inherited his father’s knowledge; hence his assertion that he bellows like a bull. The boy was not resurrected.

4. +Da′ta-i nyä′hoănga′mo+

Ä′häyä′ Ehä′eho′! Ä′häyä′ Ehä′eho′!
E′häyä′ Ehä′eho′! E′häyä′ Ehä′eho′!
Da′ta-i nyä′hoănga′mo,
Da′ta-i nyä′hoănga′mo.
Äde′tepo′nbä,
Äde′tepo′nbä,
Ä′guănpo′nbä,
Ä′guănpo′nbä.

_Translation_

_Ä′häyä′ Ehä′eho′! Ä′häyä′ Ehä′eho′!
E′häyä′ Ehä′eho′! E′häyä′ Ehä′eho′!_
The father shows me the road,
The father shows me the road.
I went to see my friends,
I went to see my friends,
I went to see the dances,
I went to see the dances.

The composer of this song went, in her trance, to the other world, led by the Father, who pointed out the way, and saw there her former friends and joined them in the dance.

5. +Dak̔iñ′a bate′yä+

Dak̔iñ′a bate′yä,
Dak̔iñ′a bate′yä.
Guăto ton nyäâmo,
Guăto ton nyäâ′mo.
Ähiñ′äih nyäâ′mo,
Ähiñ′äih nyäâ′mo.

_Translation_

The spirit (God) is approaching,
The spirit (God) is approaching.
He is going to give me a bird tail,
He is going to give me a bird tail.
He will give it to me in the tops of the cottonwoods,
He will give it to me in the tops of the cottonwoods.

The “bird tail” refers to the feathers (_wakuna_, Arapaho) worn on the heads of the dancers (figure 91). The song is peculiar in implying that the recipient must climb up into the tree tops to obtain it.

6. +Na′da′g äka′na+

Heyĕ′heyĕ′heyĕ′heye′ Äho′ho′!
Heyĕ′heyĕ′heyĕ′heye′ Äho′ho′!
Na′da′g äka′na,
Na′da′g äka′na,
De′gyägo′mga da′tsä′to,
De′gyägo′mga da′tsä′to.
Äo′ñyo, Äo′ñyo.

_Translation_

_Heyĕ′heyĕ′heyĕ′heye′ Äho′ho′!
Heyĕ′heyĕ′heyĕ′heye′ Äho′ho′!_
Because I am poor,
Because I am poor,
I pray for every living creature,
I pray for every living creature.
_Äo′ñyo! Äo′ñyo!_

Although the words of this song do not contain much meaning, the tune is one of the best among the Kiowa ghost songs. The introductory line gives somewhat the effect of Comanche song 1. The last line is supposed to be a prayer or entreaty to the messiah, and is an imitation of the Kiowa funeral wail.

7. +Ze′bät-gâ′ga igu′ănpa′-ima′+

Ze′bät-gâ′ga igu′ănpa′-ima′,
Ze′bät-gâ′ga igu′ănpa′-ima′.
Bälä′gâ na′ta′dălgo′ma,
Bälä′gâ na′ta′dălgo′ma.
Tä′lyiă be′`pe′te,
Tä′lyiă be′`pe′te.

_Translation_

He makes me dance with arrows,
He makes me dance with arrows.
He calls the bow my father,

He calls the bow my father.
Grandmother, persevere,
Grandmother, persevere.

This song embodies the Ghost-dance idea of a return to the old Indian things. The expression, “He calls the bow my father,” is worthy of an oriental poet. The last line is a general exhortation to the women to persevere or “push hard” in the dance.

8. +Be′ta! To′ngyä-gu′adăl+

Be′ta! To′ngyä-gu′adăl äto′tl-e′dal,
Be′ta! To′ngyä-gu′adăl äto′tl-e′dal.
Bä′ate′ñyi, Bä′ate′ñyi.
Da′te gyäko′m ä′omhe′dăl,
Da′te gyäko′m ä′omhe′dăl.

_Translation_

Now I understand! Red Tail has been sent,
Now I understand! Red Tail has been sent.
We cry and hold fast to him,
We cry and hold fast to him.
He was made to live a long time,
He was made to live a long time.

This song was made by Mary Zoñtom, a woman who speaks very fair English, and refers to a young man named _To′ngyä-gu′adal_, Red Tail, who used to go into frequent trances. The expression “he was sent” implies that he is a recognized messenger to the spirit world, while “we hold fast to him” is equivalent to “we have faith in him.”

