Chapter V: Part 5

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

ADALANI[']STA`TI[']Y[)I]. [)I].

Sg[)e]! Ha-n[^a][']gwa hat[^u]['][n]gani[']ga nih[)i][']--
--Tsa[']watsi[']l[^u] ts[)i]k[)i]['] ts[)i]k[^u]['] ay[^u]['].
--Hiyel[^u]['] ts[)i]k[)i]['] ts[)i]k[^u]['] ay[^u]['].
--Ts[)a]wiy[^u]['] ts[)i]k[)i]['] ts[)i]k[^u]['] ay[^u]['].
--Ts[^u]nahu['] ts[)i]k[)i]['] ts[)i]k[^u]['] ay[^u]['].

Sg[)e]! N[^a][']gwa hat[^u]['][n]gani[']ga, H[)i]kay[^u]['][n]lige. Hi[)a]['] asga[']ya uda[']nt[^a] tsa`ta[']hisi[']ga [H[)i]kay[^u]['][n]lige] hiye[']last[^u][n]. Tsask[^u]l[^a][']h[)i]sti-gw[^u]['] nige[']s[^u][n]na. D[)i]kana[']wat[^u]['][n]ta-gw[^u] ts[^u]t[^u][']neli[']ga. H[)i]l[^u] dudant[)e][']`t[)i] nige[']s[^u][n]na. Duda[']nt[^a] d[^u]skal[^u][n][']tseli[']ga. Ast[)i]['] dig[^u]['][n]nage tagu[']tal[^u][n]tani[']ga.

_Translation._

TO ATTRACT AND FIX THE AFFECTIONS.

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

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

_Explanation._

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

ADAYE[']LIGA[']GTA`T[)I]['].

Y[^u]! Gal[^u]['][n]lat[)i] ts[^u]l`da[']hist[)i], Giya[']giya['] Sa`ka[']ni, n[^a][']gwa n[^u][n]tal[^u][n] i[']y[^u]['][n]ta. Ts[^a][']la Sa`ka[']ni ts[^u]gist[^a][']`t[)i] ad[^u][n]ni[']ga. N[^a][']gwa nid[^a]tsu[']l`tan[^u]['][n]ta, n[^u]['][n]t[=a]tag[^u]['] hisa[']hasi[']ga. Tani[']d[^a]g[^u][n]['] aye[']`l[)i] dehid[^a][']siga. Unada[']nd[^a] dehiy[^a][']staneli[']ga. Nidugale[']ntan[^u]['][n]ta nid[^u]h[^u][n]neli[']ga.

Tsisga[']ya agine[']ga, n[^u][n]d[^a]g[^u]['][n]y[)i] ditsid[^a][']`st[)i]. G[^u][']n[)i] [^a]st[^u]['] uhisa[']`t[)i] nige[']s[^u][n]na. Ag[)e][']`ya une[']ga hi['][)a] iyu[']st[)i] g[^u]lst[^u][']`l[)i], iyu[']st[)i] ts[^u]d[^a][']ita. Uda[']nd[^a] us[)i]nu[']l[)i] d[^a]datinil[^u][']g[^u][n]el[)i][']. N[^u][n]d[^a]g[^u]['][n]yits[^u]['] d[^a]datinilug[^u]stanel[)i]. Tsisga[']ya agine[']ga, ditsid[^a]st[^u]['][n][)i] n[^u]`n[^u]['] kana[']tlani[']ga. Ts[^u]nkta['] teg[)a]`la[']watege[']st[)i]. Tsiye[']l[^u][n] ges[^u]['][n][)i] uhisa[']`t[)i] nige[']s[^u][n]na.

_Translation._

FOR SEPARATION (OF LOVERS).

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

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

_Explanation._

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

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

(ADALAN[)I][']ST[)A]`TI[']Y[)I] II.)

Y[^u]! Ha-n[^a][']gwa ada[']nt[)i] d[)a]ts[^a]si[']ga, [*][*] h[)i]l[^u](st[^u][']`l[)i]), ([*][*]) ditsa(d[^a][']ita). A[']y[^u] 0 0 tsila(st[^u][']`l[)i]). Hiye[']la ts[)i]k[)i]['] ts[)i]k[^u][']. (Y[^u]!)

