EXTRACTS FROM DICTIONARY.
In the printed but unpublished Collection before mentioned, page [396], nearly three hundred quarto pages are devoted to descriptions of signs arranged in alphabetic order. A few of these are now presented to show the method adopted. They have been selected either as having connection with the foregoing discussion of the subject or because for some of them pictorial illustrations had already been prepared. There is propriety in giving all the signs under some of the title words when descriptions of only one or two of those signs have been used in the foregoing remarks. This prevents an erroneous inference that the signs so mentioned are the only or the common or the generally prevailing signs for the idea conveyed. This course has involved some slight repetition both of descriptions and of illustrations, as it seemed desirable that they should appear to the eye in the several connections indicated. The extracts are rendered less interesting and instructive by the necessity for omitting cross-references which would show contrasts and similarities for comparison, but would require a much larger part of the collected material to be now printed than is consistent with the present plan. Instead of occupying in this manner the remaining space allotted to this paper, it was decided to present, as of more general interest, the descriptions of Tribal Signs, Proper Names, Phrases, Dialogues, Narratives, Discourses, and Signals, which follow the Extracts.
It will be observed that in the following extracts there has been an attempt to supply the conceptions or origin of the several signs. When the supposed conception, obtained through collaborators, is printed before the authority given as reference, it is understood to have been gathered from an Indian as being his own conception, and is therefore of special value. When printed after the authority and within quotation marks it is in the words of the collaborator as offered by himself. When printed after the authority and without quotation marks it is suggested by this writer.
The letters of the alphabet within parentheses, used in some of the descriptions, refer to the corresponding figures in Types of Hand Positions at the end of this paper. When such letters are followed by Arabic numerals it is meant that there is some deviation, which is described in the text, from that type of hand position corresponding with the letter which is still used as the basis of description. Example: In the first description from (Sahaptin I) for bad, mean, page [412], (G) refers to the type of hand position so marked, being identically that position, but in the following reference, to (R 1), the type referred to by the letter R has the palm to the front instead of backward, being in all other respects the position which it is desired to illustrate; (R), therefore, taken in connection with the description, indicates that change, and that alone. This mode of reference is farther explained in the Examples at the end of this paper.
References to another title word as explaining a part of a description or to supply any other portions of a compound sign will always be understood as being made to the description by the same authority of the sign under the other title-word. Example: In the second description by (Sahaptin I) for bad, mean, above mentioned, the reference to Good is to that sign for good which is contributed by Rev. G.L. Deffenbaugh, and is referred to as (Sahaptin I.).
ANTELOPE.
Pass the open right hand outward from the small of the back. (Wied.) This, as explained by Indians lately examined, indicates the lighter coloration upon the animal's flanks. A Ute who could speak Spanish accompanied it with the word blanco, as if recognizing that it required explanation.
With the index only extended, hold the hand eighteen or twenty inches transversely in front of the head, index pointing to the left, then rub the sides of the body with the flat hands. (Cheyenne IV; Dakota VI.) "The latter sign refers to the white sides of the animal; the former could not be explained."
Extend and separate the forefingers and thumbs, nearly close all the other fingers, and place the hands with backs outward above and a little in front of the ears, about four inches from the head, and shake them back and forth several times. Antelope's horns. This is an Arapaho sign. (Dakota I, II, IV.)
Close the right hand, leaving the end of the index in the form of a hook, and the thumb extended as in Fig. 234; then wave the hand quickly back and forth a short distance, opposite the temple. (Hidatsa I; Arikara I.) "Represents the pronged horn of the animal. This is the sign ordinarily used, but it was noticed that in conversing with one of the Dakotas the sign of the latter (Dakota VI) was used several times, to be more readily understood."
Place both hands, fingers fully extended and spread, close to the sides of the head. Wied's sign was readily understood as signifying the white flanks. (Apache I.)
In connection with the above signs Fig. 235 is presented, which was drawn by Running Antelope, an Uncpapa Dakota, as his personal totem, or proper name.
BAD, MEAN.
Make the sign for Good and then that of Not. (Long.)
Close the hand, and open it whilst passing it downward. (Wied.) This is the same as my description; but differently worded, possibly notes a less forcible form. I say, however, that the arm is "extended." The precise direction in which the hand is moved is not, I think, essential. (Matthews.) This sign is invariably accompanied by a countenance expressive of contempt. (F. Jacker.).
Scatter the dexter fingers outward, as if spurting away water from them. (Burton.)
(1) Right hand partially elevated, fingers closed, thumb clasping the tips; (2) sudden motion downward and outward accompanied by equally sudden opening of fingers and snapping of the fingers from the thumb. (Cheyenne II.)
Right hand closed back to front is moved forcibly downward and forward, the fingers being violently opened at instant of stopping the motion of hand. (Cheyenne IV.)
Right hand closed (B) carried forward in front of the body toward the right and downward, during which the hand is opened, fingers downward, as if dropping out the contents. (Dakota I.) "Not worth keeping."
Half close the fingers of the right hand, hook the thumb over the fore and middle fingers; move the hand, back upward, a foot or so toward the object referred to, and suddenly let the fingers fly open. Scattered around, therefore bad. An Arapaho sign. (Dakota IV.)
Close the fingers of the right hand, resting the tips against the thumb, then throw the hand downward and outward toward the right to arm's length, and spring open the fingers. Fig. 236. (Dakota VI, VII, VIII; Ponka II; Pani I.)
The sign most commonly used for this idea is made by the hand being closed near the breast, with the back toward the breast, then as the arm is suddenly extended the hand is opened and the fingers separated from each other. (Mandan and Hidatsa I.)
Hands open, palms turned in; move one hand toward, and the other from, the body; then vice versâ. (Omaha I.)
Throw the clinched right hand forward, downward, and outward, and when near at arm's length, suddenly snap the fingers from the thumb as if sprinkling water. (Wyandot I.) "To throw away contemptuously; not worth keeping."
Raise hand in front of breast, fingers hooked, thumb resting against second finger, palm downward (G), then with a nervous movement throw the hand downward to the right and a little behind the body, with an expression of disgust on the face. During motion of hand the fingers are suddenly extended as though throwing something out of the hand, and in final position the fingers and thumb are straight and separated, palm backward (R 1). (Sahaptin I.) "Away with it!"
Another: Same motion of arm and hand as in good. But in the first position fingers are closed, and as the hand moves to the right they are thrown open, until in final position all are extended as in final for good. (Sahaptin I.)
Extend the right hand, palm downward, and move it in a horizontal line from the body, then suddenly turn the hand over as if throwing water from the back of it or the index. (Comanche I.) "Good, no."
Pass the flat right hand, interruptedly, downward and backward past the right side. (Pima and Papago I.) "Putting aside."
Deaf-mute natural signs:
Hold forward the closed hand with the little finger up, at the same time nodding the head. (Ballard.)
Draw the tongue out a little and then shake the head with a displeased look. (Larson.)
Use the sign for handsome (see first part of the sign for Good), at the same time shake the head as if to say "no." (Ziegler.)
Deaf-mute signs:
The hand closed (except the little finger which is extended and raised), and held forward with the fingers to the front is the sign for bad illustrated in the Report for 1879 of the Ohio Institution for the Deaf and Dumb. This sign is used among the deaf-mutes in England.
BEAR, animal.
Pass the hand before the face to mean ugliness, at the same time grinning and extending the fingers like claws. (Burton.)
Hands in front of and about eight inches above the elbows, fingers slightly bent and open, thumbs and palms to the front to represent claws,—or bear in standing position. Sometimes accompanied by clawing motion. (Creel.)
(1) Middle and third finger of right hand clasped down by the thumb, forefinger and little finger extended, crooked downward; (2) the motion of scratching made in the air. (Cheyenne II.) Fig. 237.
Fingers of both hands closed, except the thumb and little finger, which are extended, and point straight toward the front, hands horizontal, backs upward, are held in front of their respective sides near the body, and then moved directly forward with, short, sharp jerking motions. (Dakota I.) "From the motion of the bear in running." This is also reported as an Arapaho sign. (Dakota IV.) The paws and claws are represented.
Seize a short piece of wood, say about two feet long, wave in the right hand, and strike a blow at an imaginary person. (Omaha I.)
Another: Seize a short thing about six inches long, hold it as dagger, pretend to thrust it downward under the breast-bone repeatedly, and each time farther, grunting or gasping in doing so; withdraw the stick, holding it up, and, showing the blood, point to the breast with the left forefinger, meaning to say so do thou when you meet the bear. (Omaha I.)
Another: Pretend to stab yourself with an arrow in various parts of the body, then point towards the body with the left-hand forefinger. (Omaha I.)
Arms are flexed and hands clasped about center of breast; then slowly fall with arms pendulous and both hands in type-position (Q). The sign is completed by slowly lifting the hands and arms several times in imitation of the animal's locomotion. Movement and appearance of animal's front feet. (Oto I.)