9. +Da′ta′-i änka′ñgo′na+

Da′ta′-i änka′ñgo′na,
Da′ta′-i änka′ñgo′na.
Da′mânhä′go, Da′mânhä′go.
Ka′ante damânhä′go,
Ka′ante damânhä′go.

_Translation_

My father has much pity for us,
My father has much pity for us.
I hold out my hands toward him and cry,
I hold out my hands toward him and cry.
In my poverty I hold out my hands toward him and cry,
In my poverty I hold out my hands toward him and cry.

10. +Da′ta-i iñka′ñtähe′dal+

Ähä′yä Ehä′eho′,
Ähä′yä Ehä′eho′.
Da′ta-i iñka′ñtähe′dal.
A‛da′ta′-i dä′sa,
Ä‛da′ta′-i mâ′nsâ′dal,
Ä‛da′ta′-i to′ñsâ′dal,
Ä‛da′ta′-i o′mda.

_Translation_

_Ähä′yä Ehä′eho′,
Ähä′yä Ehä′eho′._
My father has had pity on me.
I have eyes like my father’s,
I have hands like my father’s,
I have legs like my father’s,
I have a form like my father’s.

“So God created man in his own image.”

11. +Dak`iñ′ago äho′ähe′dal+

Dak`iñ′ago äho′ähe′dal,
Dak`iñ′ago äho′ähe′dal.
Gâ′dal-gâ′ga äho′ähe′dal,
Gâ′dal-gâ′ga äho′ähe′dal.
Do′m-gâ′ga äho′ähe′dal,
Do′m-gâ′ga äho′ähe′dal.

_Translation_

The spirit host is advancing, they say,
The spirit host is advancing, they say.
They are coming with the buffalo, they say,
They are coming with the buffalo, they say.
They are coming with the (new) earth, they say,
They are coming with the (new) earth, they say.

12. +E′hyu′ñi degi′ăta+

[Music]

E′hyuñ′i degi′ăta,
E′hyuñ′i degi′ăta.
Tsä′hop ä′ä′he′dal,
Tsä′hop ä′ä′he′dal.
Na de‛gu′ănta, de‛gu′ănta; Na de‛gu′ănta, de‛gu′ănta;
Gâ′dal-guñ t`añ′gya deo′ta,
Gâ′dal-guñ t`añ′gya deo′ta.
Go′ dehi′äta, dehi′äta,
Go′ dehi′äta, dehi′äta.

_Translation_

I am mashing the berries,
I am mashing the berries.
They say travelers are coming on the march,
They say travelers are coming on the march.
I stir (the berries) around, I stir them around;
I take them up with a spoon of buffalo horn,
I take them up with a spoon of buffalo horn,
And I carry them, I carry them (to the strangers),
And I carry them, I carry them (to the strangers).

This song gives a pretty picture of the old Indian home life and hospitality. In her dream the woman who composed it imagines herself cooking fruit, when the word comes that travelers are approaching, the verb implying that they are on the march with their children, dogs, and household property. She stirs the berries around a few times more, lifts them out with a spoon of buffalo horn, and goes to offer them to the strangers. The translation is an exact paraphrase of the rhythmic repetition of the original. The berry called _eyhuñ′i_, “principal or best fruit,” is not found in the present country of the Kiowa, but is remembered among the pleasant things of their old home in the north. It is described as a species of cherry.

13. +Go′mgyä-da′ga+

Go′mgyä-da′ga,
Go′mgyä-da′ga,
Do′ nyä′zä′ngo,
Do′ nyä′zä′ngo,
Go′ da′gya iñhä′po,
Go′ da′gya iñhä′po.

_Translation_

That wind, that wind
Shakes my tipi, shakes my tipi,
And sings a song for me,
And sings a song for me.

To the familiar this little song brings up pleasant memories of the prairie camp when the wind is whistling through the tipi poles and blowing the flaps about, while inside the fire burns bright and the song and the game go round.

14. +Dak̔iñ′a daka′ñtähe′dal+

Dak̔iñ′a daka′ñtähe′dal,
Dak̔iñ′a daka′ñtähe′dal.
Tsi′sûs-ä daka′ñtähe′dal,
Tsi′sûs-ä daka′ñtähe′dal.
Da′gya nyäpa′de,
Da′gya nyäpa′de.
Da′gya iñatä′gyi,
Da′gya iñatä′gyi.

_Translation_

God has had pity on us,
God has had pity on us.
Jesus has taken pity on us,
Jesus has taken pity on us.
He teaches me a song,
He teaches me a song.
My song is a good one,
My song is a good one.