Y[^u]! Ha-n[^a][']gwa ada[']nt[)i] d[)a]ts[^a]si[']ga. [*][*] h[)i]l[^u](st[^u][']`l[)i]), [*][*] ditsa(d[^a]['][/i]ta). A[']y[^u] 0 0 ts[^u]wi[']ya ts[)i]k[)i]['] ts[)i]k[^u][']. Y[^u]!

Y[^u]! Ha-n[^a][']gwa ada[']nt[)i] d[)a]ts[^a]si[']ga. [*][*] h[)i]l[^u](st[^u][']`l[)i]) [*][*] ditsa(d[^a]['][/i]ta). A[']y[^u] 0 0 ts[^u]watsi[']la ts[)i]k[)i]['] ts[)i]k[^u]['] a[']y[^u]. Y[^u]!

Y[^u]! Ha-n[^a][']gwa ada[']nt[)i] d[)a]ts[^a]si[']ga. [*][*] h[)i]l[^u](st[^u][']`l[)i]), [*][*] ditsad[^a]['](ita). A[']y[^u] 0 0 ts[^u]nah[)u]['] ts[)i]k[)i]['] ts[)i]k[^u][']. Y[^u]!

Sg[)e]! "Ha-n[^a][']gwa ada[']nt[)i] dutsase['], tsugale[']nt[)i] nige[']s[^u][n]na," ts[^u]d[^u]ne[)i], H[)i]kay[^u]['][n]lige gal[^u]['][n]lat[)i]. Kanan[)e][']sk[)i] [^U]['][n]nage gal[^u]['][n]lat[)i] (h)etsats[^a]['][^u][n]t[)a]nile['][)i]. Ts[)a]nilta[']g[)i] ts[^u]ks[^a]['][^u][n]tanile['][)i]. [*][*] g[^u]la(st[^u][']`l[)i]), [*][*] ditsad[^a]['](ita). Dudant[^a][']g[)i] uhani[']lat[^a] t[)i]kwen[^u]['][n]tani[']ga. K[^u]lkw[^a][']g[)i] ig[^u]lsta[']lag[)i] iy[^u]['][n]ta y[^u]['][n]w[)i] aday[^u]['][n]lataw[)a]['] dud[^u]ne[']lida[']l[^u][n] uhisa[']`t[)i] nige[']s[^u][n]na.

Sg[)e]! Ha-n[^a][']gwat[)i] uhisa[']`t[)i] dutl[^u]['][n]tani[']ga. Ts[^u][']nkta dask[^a][']l[^u][n]tsi[']ga. S[^a][']gwah[)i] di[']kta de[']gayel[^u][n]tsi[']ga. Ga[']tsa ig[^u]n[^u][']nug[^a]['][)i]st[^u] uda[']nt[^a]? Us[^u][']hita nudan[^u]['][n]na [^u]lt[^u][n]ge[']ta g[^u][n]wad[^u]neli[']dege[']st[)i]. Ig[^u][n]w[^u]lsta[']`ti-gw[^u] duw[^a]lu[']wa`t[^u][n]t[)i] nige[']s[^u][n]na. Kanan[)e][']sk[)i] [^U][n]nage['][)i] tsanildew'se[']st[)i] ada[']nt[^a] ukt[^u][n]lesi[']dast[)i] nige[']s[^u]na. Gad[^a]yu[']st[)i] ts[^u]d[^a][']ita ada[']nt[)i] tside[']atsasi[']ga. A[']ya a[']kwatseli[']ga.

Sg[)e]! Ha-n[^a][']gw[^u]l[)e]['] h[^u][n]hat[^u][n]ga[']ga, H[)i]kay[^u]['][n]l[)i] Gi[']gage. Tsets[^u]li[']s[)i] hiye[']last[^u][n] a`ta[']hisi[']ga. Ada[']nt[^a] has[^u]`g[^u][']`law[)i][']stani[']ga, tsa[']skal[/a]h[)i]st[)i] nige[']s[^u][n]na. H[)i]kay[^u]['][n]lige den[)a]tseg[^u]`la[']w[)i]stani[']ga. Ag[)e][']`ya g[)i][']ns[^u][n]g[^u]`law[)i]s[']tani[']ga uda[']nt[^a] _uwahis[)i][']sata_. D[)i]g[)i]nask[^u]l[^a][']h[)i]st[)i] nige[']s[^u][n]na. Y[^u]!