Hold the closed right hand at the height of the elbow before the right side, palm downward, extend and curve the thumb and little finger so that their tips are nearly directed toward one another before the knuckles of the closed fingers; then push the hand forward several times. (Kaiowa I; Comanche III; Apache II; Wichita II.) "Paw and long claws." Fig. 238.
Hold both closed hands before the body, palms down, and about eight inches apart; reach forward a short distance, relaxing the fingers as if grasping something with them, and draw them back again as the hands are withdrawn to their former position. Ordinarily but one hand is used, as in Fig. 239. (Ute I.) "Scratching, and grasping with the claws."
The right hand thrown in the position as for horse, as follows: Elevate the right-hand, extended, with fingers joined, outer edge toward the ground, in front of the body or right shoulder, and pointing forward, resting the curved thumb against the palmar side of the index, then extend both hands with fingers extended and curved, separated, palms down, and push them forward several times, making a short arch. (Apache I.) "The animal that scratches with long claws."
Fig. 240 is from a Moqui rock etching, contributed by Mr. G. K. Gilbert, showing the pictorial mode of representing the animal.
Deaf-mute sign:
Claw both shoulders with the fingers. (Wing.)
—— Grizzly.
Right hand flat and extended, held at height of shoulder, palm forward, then bring the palm to the mouth, lick it with the tongue, and return it to first position. (Omaha I.) "Showing blood on the paw."
Other remarks upon the signs for bear are made on pages [293] and [345].
BRAVE.
Close the fists, place the left near the breast, and move the right over the left toward the left side. (Wied.) A motion something like this, which I do not now distinctly recall—a short of wrenching motion with the fists in front of the chest—I have seen used for strong. If Wied's sign-maker's hand first struck the region over the heart (as he may have done) he would then have indicated a "strong heart," which is the equivalent for brave. (Matthews.) This sign is used by the Sioux at the present day to denote small. (McChesney.) I have seen a similar sign repeatedly, the only variation being that the right fist is passed over and downward, in front of the left, instead of toward the left side. (Hoffman.) Fig. 241.
Clinch the right fist, and place it to the breast. (Absaroka I; Shoshoni and Banak I.)
Both hands fists, backs outward, obliquely upward, near together, right inside of left, are moved forward from in front of the chest, two or three times and back again to original position and then the right-hand fist is thrown with some force over the left on a curve. Endurance is expressed by this sign, and it is connected with the sun-dance trials of the young man in testing his bravery and powers of endurance before admission to the ranks of the warriors. (Dakota I.)
Push the two fists forward about a foot, at the height of the breast, the right about two inches behind the left, palms inward. (Dakota IV.) "The hands push all before them."
Hold the left arm in front as if supporting a shield, and the right drawn back as if grasping a weapon. Close the fists, lower the head, moving it a little forward (with a "lunge") as well as the arms and fists.. (Omaha I.) "I am brave."
Another: Index and thumb extended parallel, palm to left, the other fingers bent. Shake the open fingers several times at the person referred to, the forearm being held at an angle of about 20°. (Omaha I.) "You are very brave; you do not fear death when you see the danger."
Strike the breast gently with the palmar side of the right fist. (Wyandot I.)
Place the left clinched hand horizontally before the breast, palm toward the body, and at the same time strike forcibly downward in front of it with the right fist, as in Fig. 242. Sometimes the right fist is placed back of the left, then thrown over the latter toward the front and downward, as in Fig. 241 above. The same gesture has also been made by throwing the palmar side of the right fist edgewise downward in front of the knuckles of the left, as in Fig. 243. In each instance the left fist is jerked upward very perceptibly as the right one is thrust downward. (Kaiowa I; Comanche III; Apache II; Wichita II.)
Strike the clinched fist forcibly toward the ground in front of and near the breast. (Arikara I.)
—— He is the bravest of all.
Make the sign for Brave and then the left forefinger, upright, back inward about twelve inches in front of left breast, right index similarly held near the right breast, move them at the same time outward or forward, obliquely to the left, (Dakota I.)
Raise right hand, fingers extended, palm downward (W 1), swing it around "over all," then point to the man, raise left fist (A 1, changed to left and palm inward) to a point in front of and near the body, close fingers of right hand and place the fist (A 2, palm inward) between left fist and body and then with violent movement throw it over left fist, as though breaking something, and stop at a point in front of and a little below left fist, and lastly point upward with right hand. (Sahaptin I.) "Of all here he is strongest."
The right fist, palm downward, is struck against the breast several times, and the index is then quickly elevated before the face, pointing upward. (Apache I.)
Move the fist, thumb to the head, across the forehead from right to left, and cast it toward the earth over the left shoulder. (Apache III.)
Deaf-mute natural signs:
Run forward with a bold expression of the countenance. (Larson.)
Not to run back but to run forward. (Ziegler.)
Deaf-mute sign:
Left hand held as if pressing a loaf against the chest. Make a motion with the right hand, palm upward as if cutting through the fingers of the left with a sawing motion. (Wing.)
Other remarks connected with the signs for brave appear on pages [352], [353], and [358], supra.
CHIEF.
The forefinger of the right hand extended, pass it perpendicularly downward, then turn it upward, and raise it in a right line as high as the head. (Long.) "Rising above others."
Raise the index finger of the right hand, holding it straight upward, then turn it in a circle and bring it straight down, a little toward the earth. (Wied.) The right hand is raised, and in position (J) describes a semicircle as in beginning the act of throwing. The arm is elevated perfectly erect aside of the head, the palm of the index and hand should be outward. There is an evident similarity in both execution and conception of this sign and Wied's; the little variation may be the result of different interpretation. The idea of superiority is most prominent in both. (Boteler.) "A prominent one before whom all succumb." The Arikaras understood this sign, and they afterwards used it in talking to me. (Creel.) Wied's air-picture reminds of the royal scepter with its sphere.
Raise the forefinger, pointed upwards, in a vertical direction, and then reverse both finger and motion; the greater the elevation the "bigger" the chief. (Arapaho I.)
Place the closed hand, with the index extended and pointing upward, near the right cheek, pass it upward as high as the head, then turn it forward and downward toward the ground, the movement terminating a little below the initial point. See Fig. 306 in Tendoy-Huerito Dialogue, p. [487]. (Arapaho II; Cheyenne V; Ponka II; Shoshoni I.)
(1) Sign for Man, as follows: Right hand, palm inward, elevated to about the level of the breast, index carelessly pointing upward, suddenly pointed straight upward, and the whole hand moved a little forward, at the same time taking care to keep the back of the hand toward the person addressed; (2) middle, third, little finger, and thumb slightly closed together, forefinger pointing forward and downward; (3) curved motion made forward, outward, and downward. (Cheyenne II.) "He who stands still and commands," as shown by similarity of signs to sit here or stand here.
Extend the index, remaining fingers closed, and raise it to the right side of the head and above it as far as the arm can reach. Have also seen the sign given by Wyandot I. (Ojibwa V.)
The extended forefinger of the right hand (J), of which the other fingers are closed, is raised to the right side of the head and above it as far as the arm can be extended, and then the hand is brought down in front of the body with the wrist bent, the back of hand in front and the extended forefinger pointing downward. (Dakota I.) "Raised above others."
Move the upright and extended right index, palm forward, from the shoulder upward as high, as the top of the head, then forward six inches through a curve, and move it forward six inches, and then downward, its palm backward, to the height of the shoulder. An Arapaho sign, Above all others. He looks over or after us. (Dakota IV.)
Elevate the extended index before the shoulder, palm forward, pass it upward as high as the head, and forming a short curve to the front, then downward again slightly to the front to before the breast and about fifteen inches from it. (Dakota VI, VII, VIII; Hidatsa I; Arikara I.)
Right hand closed, forefinger pointing up, raise the hand from the waist in front of the body till it passes above the head. (Omaha I.)
Another: Bring the closed right hand, forefinger pointing up, on a level with the face; then bring the palm of the left hand with force against the right forefinger; next send up the right hand above the head, leaving the left as it is. (Omaha I.)
The right arm is extended by side of head, with the hand in position (J). The arm and hand then descend, the finger describing a semicircle with the arm as a radius. The sign stops with arm hanging at full length. (Oto I.) "The arm of authority before whom all must fall."
Both hands elevated to a position in front of and as high as the shoulders, palms facing, fingers and thumbs spread and slightly curved; the hands are then drawn outward a short distance towards their respective sides and gently elevated as high as the top of the head. (Wyandot I.) "One who is elevated by others."
Elevate the closed hand—index only extended and pointing upward—to the front of the right side of the face or neck or shoulder; pass it quickly upward, and when as high as the top of the head, direct it forward and downward again toward the ground. (Kaiowa I; Comanche III; Apache II; Wichita II.) Close the right hand, index raised, extended, and placed before the breast, then move it forward from the mouth, pointing forward, until at arm's length. (Ute I.)
——, Head, of tribe.