In their confounding of aboriginal and Christian ideas the Kiowa frequently call the Indian messiah “Jesus,” having learned the latter as a sacred name through the whites.

15. +Anso′ gyätä′to+

[Music]

Anso′ gyätä′to,
Anso′ gyätä′to;
Â′dalte′m ga′tä′dalto′-o′,
Â′dalte′m ga′tä′dalto′-o′;
Änĭmhä′go, Änĭmhä′go.

_Translation_

I shall cut off his feet,
I shall cut off his feet;
I shall cut off his head,
I shall cut off his head;
He gets up again, he gets up again.

This is one of the favorite Kiowa ghost songs and refers to the miraculous resurrection of the dismembered buffalo, according to the promise of the messiah, as related in Sword’s narrative. See page 797.

KIOWA GLOSSARY

_Äähe′dal_—they are coming, it is said (_ää′_, I come); the suffix
_hedal_ implies a report.

_Ädâ′ga_—because I am; the suffix _ga_ gives the idea of because.

_Â′daltem_—head; literally hair bone, i. e., skull; from _â′dal_,
hair, and _tem_, bone.

_Ädalto′yui_—“young mountain sheep,” literally “herders” or
“corralers,” one of the degrees of the Kiowa military
organization. Also called _Teñbeyu′i_. (See Arapaho song 43.)

_Ä‛′data′i_—like my father, resembling my father; from _data′-i_,
father, my father.

_Ädä′tode′yo′_—he is standing watching it; _ädä′tode_, I stand
watching it.

_Äde′tepo′nbä_—I went to see my friends; _äde′teponbäta_, I am
going, etc; _de′te_, friend.

_Äguănpo′nbä_—I went to see dancing; _ägu′anponbä′ta_, I am going
to see a dance; _guan_, a dance.

_Ähäyä′_—an unmeaning exclamation used in the songs.

_Ä′hiñ-aih_—in the tops of the cottonwood; from _ä′hiñ_,
cottonwood, and _aih_, in or on the tree tops.

_Aho′ähe′dal_—they are approaching, it is said (as a family on the
move, or an army on the march, with household goods, etc); the
suffix _hedal_ implies a report or rumor. _Äho′ä_, I am coming
on, with my family and possessions. Compare _Imzä′nteähe′dal_.

_Äho′ho!_—an unmeaning exclamation used in the songs.

_Ähyä′to_—the Kiowa name for the Arapaho, meaning unknown. The
Kiowa call the wild plum by the same name.

_Äka′na_—for _Äka′on_, q. v.

_Äka′on_—I am poor. The words for “rich” and “poor” refer rather
to reputation and mental and moral qualities than to temporal
possessions. A man may own many horses, but if he has no war
record he is accounted poor.

_Änĭmhä′go_—he gets up again, he rises again. _Dehä′go_, I rise;
_behä′_, get up; _ĭmhä′go_, he will get up.

_Ankañ′gona_—he pities us much; _gyäkañ′ti_, it is a pity. Compare
_Iñkañ′tähe′dal_.

_Anso_—feet; _anso′i_, foot.

_Ä′nyä′gâlo′nte_—I bellow like a buffalo (habitual); _nyäo′nto_, I
am bellowing like a buffalo.

_Äomhe′dal_—he was made so; _äo′mdatso′ha_, I am made so, I am
rendered thus.

_Ä′piatañ_—“wooden stabber, or lance;” the name of a Kiowa sent by
his tribe as a delegate to the messiah in 1890.

_Asa′tito′la_—“he whom we send to work,” i. e., “the messenger;”
the name by which the Kiowa prophet, _Bi′äñk̔i_, is now known.

_Äto′tl-e′dal_—he was sent; _gyäto′_, I send him.

_Ätso′dalsâ′dal_—I have wings (attached); from _tsodal_, wing.

_Bä′ateñ′yi_—we cry and hold fast to him; _gyäteñ′ta_, I cry and
hold fast to him.

_Bäte′yä_—he is approaching; _äba′teyä_, I am approaching. Compare
_Imzä′nteähe′dal_.

_Be′a‛mâ′nhäyi_—stretch out your (plural) hands in entreaty.
_Dea′‛mânhä′go_, I stretch out, etc; _bea′‛mânhä_, stretch out
your (singular vocative), etc.

_Be′dălgu′at_—another Kiowa name for the Wichita; signifying
“painted or tattooed lips;” from _bedal_, lips or mouth, and
_guat_, painted, tattooed, or written. See _Do‛gu′at_.