Hi['][)a]nasgw[^u]['] u`tl[^a][']yi-gw[^u] d[)i]gal[^u]['][n]wistan[']t[)i] sn[^u][n][^a][']y[)i] hani[']`lih[^u][n] g[^u]nasgi[']st[)i]. Gane[']ts[)i] aye[']`l[)i] asi[']tadis[']t[)i] watsi[']la, gan[^u][n]li[']yet[)i] aguwaye[']n[)i] andisg[^a]['][)i]. S[^a]i[']y[)i] tsika[']n[^a]he itsu[']laha[']gw[^u].

_Translation._

TO FIX THE AFFECTIONS.

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

Y[^u]! Ha! Now the souls have come together. You are of the Deer clan. Your name is Ay[^a]sta. I am of the Wolf clan. Your spittle I take, I eat. I! Y[^u]!

Y[^u]! Ha! Now the souls have come together. You are of the Deer clan. Your name is Ay[^a]sta. I am of the Wolf clan. Your heart I take, I eat. Y[^u]!

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

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

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

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

_Explanation._

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

MISCELLANEOUS FORMULAS.

S[^U][n]N[^A][']Y[)I] ED[^A][']H[)I] E[']SGA AST[^U][n]TI[']Y[)I].

Sg[)e]! Uhy[^u][n]ts[^a][']y[)i] gal[^u][n]lti[']tla ts[^u]lt[^a][']hist[)i], H[)i]sgaya Gigage['][)i], us[)i]nu[']l[)i] di[']tsak[^u]n[)i]['] denatl[^u][n]hi[']sani[']ga Uy-igawa[']st[)i] duda[']nt[)i]. N[^u][n]n[^a][']h[)i] tatuna[']wat[)i]. Us[)i]nu[']l[)i] duda[']nt[^a] dani[']y[^u][n]stanil[)i]['].

Sg[)e]! Uhy[^u][n]tl[^a][']y[)i] gal[^u][n]lti[']tla ts[^u]lt[^a][']hist[)i], H[)i]sga[']ya T[)e][']halu, _hinaw's[)u][']'ki_. Ha-us[)i]nu[']l[)i] n[^a][']gwa di[']tsak[^u]n[)i]['] denatl[^u][n]hisani[']ga uy-igawa[']st[)i] duda[']nt[)i]. N[^u][n]n[^a][']h[)i] t[)a]tuna[']w[)a]t[)i]. Us[)i]nu[']l[)i] duda[']nt[^a] dani[']gal[)i]stan[)i]['].

_Translation._

TO SHORTEN A NIGHT-GOER ON THIS SIDE.

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

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

_Explanation._

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

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

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

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

GAHU[']ST[)I] A[']GIYAHU[']SA.

Sg[)e]! Ha-n[^a][']gwa hat[^u]['][n]gani[']ga N[^u]['][n]ya W[^a]tige['][)i], gahu[']st[)i] ts[^u]tska[']d[)i] nige[']s[^u][n]na. Ha-n[^a][']gwa d[^u]['][n]gihya[']l[)i]. Agiyahu[']sa s[)i][']kwa, haga['] ts[^u][n]-n[^u]['] iy[^u]['][n]ta d[)a]tsi[']wakt[^u][']h[)i]. Tla-`ke['] a[']ya a[']kwatseli[']ga. 0 0 digwad[^a]i[']ta.

_Translation._

I HAVE LOST SOMETHING.

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

_Explanation._

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

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

HIA['] UN[/A]LE (ATESTI[']Y[)I]).

Yuhahi['], yuhahi['], yuhahi['], yuhahi['], yuhahi['],
Yuhahi['], yuhahi['], yuhahi['], yuhahi['], yuhahi[']--Y[^u]!