Place the extended index, pointing upward, at some distance before the right shoulder, then place the left hand, with fingers and thumb extended and separated, just back of the index; then in passing the index upward as high as the head, draw the left hand downward a short distance, as in Fig. 244. Superior to others. (Absaroka I; Arikara I.)
Place both flat hands before the body, palms down, and pass them horizontally outward toward their respective sides, then make the sign for Chief. (Arikara I.) "Chief of the wide region and those upon it."
After pointing out the man, point to the ground, all fingers closed except first (J 1, pointing downward in stead of upward), then point upward with same hand (J 2), then move hand to a point in front of body, fingers extended, palm downward (W 1), and move around horizontally. (Sahaptin I.) "In this place he is head over all."
Grasp the forelock with the right hand, palm backward, pass the hand upward about six inches and hold it in that position a moment. (Pai-Ute I.) Fig 245.
Elevate the extended index vertically above and in front of the head, holding the left hand, forefinger pointing upward, from one to two feet below and underneath the right, the position of the left, either elevated or depressed, also denoting the relative position of the second individual to that of the chief. (Apache I.)
——, War. Head of a war party; Partisan.
First make the sign of the pipe; then open the thumb and index finger of the right hand, back of the hand outward, moving it forward and upward in a curve. (Wied.) For remarks upon this sign see page [384].
Place the right hand, index only extended and pointing forward and upward, before the right side of the breast nearly at arm's length, then place the left hand, palm forward with fingers spread and extended, midway between the breast and the right hand. (Arapaho II; Cheyenne V; Ponka II; Pani I.)
First make the sign for Battle, viz: Both hands (A 1) brought to the median line of the body on a level with the breast and close together; describe with both hands at the same time a series of circular movements of small circumference; and then add the sign for Chief, (Dakota I.) "First in battle."
—— of a band.
Point toward the left and front with the extended forefinger of the left hand, palm down; then place the extended index about twelve inches behind the left hand, pointing in the same direction. (Arapaho II; Cheyenne V; Ponka II; Pani I.)
Place the extended index at some distance before the right shoulder, pointing forward and slightly upward, then place the left hand with fingers and thumb extended and separated over the index, and while pushing the index to the front, draw the left hand backward toward body and to the left. Ahead of others. (Absaroka I; Arikara I.) Fig. 246.
Point the extended index forward and upward before the chest, then place the spread fingers of the left hand around the index, but at a short distance behind it, all pointing the same direction. Ahead of the remainder. (Arikara I.)
Grasp the forelock with the right hand, palm backward, and pretend to lay the hair down over the right side of the head by passing the hand in that direction. (Pai-Ute I.) Fig. 247.
The French deaf-mute sign for order, command, maybe compared with several of the above signs. In it the index tip first touches the lower lip, then is raised above the head and brought down with violence. (L'enseignment primaire des sourds-muets; par M. Pélissier. Paris, 1856.)
Not only in Naples, but, according to De Jorio, in Italy generally the conception of authority in gesture is by pressing the right hand on the flank, accompanied by an erect and squared posture of the bust with the head slightly inclined to the right. The idea of substance is conveyed.
——, Warrior lower than actual, but distinguished for bravery.
Place the left forefinger, pointing toward the left and front, before the left side of the chest, then place the extended index near (or against) the forefinger, and, while passing the latter outward toward the left, draw the index toward the right. (Absaroka I; Arikara I; Shoshoni I.) Fig. 248.
DEAD, DEATH.
Throw the forefinger from the perpendicular into a horizontal position toward the earth, with the back downward. (Long.)
Hold the left hand flat over the face, back outward, and pass with the similarly held right hand below the former, gently striking or touching it. (Wied.) The sign given (Oto and Missouri I) has no similarity in execution or conception with Wied's. (Boteler.) This sign may convey the idea of under or burial, quite differently executed from most others reported. Dr. McChesney conjectures this sign to be that of wonder or surprise at hearing of a death, but not a distinct sign for the latter.
The finger of the right hand passed to the left hand and then cast down. (Macgowan.)
Hold the left hand slightly arched, palm down, fingers pointing toward the right about fifteen inches before the breast, then place the extended index nearer the breast, pointing toward the left, pass it quickly forward underneath the left hand and in an upward curve to termination. (Arapaho II; Cheyenne V; Ponka II; Pani I.)
Place the palm of the hand at a short distance from the side of the head, then withdrawing it gently in an oblique downward direction and inclining the head and upper part of the body in the same direction. (Ojibwa II.) See page [353] for remarks upon this sign.
Hold both hands open, with palms over ears, extend fingers back on brain, close eyes, and incline body a little forward and to right or left very low, and remain motionless a short time, pronouncing the word Ke-nee-boo slowly. (Ojibwa IV.)
Left hand flattened and held back upward, thumb inward in front of and a few inches from the breast. Right hand slightly clasped, forefinger more extended than the others, and passed suddenly under the left hand, the latter being at the same time gently moved toward the breast. (Cheyenne II.) "Gone under."
Both hands horizontal in front of body, backs outward, index of each hand alone extended, the right index is passed under the left with a downward, outward and then upward and inward curved motion at the same time that the left is moved inward toward the body two or three inches, the movements being ended on the same level as begun. "Upset, keeled over." For many deaths repeat the sign many times. The sign of (Cheyenne II) expresses "gone under," but is not used in the sense of death, dead, but going under a cover, as entering a lodge, under a table, &c. (Dakota I.)
Make the sign for Alive, viz.: The right hand, back upward, is to be at the height of the elbow and forward, the index extended and pointing forward, the other fingers closed, thumb against middle finger; then, while rotating the hand outward, move it to a position about four inches in front of the face, the back looking forward and the index pointing upward; then the sign for No. (Dakota IV.)
Another: Hold the left hand pointing toward the right, palm obliquely downward and backward, about a foot in front of the lower part of the chest, and pass the right hand pointing toward the left, palm downward, from behind forward underneath it. Or from an upright position in front of the face, back forward, index extended and other fingers closed, carry the right hand downward and forward underneath the left and about four inches beyond it, gradually turning the right hand until its back is upward and its index points toward the left. An Arapaho sign. Gone under or buried. (Dakota IV.)
Hold the left hand slightly bent with the palm down, before the breast, then pass the extended right hand, pointing toward the left, forward under and beyond the left. (Dakota VI, VII.)
Hold the right hand, flat, palm downward, before the body; then throw it over on its back to the right, making a curve of about fifteen inches. (Dakota VI; Hidatsa I; Arikara I.) The gesture of reversal in this and other instances may be compared with picture-writings in which the reversed character for the name or totem of a person signifies his death. One of these is given in Fig. 249, taken from Schoolcraft's Hist. Am. Tribes, I, p. 356, showing the cedar burial post or adjedatig of Wabojeeg, an Ojibwa war chief, who died on Lake Superior about 1793. He belonged to the deer clan of his tribe and the animal is drawn reversed on the post.
Extend right hand, palm down, hand curved. Turn the palm up in moving the hand down towards the earth. (Omaha I.)
The countenance is brought to a sleeping composure with the eyes closed. This countenance being gradually assumed, the head next falls toward either shoulder. The arms having been closed and crossed upon the chest with the hands in type positions (B B) are relaxed and drop simultaneously towards the ground, with the fall of the head. This attitude is maintained some seconds. (Oto and Missouri I.) "The bodily appearance at death."
Place the open hand, back upward, fingers a little drawn together, at the height of the breast, pointing forward; then move it slowly forward and downward, turning it over at the same time. (Iroquois I.) "To express 'gone into the earth, face upward.'"
The flat right hand is waved outward and downward toward the same side, the head being inclined in the same direction at the time, with eyes closed. (Wyandot I.)
Hold the left hand loosely extended about fifteen inches in front of the breast, palm down, then pass the index, pointing to the left, in a short curve downward, forward, and upward beneath the left palm. (Kaiowa I; Comanche III; Apache II; Wichita II.)
Bring the left hand to the left breast, hand half clinched (H), then bring the right hand to the left with the thumb and forefinger in such a position as if you were going to take a bit of string from the fingers of the left hand, and pull the right hand off in a horizontal line as if you were stretching a string out, extend the hand to the full length of the arm from you and let the index finger point outward at the conclusion of the sign. (Comanche I.) "Soul going to happy hunting-grounds."
The left hand is held slightly arched, palm down, nearly at arm's length before the breast; the right extended, flat, palm down, and pointing forward, is pushed from the top of the breast, straightforward, underneath, and beyond the left. (Shoshoni and Banak I.) Fig. 250.
Close both eyes, and after a moment throw the palm of the right hand from the face downward and outward toward the right side, the head being dropped in the same direction. (Ute I.)
Touch the breast with the extended and joined fingers of the right hand, then throw the hand, palm to the left, outward toward the right, leaning the head in that direction at the same time. (Apache I.)
Close the eyes with the tips of the index and second finger, respectively, then both hands are placed side by side, horizontally, palms downward, fingers extended and united; hands separated by slow horizontal movement to right and left. (Kutchin I.)