_Be′dălpago_—“hairy mouths;” one of the Kiowa names for the whites;
from _bedal_, lips or mouth, _pa_, downy hair or fuzz, and _go_
or _gua_, the tribal terminal. Compare _Ta‛ka′-i_.

_Beta!_—an exclamation about equivalent to I see, I understand.

_Bi′äñk̔i_—“eating man,” “eater,” a Kiowa prophet and medicine-man;
also known as _Asa′tito′la_, “the messenger.”

_Botk̔iñ′ago_—the Kiowa name for the _Aä′ninĕ′na_ or Arapaho
Grosventres. The name signifies “belly people;” from _bot_,
belly or stomach, and _k̔iñago_, people, from _k̔iñahi_, “man.”

_Dä-e′dal_—“great star;” from _dä_, star, and _e′dal_, great; one
of the Kiowa names for the morning star. It is more commonly
called _T’aiñso_, “the cross.” (See Arapaho song 72.)

_Da′gya_—a song.

_Dakañ′äthe′dal_—another form of _Iñkañ′tähe′dal_, q. v.

_Dak̔iñ′a_—spirit, God; plural _dak̔iñ′ago_; from _da-i_, medicine,
mystery, and _k̔iña_ or _k̔iñahi_, man.

_Dak̔iñ′ago_—spirits, the spirits; spirit, God, _dak̔iñ′a_.

_Da′mânhä′go_—for _Dea′‛mânhä′go_.

_Däsa_—I have eyes; _dä_, _t’ä_, eye.

_Da′ta-i_—father.

_Da′te_—a long time.

_Da′tekañ_—“keeps his name always,” a Kiowa prophet about 1881, who
undertook to bring back the buffalo.

_Datsä′to_—I pray for them; _nĭ′ndatsä′to_, I pray for him.

_Dea′‛mânhä′go_—I hold out my hands toward him in entreaty. Compare
_Be′a‛mâ′nhäyi_.

_De′beko′datsä_—let us all pray or worship, we must all pray or
worship; _deda′tsäto_, I pray.

_De′dom_—all the world; from _dom_, the earth, and _de_, all,
complete.

_Degi′ăta_—I am mashing or pounding it.

_De‛gu′ănta_—I stir it around.

_De′gyägo′mga_—every living creature; the prefix _de_ conveys the
idea of every or all.

_Dehi′äta_—I take it.

_De′ĭmgo_—look, everybody! See, everybody around! The prefix _de_
gives the idea of everybody or all.

_De′ĭmhä′date_—everybody will arise; from _dehä_, I rose up from
a reclining position. The prefix _de_ gives the idea of
everybody, all, or completeness, according to context.

_Deo′ta_—I lift it up, I raise it.

_Do′_—tipi.

_Do‛gu′at_—the Kiowa name for the Wichita, signifying “painted
or tattooed faces,” from _dobä_, face, and _gu′at_, painted,
engraved, or written.

_Dom_—the earth.

_Dom-gäga_—with the earth; _gâga_, with, in composition.

_Ehä′eho′!_—an unmeaning exclamation used in the songs.

_E′häyä!_—ibid.

_E′hyuñi_—“principal, real, or best fruit;” a berry, probably a
dwarf cherry, described as a black grape-like fruit growing in
clusters on bushes from 4 to 6 feet high, in the Sioux country.
It was eaten raw or mixed with pemmican.

_E′manki′na_—“can’t hold it,” a Kiowa policeman, now dead, seen by
Asatitola in a vision.

_E′‛peya_—“afraid of him,” a Kiowa warrior who died while a
prisoner at Fort Marion, Florida, about 1875.

_Ezä′nteähe′dal_—it is approaching, they say. Compare
_Imzä′nteähe′dal_.

_Ezä′nteda′te_—it will shake, or tremble (impersonal).

_Gâ′dal-gâ′ga_—with the buffalo; _gâga_, with, in composition;
_gâdal_, buffalo, generic; _pa_, a buffalo bull.

_Gâ′dal-guñ_—a buffalo horn; from _gâdal_, buffalo; and _gu′ñti_,
horn.

_Gatä′dalto_—I shall cut it off, I am cutting it off (present and
future alike).

_Go_—and.

_Go′mgyä-da′ga_—that wind; from _gomgyä_, wind, and _daga_, that,
the, in composition.

_Go′mtäyä_—on (my) back; from _gomtä_ or _gombă_, back.

_Guadal_—red.