Sg[)e]! Ha-n[^a][']gwa h[)i]nah[^u][n][']ski tay[)i][']. Ha-t[^a][']sti-gw[^u] g[^u][n]ska[']ih[^u]. Ts[^u]tali[']i-gwati[']na halu[']`n[)i]. K[^u][']nigwati[']na dula[']ska gal[^u]['][n]lati-gw[^u] witu[']kt[)i]. Wig[^u][n]yas[)e][']h[)i]s[)i]. [^A][']tal[)i] tsug[^u]['][n]y[)i] wite[']tsatan[^u]['][n][^u][n]s[)i]['] n[^u][n]n[^a]h[)i] tsane[']lag[)i] de[']gatsana[']wadise[']st[)i]. K[^u]nst[^u]['] dutsas[^u]['][n][)i] at[^u]['][n]was[^u]t[)e][']hah[)i]['] ts[^u]t[^u]neli[']sest[)i]. Sg[)e]!

_Translation._

THIS IS TO FRIGHTEN A STORM.

Yuhahi['], yuhahi['], yuhahi['], yuhahi['], yuhahi['],
Yuhahi['], yuhahi['], yuhahi['], yuhahi['], yuhahi[']--Y[^u]!

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

_Explanation._

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

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

DANAW[^U]['] TSUNED[^A]L[^U][']H[)I] NUNAT[^U][']NELI[']TAL[^U]['][n]H[)I] U[']NALSTELTA[']`TAN[^U][']H[)I].

Hay[)i]! Y[^u]! Sg[)e]! N[^a][']gwa us[)i]nuli[']yu A[']tasu Gi[']gage['][)i] hinisa[']latani[']ga. Us[)i]nu[']l[)i] duda[']nt[^a] u[']nanug[^a][']tsidast[)i]['] nige[']s[^u][n]na. Duda[']nt[^a] e`lawi[']n[)i] iy[^u]['][n]ta [)a][']tas[^u] dig[^u][n]nage['][)i] deg[^u][n]lskw[)i][']tahise[']st[)i], anets[^a]ge[']ta unanug[^a][']ist[)i] nige[']s[^u][n]na, nitin[^u]['][n]neli[']ga. [)A][']tas[^u] dusa[']ladan[^u]['][n]st[)i] nige[']s[^u][n]na, nitin[^u]['][n]neli[']ga. E`lawi[']n[)i] iy[^u]['][n]ta [)a][']tas[^u] [^u][n]nage['] ug[^u][n][']hat[^u] [^u][n]nage['] s[^a][']gwa da`liy[)e][']k[^u]`lani[']ga _unadutl[^a][']g[)i]_. Unanug[^a][']tsida[']st[)i] nige[']s[^u][n]na, n[^u][n]eli[']ga.

Us[)i]nuli[']yu tsunada[']nt[^a] kul`kw[^a][']gine tigal[^u]['][n]ltiy[^u]['][n][)i] iy[^u]['][n]ta ada[']nt[^a] tega[']y[)e]`ti[']tege[']st[)i]. Tsunada[']nt[^a] tsuligal[)i][']st[)i] nige[']s[^u][n]na dud[^u]ni[']tege[']st[)i]. Us[)i]nu[']l[)i] deni[^u]['][n]eli[']ga gal[^u]['][n]lat[)i] iy[^u]['][n]ta widu[']l`t[^a]h[)i]sti[']tege[']st[)i]. [)A][']tas[^u] gigage['][)i] d[)e]hatag[^u]['][n]yastani[']ga. Tsunada[']nt[^a] tsudast[^u][']nilida[']st[)i] nige[']s[^u][n]na n[^u][n]eli[']ga. Tsunada[']nt[^a] gal[^u]['][n]lat[)i] iy[^u]['][n]ta wit[)e][']`titege[']st[)i]. Tsunada[']nt[^a] anigwalu[']g[)i] une[']ga g[^u][n]wa[']nadag[^u]['][n]yastitege[']st[)i]. Sa`ka[']n[)i] ud[^u]nu[']h[)i] nige[']s[^u][n]na us[)i]nuli[']yu. Y[^u]!