Palm of hand upward, then a wave-like motion toward the ground. (Zun̄i I.)
Deaf-mute natural signs:
Place the hand upon the cheek, and shut the eyes, and move the hand downward toward the ground. (Ballard.)
Let your head lie on the open hand with eyes shut. (Cross.)
Use the right shut hand as if to draw a screw down to fasten the lid to the coffin and keep the eyes upon the hand. (Hasenstab.)
Move the head toward the shoulder and then close the eyes. (Larson.)
Deaf mute signs:
The French deaf-mute conception is that of gently falling or sinking, the right index falling from the height of the right shoulder upon the left forefinger, toward which the head is inclined.
The deaf-mute sign commonly used in the United States is the same as Dakota VI; Hidatsa I; Arikara I; above. Italians with obvious conception, make the sign of the cross.
—— To Die.
Right hand, forefinger extended, side up, forming with the thumb a 'U'; the other fingers slightly curved, touching each other, the little finger having its side toward the ground. Move the hand right and left then forward, several times; then turn it over suddenly, letting it fall toward the earth. (Ojibwa V; Omaha I.) "An animal wounded, but staggering a little before it falls and dies."
—— Dying.
Hold the left hand as in dead; pass the index in the same manner underneath the left, but in a slow, gentle, interrupted movement. (Kaiowa I; Comanche III; Apache II; Wichita II.) "Step by step; inch by inch." Fig. 251.
—— Nearly, but recovers.
Hold the left hand as in dead; pass the index with a slow, easy, interrupted movement downward, under the left palm, as in dying, but before passing from under the palm on the opposite side return the index in the same manner to point of starting; then elevate it. (Kaiowa I; Comanche III; Apache II; Wichita II.) Fig. 252.
Other remarks upon the signs for dead are given on page [353].
GOOD.
The hand held horizontally, back upward, describes with the arm a horizontal curve outward. (Long.) This is like the Eurasian motion of benediction, but may more suggestively be compared with several of the signs for yes, and in opposition to several of those for bad and no, showing the idea of acceptance or selection of objects presented, instead of their rejection.
Place the right hand horizontally in front of the breast and move it forward. (Wied.) This description is essentially the same as the one I furnished. (Mandan and Hidatsa I.) I stated, however, that the hand was moved outward (i.e., to the right). I do not remember seeing it moved directly forward. In making the motion as I have described it the hand would have to go both outward and forward. (Matthews.) The left arm is elevated and the hand held in position (W). The arm and hand are thus extended from the body on a level with the chest; the elbow being slightly bent, the arm resembles a bent bow. The right arm is bent and the right hand, in position (W), sweeps smoothly over the left arm from the biceps muscle over the ends of the fingers. This sign and Wied's are noticeably similar. The difference is, the Oto sign uses the left arm in conjunction and both more to the left. The conception is of something that easily passes; smoothness, evenness, etc., in both. (Boteler.)
Wave the hand from the mouth, extending the thumb from the index and closing the other three fingers. This sign also means I know. (Burton.)
(1) Right-hand fingers pointing to the left placed on a level with mouth, thumb inward; (2) suddenly moved with curve outward so as to present palm to person addressed. (Cheyenne II.)
Pass the open right hand, palm downward, from the heart, twenty-four inches horizontally forward and to the right through an arc of about 90°. (Dakota IV.) "Heart easy or smooth."
Another: Gently strike the chest two or three times over the heart with the radial side of the right hand, the fingers partly flexed and pointing downward. An Arapaho sign. (Dakota IV.)
Place the flat right hand, palm down, thumb touching the breast, then move it forward and slightly upward and to the right. (Arapaho II; Cheyenne V; Ojibwa V; Dakota VI, VII, VIII; Kaiowa I; Comanche III; Apache II; Wichita II.)
Pass the flat hand, palm down, from the breast forward and in a slight curve to the right. (Dakota VI; Hidatsa I; Ankara I.)
The extended right hand, palm downward, thumb backward, fingers pointing to the left, is held nearly or quite in contact with the body about on a level with the stomach; it is then carried outward to the right a foot or two with a rapid sweep, in which the forearm is moved but not necessarily the humerus. (Mandan and Hidatsa I.)
Move right hand, palm down, over the blanket, right and left, several times. (Omaha I.)
Another: Hit the blanket, first on the right, then on the left, palm down, several times. (Omaha I.)
Another: Point at the object with the right forefinger, shaking it a little up and down, the other fingers being closed. (Omaha I.)
Another: Same as preceding, but with the hand open, the thumb crooked under and touching the forefinger; hand held at an angle of 45° while shaking a little back and forth. (Omaha I.)
Another: Hold the closed hands together, thumbs up; separate by turning the wrists down, and move the fists a little apart; then reverse movements till back to first position. (Omaha I.)
Another: Hold the left hand with back toward the ground, fingers and thumb apart, and curved; hold the right hand opposite it, palm down, hands about six inches apart; shake the hands held thus, up and down, keeping them the same distance apart. (Omaha I.)
Another: Hold the hands with the palms in, thumbs up, move hands right and left, keeping them about six inches apart. (Omaha I.)
Another: Look at the right hand, first on the back, then on the palm, then on the back again. (Omaha I.)
The flat right hand, palm down, is moved forward and upward, starting at a point about twelve inches before the breast. (Wyandot I.)
Hold the flat right hand forward and slightly outward from the shoulder, palm either upward or downward, and pass it edgewise horizontally to the right and left. This sign was made when no personality was involved. The same gesturer when claiming for himself the character of goodness made the following: Rapidly pat the breast with the flat right hand. (Pima and Papago I.)
Throw right hand from front to side, fingers extended and palm down, forearm horizontal. (Sahaptin I.)
Make an inclination of the body forward, moving at the same time both hands forward from the breast, open, with the palm upward, and gradually lowering them. This is also used for glad, pleased. (Iroquois I.)
Bring both hands to the front, arms extended, palms outward; elevate them upward and slightly forward; the face meanwhile expressive of wonder. (Comanche I.)
Bring the hand opposite the breast, a little below, hand extended, palm downward (W), and let it move off in a horizontal direction. If it be very good, this may be repeated. If comparatively good, repeat it more violently. (Comanche I.)
Hold the right hand palm down, pointing to the left, and placed horizontally before the breast, then raise it several times slightly. Good and glad. (Kutchin I.)
Deaf-mute natural signs:
Smack the lips. (Ballard.)
Close the hand while the thumb is up, and nod the head and smile as if to approve of something good. (Hasenstab.)
Point the forefinger to the mouth and move the lips with a pleased look as if tasting sweet fruit. (Larson.)
Use the sign for handsome by drawing the outstretched palm of the right hand down over the right cheek; at the same time nod the head as if to say "yes." (Ziegler.)
Deaf-mute signs:
Some of the Indian signs appear to be connected with a pleasant taste in the month, as is the sign of the French and American deaf-mutes, waving thence the hand, either with or without touching the lips, back upward, with fingers straight and joined, in a forward and downward curve. They make nearly the same gesture with hand sidewise for general assent: "Very well!"
The conventional sign for good, given in the illustration to the report of the Ohio Institution for the education of the deaf and dumb, is: The right hand raised forward and closed, except the thumb, which is extended upward, held vertically, its nail being toward the body; this is in opposition to the sign for bad in the same illustration, the one being merely the exhibition of the thumb toward and the other of the little finger away from the body. They are English signs, the traditional conception being acceptance and rejection respectively.
Italian signs:
The fingers gathered on the mouth, kissed and stretched out and spread, intimate a dainty morsel. The open hand stretched out horizontally, and gently shaken, intimates that a thing is so-so, not good and not bad. (Butler.) Compare also the Neapolitan sign given by De Jorio, see Fig. 62, p. [286], supra. Cardinal Wiseman gives as the Italian sign for good "the hand thrown upwards and the head back with a prolonged ah!" Loc. cit., p. 543.
—— Heart is.
Strike with right hand on the heart and make the sign for Good from the heart outward. (Cheyenne II.)
Touch the left breast over the heart two or three times with the ends of the fingers of the right hand; then make the sign for Good. (Dakota IV.)
Place the fingers of the flat right hand over the breast, then make the sign for Good. (Dakota VII.)
Move hand to position in front of breast, fingers extended, palm downward (W), then with quick movement throw hand forward and to the side to a point 12 or 15 inches from body, hand same as in first position. (Sahaptin I.)
For further remarks on the signs for good, see page [286].
HABITATION, including HOUSE, LODGE, TIPI, WIGWAM.
—— HOUSE.
The hand half open and the forefinger extended and separated; then raise the hand upward and give it a half turn, as if screwing something. (Dunbar.)
Cross the ends of the extended fingers of the two hands, the hands to be nearly at right angle, radial side up, palms inward and backward, thumbs in palms. Represents the logs at the end of a log house. (Creel; Dakota IV.)