_Guăn_—a dance.

_Guan-â′dalka-i_—“dance frenzy;” from _guan_, a dance, and
_â′dalka-i_, crazy or foolish; the Kiowa name for the
Ghost-dance ecstasy.

_Gu′ato_—bird.

_Gyäko′m_—life, living; _hita′ägyä′komta′yä_, I am alive.

_Gyätä′to_—I shall cut them off; _gatä′dalto_, I cut it off.

_Häoñ′yo_, or _Äoñ′yo_—a cry of grief, especially at funerals.

_Heyĕ′heyĕ′heyĕ′heyĕ!_—an unmeaning exclamation used in the songs.

_Imhä′go_—he would get up, he would arise. Compare _Änĭmhä′go_.

_Imzä′nteähe′dal_—they are approaching, it is said; from
_dezä′nteä_, I move about; the termination _hedal_ makes it a
matter of report or common belief, equivalent to “they say.”
Compare _Ezä′nteähe′dal_. The verb implies coming on like a
herd or company or like persons on a march. The simple verb for
approaching is _äba′teä_. Compare _Bate′yä_ and _Äho′ähe′dal_.

_Iñatä′gyi_—it is a good one; from _tãgya_ or _gyätä′gya_, good.

_Iñhä′po_ or _Iñhäpa′de_—he sings for me (as if to teach me);
_dagya gehäpo_, I sing a song for him.

_Iñkañ′tähe′dal_—he has had pity on me; from _gyäkañ′ti_, (it is a)
pity. Compare _Ankañ′gona_.

_Ka′ante_—another form of _Ka′on_, poor. Compare _Äka′on_.

_Kâitseñ′ko_—“principal, or real dogs;” the highest degree of the
Kiowa military organization. (See Arapaho song 43.)

_Komse′ka-k̔iñ′ahyup_—the former Kiowa name for the Arapaho. It
signifies “men of the worn-out leggings;” from _komse_, “smoky,
soiled, or worn-out,” _kati_, “leggings,” and _k̔iñ′ahyup_,
“men.”

_Mânsâ′dal_—I have hands or arms; _mânto_, hand, arm.

_Ma′sep_—the Kiowa name for the Caddo, signifying “pierced noses;”
from _mak̔on_, nose, and _sep_, the root of a verb signifying
to pierce or sew with an awl.

_Na_—I, my; sometimes put before the verb to make it emphatic.

_Na ädâ′ga_—because I am (emphatic); from _na_, I, my, and _ädâ′ga_
(q. v.), because I am.

_Nada′g_—for _Na ädâ′ga_, q. v.

_Nyäâ′mo_—he will give it to me; _nyänâ′mo_, I shall give it to
him. There are a number of verbs for _give_, according to the
nature of the thing given.

_Nyä′hoănga′mo_—he shows or tells me the road; _nyän′hoănga′mo_, I
show him the road; _hoăn_, road.

_Nyäo′ngum_—I scream; from _äno′nde_, it screams, or makes
utterance with the mouth.

_Nyäpa′de_—for _Iñhä′po_ or _Iñhäpa′de_, q. v.

_Nyäzä′ngo_—it shakes mine; _änzä′ngo_, it shakes his.

_O′mda_—I have a shape or form (implying a likeness, as _ä‛data′-i
o′mda_, I have a form like my father’s).

_Pa-gu′adal_—“red buffalo;” from _pa_, a buffalo bull, said
_gu′adal_, red. A Kiowa man, the author of one of the
Ghost-dance songs.

_Pa′-iñgya_—“standing in the middle;” a Kiowa prophet who, in 1887,
preached the speedy destruction of the whites and the return of
the buffalo.

_Poläñ′yup_—“rabbits;” the lowest degree of the Kiowa military
organization. (See Arapaho song 43.)

_Sa′he_—green. (See Arapaho song 64.)

_Säk̔o′ta_—the Kiowa name for the Cheyenne; the word seems to refer
to “biting.”

_Set-t’aiñ′ti_—“white bear,” a noted Kiowa chief, about 1865–1875.
The name comes from _set_, bear, _t’aiñ_, white, and _ti_, the
personal suffix.

_Soda′te_—he will descend; _äso′ta_, I descend.

_Tägyä′ko_—the Kiowa name for the Na′kasinĕ′na or northern Arapaho.
The word has the same meaning, “sagebrush people,” from
_tägyi_, “sage brush,” and _ko_, the tribal suffix.