_Translation._

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

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

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

_Explanation._

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

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

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

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

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

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

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

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

Us[)i]nuli[']yu, rendered "instantly," is the intensive form of us[)i]nu[']l[)i] "quickly," both of which words recur constantly in the formulas, in some entering into almost every sentence. This frequently gives the translation an awkward appearance. Thus the final sentence above, which means literally "they shall never become blue instantly," signifies "Grant that they shall never become blue", i.e., shall never fail in their purpose, _and grant our petition instantly_.

DIDA[']LATLI[']`T[)I].

Sg[)e]! N[^a][']gwa ts[^u]dant[^a][']g[)i] teg[^u]['][n]yataw[^a][']ilateli[']ga. Iyust[)i] (0 0) tsilast[^u][']`l[)i] Iyu[']st[)i] (0 0) ditsad[^a][']ita. Ts[^u]watsi[']la elawi[']n[)i] tsid[^a][']h[)i]stani[']ga. Ts[^u]dant[^a]g[)i] elawi[']n[)i] tsid[^a][']h[)i]stani[']ga. N[^u]['][n]ya g[^u]['][n]nage g[^u][n]yu[']tl[^u][n]tani[']ga. [)A]`n[^u]wa[']g[)i] g[^u]['][n]nage['] g[^u][n]yu[']tl[^u][n]tani[']ga. S[^u][n]talu[']ga g[^u]['][n]nage deg[^u]['][n]yanu[']gal[^u]['][n]tani[']ga, ts[^u][']nanug[^a][']ist[)i] nige[']s[^u][n]na. Us[^u]hi[']y[)i] n[^u][n]n[^a][']h[)i] wite[']tsatan[^u]['][n][^u][n]s[)i] g[^u]ne[']s[^a] g[^u]['][n]nage asahalag[)i][']. Ts[^u]t[^u][']neli[']ga. Elaw[^a][']t[)i] asa[']halag[)i][']a[']d[^u][n]ni[']ga. Us[)i]nuli[']yu Us[^u]hi[']y[)i] g[^u]lts[^a][']t[)e] dig[^u]['][n]nagesta[']y[)i], elaw[^a][']ti g[^u]['][n]nage tid[^a][']h[)i]st[)i] wa`yanu[']gal[^u][n]tsi[']ga. G[^u]ne[']sa g[^u]['][n]age s[^u][n]talu[']ga g[^u]['][n]nage gayu[']tl[^u][n]tani[']ga. Ts[^u]dant[^a][']g[)i] [^u]ska[']l[^u][n]tsi[']ga. Sa`ka[']n[)i] ad[^u][n]ni[']ga. Us[^u][']hita atanis[']se[']t[)i], ay[^a][']l[^a]tsi[']sest[)i] ts[^u]dant[^a][']g[)i], ts[^u][']nanug[^a][']ist[)i] nige[']s[^u][n]na. Sg[)e]!

_Translation._

TO DESTROY LIFE.

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

_Explanation._

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

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

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

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

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

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

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

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

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

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

HI[)A]['] A[']NE[']TS[^A] UG[^U]['][n]WA[']L[)I] AM[^A][']Y[)I] DITS[^U]['][n]STA[']T[)I].

Sg[)e]! Ha-n[^a]gwa [)a][']st[)i] une[']ga aks[^a]['][^u][n]tan[^u]['][n] us[)i]nu[']l[)i] a`ne[']ts[^a] unats[^a][']n[^u][n]tse[']lah[)i] akta[']`t[)i] ad[^u][n]ni[']ga.

Iyu[']st[)i] utad[^a][']ta, iyu[']st[)i] tsunad[^a][']ita. N[^u][n]n[^a][']h[)i] anite[']lah[)e]h[^u]['] ige[']sk[)i] nige[']s[^u][n]na. D[^u][']ksi-gwu['] dedu[']natsg[^u]`la[']wate[']g[^u]. Da[']`s[^u][n] unil[^a]tsi[']sat[^u]. Sa`ka[']ni unati[']sat[^u]['].