Partly fold the hands; the fingers extended in imitation of the corner of an ordinary log house. (Arapaho I.)
Both hands outspread near each other, elevated to front of face; suddenly separated, turned at right angles, palms facing; brought down at right angles, suddenly stopped. Representing square form of a house. (Cheyenne II.)
The fingers of both hands extended and slightly separated, then those of the right are placed into the several spaces between those of the left, the tips extending to about the first joints. (Absaroka I.) "From the arrangement of the logs in a log building."
Both hands extended, fingers spread, place those of the right into the spaces between those of the left, then move the hands in this position a short distance upward. (Wyandot I.) "Arrangement of logs and elevation."
Both hands are held edgewise before the body, palms facing, spread the fingers, and place those of one hand into the spaces between those of the other, so that the tips of each protrude about an inch beyond. (Hidatsa I; Kaiowa I; Arikara I; Comanche III; Apache II; Wichita II.) "The arrangement of logs in a frontier house." Fig. 253. In connection with this sign compare the pictograph, Fig. 204, page [379], supra. In ordinary conversation the sign for white man's house is often dropped, using instead the generic term employed for lodge, and this in turn is often abbreviated, as by the Kaiowas, Comanches, Wichitas, and others, by merely placing the tips of the extended forefingers together, leaving the other fingers and thumbs closed, with the wrists about three or four inches apart.
Both hands held pointing forward, edges down, fingers extended and slightly separated, then place the fingers of one hand into the spaces between the fingers of the other, allowing the tips of the fingers of either hand to protrude as far as the first joint, or near it. (Shoshoni and Banak I.) "From the appearance of a corner of a log house—protruding and alternate layers of logs."
Fingers of both hands interlaced at right angles several times; then the sign for Lodge. (Kutchin I.)
Deaf-mute natural signs:
Draw the outlines of a house in the air with hands tip to tip at a right angle. (Ballard.)
Put the open hands together toward the face, forming a right angle with the arms. (Larson.)
——, Stone; Fort.
Strike the back of the right fist against the palm of the left hand, the left palm backward, the fist upright ("idea of resistance or strength"); then with both hands opened, relaxed, horizontal, and palms backward, place the ends of the right fingers behind and against the ends of the left; then separate them, and moving them backward, each through a semicircle, bring their bases together. The latter sign is also that of the Arapahos for house. An inclosure. (Dakota IV.) The first part of this sign is that for stone.
—— LODGE, TIPI, WIGWAM.
The two hands are reared together in the form of the roof of a house, the ends of the fingers upward. (Long.)
Place the opened thumb and forefinger of each hand opposite each other, as if to make a circle, but leaving between them a small interval; afterward move them from above downward simultaneously (which is the sign for village); then elevate the finger to indicate the number—one. (Wied.) Probably he refers to an earthen lodge. I think that the sign I have given you is nearly the same with all the Upper Missouri Indians. (Matthews.)
Place the fingers of both hands ridge-fashion before the breast. (Burton.)
Indicate outlines (an inverted V, thus ^), with the forefingers touching or crossed at the tips, the other fingers closed. (Creel; Arapaho I.)
Both hands open, fingers upward, tips touching, brought downward, and at same time separated to describe outline of a cone, suddenly stopped. (Cheyenne II.)
Both hands approximated, held forward horizontally, fingers joined and slightly arched, backs upward, withdraw them in a sideward and downward direction, each hand moving to its corresponding side, thus combinedly describing a hemisphere. Carry up the right and, with its index pointing downward indicate a spiral line rising upward from the center of the previously formed arch. (Ojibwa V.) "From the dome-shaped form of the wigwam, and the smoke rising from the opening in the roof."
Both hands flat and extended, placing the tips of the fingers of one against those of the other, leaving the palms or wrists about four inches apart. (Absaroka I; Wyandot I; Shoshoni and Banak I.) "From its exterior outline."
Both hands carried to the front of the breast and placed V-shaped, inverted, thus ^, with the palms, looking toward each other, edge of fingers outward, thumbs inward. (Dakota I.) "From the outline of the tipi."
With the hands nearly upright, palms inward, cross the ends of the extended forefingers, the right one either in front or behind the left, or lay the ends together; resting the ends of the thumbs together side by side, the other fingers to be nearly closed, and resting against each other, palms inward. Represents the tipi poles and the profile of the tipi. (Dakota IV.)
Place the tips of the fingers of both hands together in front of the breast, with the wrists some distance apart. (Dakota V.) Fig. 254.
Fingers of both hands extended and separated; then interlace them so that the tips of the fingers of one hand protrude beyond the backs of those of the opposing one; hold the hands in front of the breast, pointing upward, leaving the wrists about six inches apart. (Dakota VII, VIII; Hidatsa I; Ponka II; Arikara I; Pani I.)
The extended hands, with finger tips upward and touching, the palms facing one another, and the wrists about two inches apart, are held before the chest. (Mandan and Hidatsa I.)
Place the tip of the index against the tip of the forefinger of the left hand, the remaining fingers and thumbs closed, before the chest, leaving the wrists about six inches apart. (Kaiowa I; Comanche III; Apache II; Wichita II.) "Outline of lodge." This is an abbreviated sign, and care must be taken to distinguish it from to meet, in which the fingers are brought from their respective sides instead of upward to form the gesture.
Another: Place the tips of the fingers of the flat extended hands together before the breast, leaving the wrists about six inches apart. (Kaiowa I; Comanche III; Apache II; Wichita II.)
Another: Both hands flat and extended, fingers slightly separated; then place the fingers of the right hand between the fingers of the left as far as the second joints, so that the fingers of one hand protrude about an inch beyond those of the other; the wrists must be held about six inches apart. (Kaiowa I; Comanche III; Apache II; Wichita II.) "Outline of Indian lodge and crossing of tent-poles above the covering." Fig. 255.
Fig. 256 represents a Sahaptin sign given to the writer by a gentleman long familiar with the northwestern tribes of Indians. The conception is the same union of the lodge poles at the top, shown in several other signs, differently executed.
Place the tips of the spread fingers of both hands against one another pointing upward before the body, leaving a space of from four to six inches between the wrists. Fig. 257. The fingers are sometimes bent so as to more nearly represent the outline of a house and roof. Fig. 258. This, however, is accidental. (Pai-Ute I.) "Represents the boughs and branches used in the construction of a Pai-Ute 'wik-i-up.'"
Place the tips of the two flat hands together before the body, leaving a space of about six inches between the wrists. (Ute I.) "Outline of the shape of the lodge."
Left hand and right hand put together in shape of sloping shelter (Kutchin I.) Fig. 259.
—— Great Council House.
Place both flat and extended hands in front of the shoulders, pointing forward, palms facing; then pass them straight upward and slightly inward near the termination of the gesture. This appears to combine the gestures for much, large, and lodge. (Arikara I.)
——, Coming or going out of a.
Same as the sign for entering a lodge, only the fingers of the right hand point obliquely upward after passing under the left hand. (Dakota I.) "Coming out from under cover."
Hold the open left hand a foot or eighteen inches in front of the breast, palm downward or backward, fingers pointing toward the right and pass the right, back upward, with index extended, or all of the fingers extended, and pointing forward, about eighteen inches forward underneath the left through an arc from near the mouth. Some at the same time move the left hand toward the breast. (Dakota IV.)
——, Entering a.
The left hand is held with the back upward, and the right hand also with the back up is passed in a curvilinear direction down under the other, so as to rub against its palm, then up on the other side of it. The left hand here represents the low door of the skin lodge and the right the man stooping down to pass in, (Long.)
Pass the flat right hand in short curves under the left, which is held a short distance forward. (Wied.) I have described the same sign. It is not necessary to pass the hand more than once. By saying curves, he seems to imply many passes. If the hand is passed more than once it means repetition of the act. (Matthews; McChesney.) The conception is of the stooping to pass through the low entrance, which is often covered by a flap of skin, sometimes stretched on a frame, and which must be shoved aside, and the subsequent rising when the entrance has been accomplished. A distinction is reported by a correspondent as follows: "If the intention is to speak of a person entering the gesturer's own lodge, the right hand is passed under the left and toward the body, near which the left hand is held; if of a person entering the lodge of another, the left hand is held further from the body and the right is passed under it and outward. In both cases both hands are slightly curved and compressed." As no such distinction is reported by others it may be an individual invention or peculiarity.
A gliding movement of the extended hand, fingers joined, backs up, downward, then ascending, indicative of the stooping and resumption of the upright position in entering the same. (Arapaho I.)
(1) Sign for Lodge, the left hand being still in position used in making sign for Lodge; (2) forefinger and thumb of right hand brought to a point and thrust through the outline of an imaginary lodge represented by the left hand. (Cheyenne II.)
First make the sign for Lodge, then place the left hand, horizontal and slightly arched, before the body, and pass the right hand with extended index underneath the left—forward and slightly upward beyond it. (Absaroka I; Dakota V; Shoshoni and Banak I; Wyandot I.)