_T’aiñ′so_—the morning star; literally “the cross;” it is sometimes
also called _Dä-e′dal_, the “great star.” (See Arapaho song 43.)

_Ta‛ka′-i_—one of the Kiowa names for the whites; the word means
literally “prominent ears, or ears sticking out,” as compared
with the ears of the Indian, which are partly concealed by his
long hair. The same name is also applied to a mule or donkey.
Compare _Be′dal-pa′go_.

_Tälyi_—a boy.

_T‛añgya_—a spoon; under certain circumstances the suffix _gyă_ is
dropped and the word becomes _t’a_.

_T‛añ′peko_—skunkberry (?) people; one of the degrees of the Kiowa
military organization. (See Arapaho song 43.)

_Teñ′beyui_—“young mountain sheep,” another name for the
_Ädalto′yui_, q. v.

_Ton_—tail; _gu′ato-ton_, bird tail; frequently used to denote a
fan or headdress made of the tail feathers of an eagle, hawk,
or other bird.

_Tongyä-gu′adal_—“red tail;” the name of a Kiowa man; from _ton_ or
_tongyä_, tail, and _gu′adal_, red.

_Toñkoñ′go_—“black legs,” one of the degrees of the Kiowa military
organization. (See Arapaho song 43).

_To′ñsâdal_—I have legs; from _toñti_, leg.

_Tsä′hop_—movers, emigrants (moving with household goods, etc). The
word has no singular form.

_Tsäñ′yui_—“rabbits;” another name for the _Poläñ′yup_ degree of
the Kiowa military organization. (See Arapaho song 43.)

_Tseñtän′mo_—horse headdress people (?), one of the degrees of the
Kiowa military organization. (See Arapaho song 43.)

_Tsi′sûs_ (_Tsi′sûs-ä_)—Jesus.

_Tsoñ_—an awl.

_Tsoñ′ä_—the awl game. (See Arapaho song 64.)

_Yä′‛pähe_—soldiers; the military organization of the Kiowa. (See
Arapaho song 43.)

THE CADDO AND ASSOCIATED TRIBES

CADDO TRIBAL SYNONYMY

_Asinais_—an old French name, from _Hasinai_.

_Caddo_—popular name, from _Kä′dohadä′cho_.

_Cadodaquio_—Joutel (1687), another form of _Kä′dohadä′cho_.

_Cenis_—old French name used by Joutel in 1687; from _Hasinai_.

_Dä′sha-i_—Wichita name.

_Dĕ′sa_—another form of _Dä′sha-i_.

_Hasi′nai_ or _Hasi′ni_—the proper generic term for at least the
principal Caddo divisions, and perhaps for all of them. It is
also used by them as synonymous with “Indians.”

_Kä′dohădä′cho_—the name of the Caddo proper, as used by themselves.

_Ma′se′p_—Kiowa name; “pierced nose,” from _mak̔on_, nose, and
_sep_, the root of a verb signifying to pierce or sew with an
awl.

_Na′shonĭt_ or _Na′shoni_—Comanche name, frequently used also by
the neighboring tribes to designate the Caddo; the Nassonite of
the early French writers on Texas.

_Nez Percé_—French traders’ name; “pierced nose.”

_Ni′rĭs-hări′s-kĭ′riki_—another Wichita name.

_Otä′s-itä′niuw′_—Cheyenne name; “pierced nose people.”

_Tani′bänĕn_, _Tani′bänĕnina_, _Tani′bätha_—Arapaho name; “pierced
nose people,” _tani_, nose.

CADDO TRIBAL SIGN

“Pierced nose,” in allusion to their former custom of boring the nose for the insertion of a ring.

SKETCH OF THE CADDO

The Caddo are the principal southern representatives of the Caddoan stock, which includes also the Wichita, Kichai, Pawnee, and Arikara. Their confederacy consisted of about a dozen tribes or divisions, claiming as their original territory the whole of lower Red river and adjacent country in Louisiana, eastern Texas, and southern Arkansas. The names of these twelve divisions, including two of foreign origin, have been preserved as follows:

_Kä′dohadä′cho_ (Caddo proper).

_Nädä′ko_ (Anadarko).

_Hai′-nai_ (Toni).

_Nä′bai-dä′cho_ (Nabedache).

_Nä′kohodo′tsi_ (Nacogdoches).

_Näshi′tosh_ (Natchitoches).

_Nä′ka‛na′wan._

_Hădai′-i_ (Adai, Adaize).

_Hai′-ĭsh_ (Eyeish, Aliche, Aes).

_Yä′tăsi._