N[^u][n]n[^a][']h[)i] d[^a][']tadu[']nina[']wat[)i]['] a[']y[^u]-`n[^u]['] digwatseli[']ga a`ne[']ts[^a] unats[^a][']n[^u][n]tse[']lah[)i]. Tla[']meh[^u] Gigage['][)i] s[^a][']gwa dan[^u]tsg[^u][']`lani[']ga. Ig[^u]['][n]y[)i] gal[^u]['][n]l[^a] ge[']s[^u][n] i[']y[^u][n] kan[^u]['][n]lag[)i] [u]w[^a]h[^a][']h[)i]st[^a][']g[)i]. Ta[']line gal[^u]['][n]l[^a] ge[']su[n] i[']y[^u][n] kan[^u]['][n]lag[)i] [u]w[^a]h[^a][']h[)i]st[^a][']g[)i]. He[']nil[^u] dan[^u]tsg[^u][']`lani[']ga. Tla[']ma [^u][n]ni[']ta a[']nigwalu[']g[)i] g[^u][n]tla[']`tisge[']st[)i], ase[']gw[^u] nige[']s[^u][n]na.

Du[']tal[)e] a`ne[']ts[^a] unats[^a][']n[^u][n]tse[']lah[)i] saligu[']gi-gw[^u] dedu[']natsg[^u][']`law[)i]sti[']teg[^u][']. Elawi[']n[)i] da[']`s[^u][n] unil[^a]tsi[']sat[^u].

Ts[^a][']ine digal[^u]['][n]latiyu['][n] S[)a][']niw[)a] Gi[']gage[)i] s[^a][']gwa dan[^u]tsg[^u][']`lani[']ga, as[)e]`g[^a][']g[)i] nige[']s[^u][n]na. Kan[^u]['][n]lag[)i] [u]*w[^a]h[^a][']h[)i]st[^a][']g[)i] n[^u][']`gine digal[^u]['][n]latiy[^u]['][n]. Gul[)i][']sgul[)i]['] Sa`ka[']ni s[^a][']gwa dan[^u]tsg[^u][']`lani[']ga, as[)e]`g[^a][']g[)i] nige[']s[^u][n]na. Kan[^u]['][n]lag[)i] [u]w[^a]h[^a][']h[)i]st[^a]g[)i] h[)i][']skine digal[^u]['][n]latiy[^u]['][n]. Ts[)u]ts[)u]['] Sa`ka[']ni s[^a][']gwa dan[^u]tsg[^u][']`lani[']ga, as[)e]`g[^a][']g[)i] nige[']s[^u][n]na.

Du[']tal[)e] a`ne[']ts[^a] uts[^a][']n[^u][n]tse[']lah[)i] T[)i]ne[']gwa Sa`ka[']ni s[^a][']gwa dan[^u]tsg[^u][']`lani[']ga, ige[']sk[)i] nige[']s[^u][n]na. Da[']`s[^u][n] unil[^a]tsi[']sat[^u]. Kan[^u]['][n]lag[)i] [u]w[^a]h[^a][']h[)i]st[^a][']g[)i] sutali[']ne digal[^u]['][n]latiy[^u]['][n]. A[']nig[^a]sta[']ya s[^a][']gwa dan[^u]tsgu[']`lani[']ga, as[)e]`g[^a][']g[)i] nige[']su[n]na. Kan[^u]['][n]lag[)i] [u]w[^a]h[^a][']h[)i]st[^a][']g[)i] k[^u]l`kw[^a]gine digal[^u]['][n]latiy[^u]['][n]. W[^a]tat[^u][']ga Sa`ka[']ni s[^a][']gwa dan[^u]tsg[^u][']`lani[']ga, as[)e]`g[^a][']g[)i] nige[']s[^u][n]na.

Du[']tal[)e] a`ne[']ts[^a] unats[^a][']n[^u][n]tse[']lah[)i], Y[^a][']na dedu[']natsg[^u][']`law[)i]stani[']ga, ige[']sk[)i] nige[']s[^u][n]na. Da`s[^u][n] du[']nil[^a]tsi[']sat[^u]. Kan[^u]['][n]lag[)i] de[']tagaskal[^a]['][^u][n]tan[^u]['][n], ig[^u][n][']w[^u]lstan[^u]hi-gw[^u]di[']na tsuye[']listi ges[^u]['][n][)i]. Akta[']`t[)i] ad[^u][n]ni[']ga.