Left hand (W), ends of fingers toward the right, stationary in front of the left breast; pass the right hand directly and quickly out from the breast under the stationary left hand, ending with the extended fingers of the right hand pointing outward and slightly downward, joined, palm downward flat, horizontal (W). (Dakota I.) "Gone under; covered."
Hold the open left hand a foot or eighteen inches in front of the breast, palm downward or backward, fingers pointing toward the right, and pass the right hand, palm upward, fingers bent sidewise and pointing backward, from before backward underneath it, through a curve until near the mouth. Some at the same time move the left hand a little forward. (Dakota IV.)
The left hand, palm downward, finger-tips forward, either quite extended or with the fingers slightly bent, is held before the body. Then the right hand nearly or quite extended, palm downward, finger-tips near the left thumb, and pointing toward it, is passed transversely under the left hand and one to four inches below it. The fingers of the right hand point slightly upward when the motion is completed. This sign usually, but not invariably, refers to entering a house. (Mandan and Hidatsa I.)
Place the slightly curved left hand, palm down, before the breast, pointing to the right, then pass the flat right hand, palm down, in a short curve forward, under and upward beyond the left. (Ute I.) "Evidently from the manner in which a person is obliged to stoop in entering an ordinary Indian lodge."
HORSE.
The right hand with the edge downward, the fingers joined, the thumb recumbent, extended forward. (Dunbar.)
Place the index and middle finger of the right hand astraddle the index finger of the left. [In the original the expression "third" finger is used, but it is ascertained in another connection that the author counts the thumb as the first finger and always means what is generally styled middle finger when he says third. The alteration is made to prevent confusion.] (Wied.) I have described this sign in words to the same effect. (Matthews.) The right arm is raised, and the hand, opened edgewise, with fingers parallel and approximated, is drawn from left to right before the body at the supposed height of the animal. There is no conceivable identity in the execution of this sign and Wied's, but his sign for horse is nearly identical with the sign for ride a horse among the Otos. (Boteler.) This sign is still used by the Cheyennes. (Dodge.)
A hand passed across the forehead. (Macgowan.)
Left-hand thumb and forefinger straightened out, held to the level of and in front of the breast; right-hand forefinger separated from the middle finger and thrown across the left hand to imitate the act of bestriding. They appear to have no other conception of a horse, and have thus indicated that they have known it only as an animal to be ridden. (Creel; Cheyenne II.)
Draw the right hand from left to right across the body about the heart, the fingers all closed except the index. This is abbreviated by making a circular sweep of the right open hand from about the left elbow to the front of the body, probably indicating the mane. A Pani sign. (Cheyenne IV.)
Place the first two fingers of the right hand, thumb extended (N 1), downward, astraddle the first two joined and straight fingers of the left hand (T 1), sidewise to the right. Many Sioux Indians use only the forefinger straightened. (Dakota I.) "Horse mounted."
The first and second fingers extended and separated, remaining fingers and thumb closed; left forefinger extended, horizontal, remaining fingers and thumb closed; place the right-hand fingers astride of the forefinger of the left, and both hands jerked together, up and down, to represent the motion of a horse. (Dakota III.)
The two hands being clinched and near together, palms downward, thumbs against the forefingers, throw them, each alternately, forward and backward about a foot, through an ellipsis two or three times, from about six inches in front of the chest, to imitate the galloping of a horse, or the hands may be held forward and not moved. (Dakota IV.)
Place the extended and separated index and second fingers of the right hand astraddle of the extended forefinger of the left. Fig. 260. Sometimes all the fingers of the left hand are extended in making this sign, as in Fig. 261, though this may be the result of carelessness. (Dakota VI, VII, VIII; Hidatsa I; Ponka II; Arikara I; Pani I.)
The left hand is before the chest, back upward in the position of an index-hand pointing forward; then the first and second fingers of the right hand only being extended, separated and pointing downward, are set one on each side of the left forefinger, the interdigital space resting on the forefinger. The palm faces downward and backward. This represents a rider astride of a horse. (Mandan and Hidatsa I.)
Close hands, except forefingers, which are curved downward; move them forward in rotation, imitating the fore feet of the horse, and make puffing sound of "Uh, uh"! (Omaha I.) "This sign represents the horse racing off to a safe distance, and puffing as he tosses his head."
The arm is flexed and the hand extended is brought on a level with the mouth. The hand then assumes the position (W 1), modified by being held edges up and down, palm toward the chest, instead of flat. The arm and hand being held thus about the usual height of a horse are made to pass in an undulating manner across the face or body about one foot distant from contact. The latter movements are to resemble the animal's gait. (Oto I.) "Height of animal and movement of same."
The index and second fingers of the right hand are placed astraddle the extended forefinger of the left. (Wyandot I.)
Place the flat right hand, thumb down, edgewise before the right side of the shoulder, pointing toward the right. (Kaiowa I; Comanche III; Apache II; Wichita II.) Fig. 262.
Another: Hold the right hand flat, extended, with fingers joined, the thumb extended upward, then pass the hand at arm's length before the face from left to right. This is said by the authorities cited below to be also the Caddo sign, and that the other tribes mentioned originally obtained it from that tribe. (Kaiowa I; Comanche I, III; Apache II; Wichita II.) Fig. 263.
Another: Place the extended and separated index and second fingers astraddle the extended and horizontal forefinger of the left hand. This sign is only used when communicating with uninstructed white men, or with other Indians whose sign for horse is specifically distinct. (Kaiowa I; Comanche III; Apache II; Wichita II.).
Place the extended index and second fingers of the right hand across the extended first two fingers of the left. Fig. 264. Size of the animal is indicated by passing the right hand, palm down, with fingers loosely separated, forward from the right side, at any height as the case may necessitate, after which the sign for Horse may be made. (Pima and Papago I.)
Place the right hand, palm down, before the right side of the chest; place the tips of the second and third fingers against the ball of the thumb, allowing the index and little fingers to project to represent the ears. Fig. 265. Frequently the middle fingers extend equally with and against the thumb, forming the head of the animal, the ears always being represented by the two outer fingers, viz, the index and little finger. Fig. 266. (Ute I.) A similar sign is reported by Colonel Dodge as used by the Utes.
Elevate the right hand, extended, with fingers joined, outer edge toward the ground, in front of the body or right shoulder, and pointing forward, resting the curved thumb against the palmar side of the index. This sign appears also to signify animal generically, being frequently employed as a preliminary sign when denoting other species. (Apache I.)
Deaf-mute natural signs:
Imitate the motion of the elbows of a man on horseback. (Ballard.)
Act in the manner of a driver, holding the lines in his hands and shouting to the horse. (Cross.)
Move the hands several times as if to hold the reins. (Larson.)
Deaf-mute signs:
The French deaf-mutes add to the straddling of the index the motion of a trot. American deaf-mutes indicate the ears by placing two fingers of each hand on each side of the head and moving them backward and forward. This is sometimes followed by straddling the left hand by the fore and middle fingers of the right.
——, A man on a.
Same sign as for Horse, with the addition of erecting the thumb while making the gesture. (Dodge.)
——, Bay.
Make the sign for Horse, and then rub the lower part of the cheek back and forth. (Dakota IV.)
——, Black.
Make the sign for Horse, and then, point to a black object or rub the back of the left hand with the palmar side of the fingers of the right. (Dakota IV.)
——, Bronco. An untamed horse.
Make the sign To Ride by placing the extended and separated index and second fingers of the right hand astraddle the extended forefinger of the left hand, then with both hands retained in their relative positions move them forward in high arches to show the bucking of the animal. (Ute I.)
——, Grazing of a.
Make the sign for Horse, then lower the hand and pass it from side to side as if dipping it upon the surface. (Ute I.)
——, Packing a.
Hold the left hand, pointing forward, palm inward, a foot in front of the chest and lay the opened right hand, pointing forward, first obliquely along the right side of the upper edge of the left hand, then on top, and then obliquely along the left side. (Dakota IV.)
——, Racing, Fast horse.
The right arm is elevated and bent at right angle before the face; the hand, in position (S 1) modified by being horizontal, palm to the face, is drawn across edgewise in front of the face. The hand is then closed and in position (B) approaches the mouth from which it is opened and closed successively forward several times, finally it is suddenly thrust out in position (W 1) back concave. (Oto and Missouri I.) "Is expressed in the (Oto I) sign for Horse, then the motion for quick running."
—— Racing.
Extend the two forefingers and after placing them parallel near together in front of the chest, backs upward, push them rapidly forward about a foot. (Dakota IV.)
Place both hands, with the forefingers only extended and pointing forward side by side with the palms down, before the body; then push them alternately backward and forward, in imitation of the movement of horses who are running "neck and neck." (Ute I; Apache I, II.)
——, Saddling a.
Hold the left hand as in the sign for Horse, Packing a, and lay the semiflexed right hand across its upper edge two or three times, the ends of the right fingers toward the left. (Dakota IV.)