Sg[)e]! N[^a][']gwa t'sk[)i][']n[^a]ne[']l[)i] ta[']l[)a]d[)u]['] iy[^u]['][n]ta a[']gwatseli[']ga, W[)a]tatu[']ga Ts[^u]ne[']ga. Tsuye[']list[)i] ges[^u]['][n][)i] sk[)i][']n[^a]h[^u][n]s[)i]['] a[']gwatseli[']ga--kan[^u]['][n]lag[)i] a[']gwatseli[']ga. N[)a][']`n[^a] utad[^a][']ta kan[^u]['][n]lag[)i] dedu[']skal[^a][']asi[']ga.

Ded[^u][']ndag[^u]['][n]yastani[']ga, g[^u][n]w[^a][']his[^a][']n[^u]h[)i]. Y[^u]!

_Translation._

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

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

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

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

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

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

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

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

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

The examination is ended.

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

Now they are become exultant and happy. Y[^u]!

_Explanation._

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

Index.

A`wanita, or Young Deer, Cherokee formulas furnished by 316
Ayasta, Cherokee manuscript obtained from 313
A`y[^u][n][']in[)i], or Swimmer, Cherokee manuscripts obtained
from 310-312
Bathing in medical practice of Cherokees 333-334, 335-336
Bleeding, practice of among the Cherokees 334-335
Brinton, D.G., cited on linguistic value of Indian records 318
Catawba Killer, Cherokee formulas furnished by 316
Cherokees, paper on Sacred Formulas of, by James Mooney 301-397
bathing, rubbing, and bleeding in medical practice of 333-336
manuscripts of, containing sacred, medical, and other formulas,
character and age of 307-318
medical practice of, list of plants used in 324-327
medicine dance of 337
color symbolism of 342-343
gods of, and their abiding places 340-342
religion of 319
Cherokee Sacred Formulas, language of 343-344
specimens of 344-397
for rheumatism 345-351
for snake bite 351-353
for worms 353-356
for neuralgia 356-359
for fever and ague 359-363
for child birth 363-364
for biliousness 365-366
for ordeal diseases 367-369
for hunting and fishing 369-375
for love 375-384
to kill a witch 384-386
to find something 386-387
to prevent a storm 387-388
for going to war 388-391
for destroying an enemy 391-395
for ball play 395-397
Color symbolism of the Cherokees 342, 343
Disease, Cherokee theory of 322-324
Disease and medicine, Cherokee tradition of origin of 319-322
Gahuni manuscript of Cherokee formulas 313, 314
Gatigwanasti manuscript of Cherokee formulas 312, 313
Gods of the Cherokees and their abiding places 340-342
Haywood, John, cited on witchcraft beliefs among the Cherokees 322
Inali manuscript of Cherokee formulas 314-316
Long, W.W., collection of Cherokee formulas and songs prepared by
317
Medical practice of Cherokees, plants used 322-331
Medicine dance of Cherokees 337
Mooney, James, paper on sacred formulas of the Cherokees, by
301-397
Names, importance attached to, in Cherokee sacred formulas 343
Plants used by Cherokees for medical purposes 322-331
ceremonies for gathering 339
Religion of the Cherokees, character of 319
Religion of the Cherokees, gods of 340-342
Sacred Formulas of the Cherokees, paper by James Mooney on 301-397
Sanitary regulations among the Cherokee Indians, neglect of 332,
333
Shamans, decline of power of among Cherokees 336
mode of payment of among Cherokees 337-339
Sweat bath, use of, among Cherokees 333-334
Swimmer manuscript of Cherokee formulas 310, 312
Tabu among Cherokees, illustrations of 331-332
Takwatihi, or Catawba-Killer, Cherokee formulas furnished by 316
Will West, collection of Cherokee formulas and songs prepared by
317
Young Deer, Cherokee formulas furnished by 316

Errors:

Missing or superfluous quotation marks have been silently corrected.

... while closely watching the motions ...
[original has "the / the" at line break]
formulas obtained from Tsiskwa, Awanita, and / Takwtihi
[error for Takwati[']h[)i] ?]
Sg[)e]! Ha-n[^a][']gwa h[^u][n]hat[^u]['][n]gani[']ga
[all parentheses in this paragraph shown as printed]
(hetsatsa['][^u][n]tani[']ga
[mismatched parenthesis in original]