Place the extended and separated fingers rapidly with a slapping sound astraddle the extended fore and second fingers of the left hand. The sound is produced by the palm of the right hand which comes in contact with the upper surface of the left. (Ute I.) Fig. 267.
——, Spotted; pied.
Make the sign for Horse, then the sign for Spotted, see page [345]. (Dakota IV.)
KILL, KILLING.
The hands are held with the edge upward, and the right hand strikes the other transversely, as in the act of chopping. This sign seems to be more particularly applicable to convey the idea of death produced by a blow of the tomahawk or war-club. (Long.)
Clinch the hand and strike from above downward. (Wied.) I do not remember this. I have given you the sign for killing with a stroke. (Matthews.) There is an evident similarity in conception and execution between the (Oto and Missouri I) sign and Wied's. (Boteler.) I have frequently seen this sign made by the Arikara, Gros Ventre, and Mandan Indians at Fort Berthold Agency. (McChesney.) This motion, which maybe more clearly expressed as the downward thrust of a knife held in the clinched hand, is still used by many tribes for the general idea of "kill," and illustrates the antiquity of the knife as a weapon. Wied does not say whether the clinched hand is thrust downward with the edge or the knuckles forward. The latter is now the almost universal usage among the same tribes from which he is supposed to have taken his list of signs, and indicates the thrust of a knife more decisively than if the fist were moved with the edge in advance. The actual employment of arrow, gun, or club in taking life, is, however, often specified by appropriate gesture.
Smite the sinister palm earthward with the dexter fist sharply, in sign of "going down"; or strike out with the dexter fist toward the ground, meaning to "shut down"; or pass the dexter under the left forefinger, meaning to "go under." (Burton.)
Right hand cast down. (Macgowan.)
Hold the right fist, palm down, knuckles forward, and make a thrust forward and downward. (Arapaho II; Cheyenne V; Dakota VI, VII, VIII; Hidatsa I; Ponka II; Arikara I; Pani I.) Fig. 268.
Right hand clinched, thumb lying along the finger tips, elevated to near the shoulder, strike downward and out vaguely in the direction of the object to be killed. The abstract sign for kill is simply to clinch the right hand in the manner described and strike it down and out from the right side. (Cheyenne II.)
Close the right hand, extending the forefinger alone; point toward the breast, then throw from you forward, bringing the hand toward the ground. (Ojibwa V; Omaha I.)
Both hands clinched, with the thumbs resting against the middle joints of the forefingers, hold the left transversely in front of and as high as the breast, then push the right, palm down, quickly over and down in front of the left. (Absaroka I; Shoshoni and Banak I.) "To force under—literally."
With the dexter fist carried to the front of the body at the right side, strike downward and outward several times, with back of hand upward, thumb toward the left, several times. (Dakota I.) "Strike down."
With the first and second joints of the fingers of the right hand bent, end of thumb against the middle of the index, palm downward, move the hand energetically forward and downward from a foot in front of the right breast. Striking with a stone—man's first weapon. (Dakota, IV.)
The left hand, thumb up, back forward, not very rigidly extended, is held before the chest and struck in the palm with the outer edge of the right hand. (Mandan and Hidatsa I.) "To kill with a blow; to deal the death blow." Fig. 269.
Right hand, fingers open but slightly curved, palm to the left; move downward, describing a curve. (Omaha I.)
Another: Similar to the last, but the index finger is extended, pointing in front of you, the other fingers but half open. (Omaha I.)
Place the flat right hand, palm down, at arm's length to the right, bring it quickly, horizontally, to the side of the head, then make the sign for Dead. (Ojibwa V; Wyandot I.) "To strike with a club, dead."
Both hands, in positions (AA), with arms semiflexed toward the body, make the forward rotary sign with the clinched fists as in fighting; the right hand is then raised from the left outward, as clutching a knife with the blade pointing downward and inward toward the left fist; the left fist, being held in situ, is struck now by the right, edgewise as above described, and both suddenly fall together. (Oto and Missouri I.) "To strike down in battle with a knife. Indians seldom disagree or kill another in times of tribal peace."
Deaf-mute natural signs:
Strike a blow in the air with the clinched fist, and then incline the head to one side, and lower the open hand, palm upward. (Ballard.)
Strike the other hand with the fist, or point a gun, and, having shot, suddenly point to your breast with the finger, and hold your head sidewise on the hand. (Cross.)
Use the closed hand as if to strike, and then move back the head with the eyes shut and the mouth opened. (Hasenstab.)
Put the head down over the breast, and then move down the stretched hand along the neck. (Larson.)
Turkish sign:
Draw finger across the throat like cutting with a knife. (Barnum.)
—— In battle, To.
Make the sign for Battle by placing both hands at the height of the breast, palms facing, the left forward from the left shoulder, the right outward and forward from the right, fingers pointing up and spread, move them alternately toward and from one another; then strike the back of the fingers of the right hand into the slightly curved palm of the left, immediately afterward throwing the right outward and downward toward the right. (Ute I.) "Killed and falling over."
—— You; I will kill you.
Direct the right hand toward the offender and spring the finger from the thumb, as in the act of sprinkling water. (Long.) The conception is perhaps "causing blood to flow," or, perhaps, "sputtering away the life," though there is a strong similarity to the motion used for the discharge of a gun or arrow.
Remarks and illustrations connected with the signs for kill appear on pages [377] and [378], supra.
——, to, with a knife.
Clinch the right hand and strike forcibly toward the ground before the breast from the height of the face. (Ute I.) "Appears to have originated when flint knives were still used."
NO, NOT. (Compare Nothing.)
The hand held up before the face, with the palm outward and vibrated to and fro. (Dunbar.)
The right hand waved outward to the right with the thumb upward. (Long; Creel.)
Wave the right hand quickly by and in front of the face toward the right. (Wied.) Refusing to accept the idea or statement presented.
Move the hand from right to left, as if motioning away. This sign also means "I'll have nothing to do with you." (Burton.)
A deprecatory wave of the right hand from front to right, fingers extended and joined. (Arapaho I; Cheyenne V.)
Right-hand fingers extended together, side of hand in front of and facing the face, in front of the mouth and waved suddenly to the right. (Cheyenne II.)
Place the right hand extended before the body, fingers pointing upward, palm to the front, then throw the hand outward to the right, and slightly downward. (Absaroka I; Hidatsa I; Arikara I.) See Fig. 65, page [290].
The right hand, horizontal, palm toward the left, is pushed sidewise outward and toward the right from in front of the left breast. No, none, I have none, etc., are all expressed by this sign. Often these Indians for no will simply shake the head to the right and left. This sign, although it may have originally been introduced from the white people's habit of shaking the head to express "no," has been in use among them for as long as the oldest people can remember, yet they do not use the variant to express "yes." (Dakota I.) "Dismissing the idea, etc."
Place the opened relaxed right hand, pointing toward the left, back forward, in front of the nose or as low as the breast, and throw it forward and outward about eighteen inches. Some at the same time turn the palm upward. Or make the sign at the height of the breast with both hands. Represents the shaking of the head. (Dakota IV.) The shaking of the head in negation is not so universal or "natural" as is popularly supposed, for the ancient Greeks, followed by the modern Turks and rustic Italians, threw the head back, instead of shaking it, for "no." Rabelais makes Pantagruel (Book 3) show by many quotations from the ancients how the shaking of the head was a frequent if not universal concomitant of oracular utterance—not connected with negation.
Hold the flat hand edgewise, pointing upward before the right side of the chest, then throw it outward and downward to the right. (Dakota VI, VII.) Fig. 270.
The hand, extended or slightly curved, is held in front of the body a little to the right of the median line; it is then carried with a rapid sweep a foot or more farther to the right. (Mandan and Hidatsa I.)
Place the hand as in yes, as follows: The hand open, palm downward, at the level of the breast, is moved forward with a quick downward motion from the wrist, imitating a bow of the head; then move it from side to side. (Iroquois I.) "A shake of the head."
Throw the flat right hand forward and outward to the right, palm to the front. (Kaiowa I; Comanche III; Apache II; Wichita II.)
Quick motion of open hand from the mouth forward, palm toward the mouth. (Sahaptin I.)
Place hand in front of body, fingers relaxed, palm toward body (Y 1), then with easy motion move to a point, say, a foot from the body, a little to right, fingers same, but palm upward. (Sahaptin I.) "We don't agree." To express All gone, use a similar motion with both hands. "Empty."
The hand waved outward with the thumb upward in a semi-curve. (Comanche I; Wichita I.)
Elevate the extended index and wave it quickly from side to side before the face. This is sometimes accompanied by shaking the head. (Pai-Ute I.) Fig. 271.
Extend the index, holding it vertically before the face, remaining fingers and thumb closed; pass the finger quickly from side to side a foot or so before the face. (Apache I.) This sign, as also that of (Pai-Ute I), is substantially the same as that with the same significance reported from Naples by De Jorio.
Another: The right hand, naturally relaxed, is thrown outward and forward toward the right. (Apache I.)
Wave extended index before the face from side to side. (Apache III.)
Another: Wave the index briskly before the right shoulder. This appears to be more common than the preceding. (Apache III.)
Right hand extended at the height of the eye, palm outward, then moved outward a little toward the right. (Kutchin I.)
Extend the palm of the right hand horizontally a foot from the waist, palm downward, then suddenly throw it half over from the body, as if tossing a chip from the back of the hand. (Wichita I.)
Deaf-mute natural signs:
Shake the head. (Ballard.)
Move both hands from each other, and, at the same time, shake the head. (Hasenstab.)
Deaf-mute signs:
French deaf-mutes wave the hand to the right and downward, with the first and second fingers joined and extended, the other fingers closed. This position of the fingers is that for the letter N in the finger alphabet, the initial for the word non. American deaf-mutes for emphatic negative wave the right hand before the face.
Turkish sign:
Throwing head back or elevating the chin and partly shutting the eyes. This also means, "Be silent." (Barnum.)
Japanese sign:
Move the right hand rapidly back and forth before the face. Communicated in a letter from Prof. E.S. Morse, late of the University of Tokio, Japan. The same correspondent mentions that the Admiralty Islanders pass the forefinger across the face, striking the nose in passing, for negation. If the no is a doubtful one they rub the nose in passing, a gesture common elsewhere.
For further illustrations and comparisons see pp. [290], [298], [299], [304], [355], and [356], supra.
NONE, NOTHING; I HAVE NONE.
Motion of rubbing out. (Macgowan.)
Little or nothing is signified by passing one hand over the other. (Creel; Ojibwa I.)
May be signified by smartly brushing the right hand across the left from the wrist toward the fingers, both hands extended, palms toward each other and fingers joined. (Arapaho I.)
Is included in gone, destroyed. (Dakota I.)
Place the open left hand about a foot in front of the navel, pointing obliquely forward toward the right, palm obliquely upward and backward, and sweep the palm of the open right hand over it and about a foot forward and to the right through a curve. All bare. (Dakota IV.)
Another: Pass the ulnar side of the right index along the left index several times from tip to base, while pronating and supinating the latter. Some roll the right index over on its back as they move it along the left. The hands are to be in front of the navel, backs forward and outward, the left index straight and pointing forward toward the right, the right index straight and pointing forward and toward the left; the other fingers loosely closed. Represents a bush bare of limbs. (Dakota IV.)
Another: With the light hand pointing obliquely forward to the left, the left forward to the right, palms upward, move them alternately several times up and down, each time striking the ends of the fingers. Or, the left hand being in the above position, rub the right palm in a circle on the left two or three times, and then move it forward and to the right. Rubbed out; that is all; it is all gone. (Dakota IV.)
Pass the palm of the flat right hand over the left from the wrist toward and off of the tips of the fingers. (Dakota VI, VII, VIII; Ponka II; Pani I.) Fig. 272.
Brush the palm of the left hand from wrist to finger tips with the palm of the right. (Wyandot I.)
Another: Throw both hands outward toward their respective sides from the breast. (Wyandot I.)
Pass the flat right palm over the palm of the left hand from the wrist forward over the fingers. (Kaiowa I; Comanche III; Apache II; Wichita II.) "Wiped out."
Hold the left hand open, with the palm upward, at the height of the elbow and before the body; pass the right quickly over the left, palms touching, from the wrist toward the tips of the left, as if brushing off dust. (Apache I.)
Deaf-mute natural signs:
Place the hands near each other, palms downward, and move them over and apart, bringing the palms upward in opposite directions. (Ballard.)
Make a motion as in picking up something between the thumb and finger, carry it to the lips, blow it away, and show the open hand. (Wing.)
Australian sign:
Pannie (none or nothing). For instance, a native says Bomako ingina (give a tomahawk). I reply by shaking the hand, thumb, and all fingers, separated and loosely extended, palm down. (Smyth, loc. cit.) Fig. 273.
Turkish sign:
Blowing across open palm as though blowing off feathers; also means "Nothing, nothing left." (Barnum.)
——, I have none.
Deaf-mute natural signs:
Expressed by the signs for none, after pointing to one's self. (Ballard.)
Stretch the tongue and move it to and fro like a pendulum, then shake the head as if to say "no." (Ziegler.)
—— Left. Exhausted for the present.
Hold both hands naturally relaxed nearly at arm's length before the body, palms toward the face, move them alternately to and fro a few inches, allowing the fingers to strike those of the opposite hand each time as far as the second joint. (Kaiowa I; Comanche III; Apache II; Wichita II.) Cleaned out.
QUANTITY, LARGE; MANY; MUCH.
The flat of the right hand patting the back of the left hand, which is repeated in proportion to the greater or lesser quantity. (Dunbar.) Simple repetition.
The hands and arms are passed in a curvilinear direction outward and downward, as if showing the form of a large globe; then the hands are closed and elevated, as if something was grasped in each hand and held up about as high as the face. (Long; Creel.)
Clutch at the air several times with both hands. The motion greatly resembles those of danseuses playing the castanets. (Ojibwa I.)
In the preceding signs the authorities have not distinguished between the ideas of "many" and "much." In the following there appears by the expressions of the authorities to be some distinction intended between a number of objects and a quantity in volume.
—— MANY.
A simultaneous movement of both hands, as if gathering or heaping up. (Arapaho I.) Literally "a heap."
Both hands, with spread and slightly curved fingers, are held pendent about two feet apart before the thighs; then draw them toward one another, horizontally, drawing them upward as they come together. (Absaroka I; Shoshoni and Banak I; Kaiowa I; Comanche III; Apache II; Wichita II.) "An accumulation of objects."
Hands about eighteen inches from the ground in front and about the same distance apart, held scoop-fashion, palms looting toward each other, fingers separated; then, with a diving motion, as if scooping up corn from the ground, bring the hands nearly together, with fingers nearly closed, as though holding the corn, and carry upward to the height of the breast, where the hands are turned over, fingers pointing downward, separated, as though the contents were allowed to drop to the ground. (Dakota I, II.)
Open the fingers of both hands, and hold the two hands before the breast, with the fingers upward and a little apart, and the palms turned toward each other, as if grasping a number of things. (Iroquois I.)
Place the hands on either side of and as high as the head, then open and close the fingers rapidly four or five times. (Wyandot I.) "Counting 'tens' an indefinite number of times."
Clasp the hands effusively before the breast. (Apache III.)
Deaf-mute natural signs;
Put the fingers of the two hands together, tip to tip, and rub them with a rapid motion. (Ballard.)
Make a rapid movement of the fingers and thumbs of both hands upward and downward, and at the same time cause both lips to touch each other in rapid succession, and both eyes to be half opened. (Hasenstab.)
Move the fingers of both hands forward and backward. (Ziegler.) Add to Ziegler's sign: slightly opening and closing the hands. (Wing.)
—— Horses.
Raise the right arm above the head, palm forward, and thrust forward forcibly on a line with the shoulder. (Omaha I.)
—— Persons, etc.
Hands and fingers interlaced. (Macgowan.)
Take up a bunch of grass or a clod of earth; place it in the hand of the person addressed, who looks down upon it. (Omaha I.) "Represents as many or more than the particles contained in the mass."
—— MUCH.
Move both hands toward one another and slightly upward. (Wied.) I have seen this sign, but I think it is used only for articles that may be piled on the ground or formed into a heap. The sign most in use for the general idea of much or many I have given. (Matthews.)
Bring the hands up in front of the body with the fingers carefully kept distinct. (Cheyenne I.)
Both hands closed, brought up in a curved motion toward each other to the level of the neck or chin, (Cheyenne II.)
Both hands and arms are partly extended; each hand is then made to describe, simultaneously with the other, from the head downward, the arc of a circle curving outward. This is used for large in some senses. (Ojibwa V; Mandan and Hidatsa I.)
Both hands flat and extended, placed before the breast, finger tips touching, palms down; then separate them by passing outward and downward as if smoothing the outer surface of a globe. (Absaroka I; Shoshoni and Banack I; Kaiowa I; Comanche III; Apache II; Wichita II.) "A heap."
Much is included in many or big, as the case may require. (Dakota I.)
The hands, with fingers widely separated, slightly bent, pointing forward, and backs outward, are to be rapidly approximated through downward curves, from positions twelve to thirty-six inches apart, at the height of the navel, and quickly closed. Or the hands may be moved until the right is above the left. So much that it has to be gathered with both hands. (Dakota IV.)
Hands open, palms turned in, held about three feet apart and about two feet from the ground. Raise them about a foot, then bring in an upward curve toward each other. As they pass each other, palms down, the right hand is about three inches above the left. (Omaha I.)
Place both hands flat and extended, thumbs touching, palms downward, in front of and as high as the face; then move them outward and downward a short distance toward their respective sides, thus describing the upper half of a circle. (Wyandot I.) "A heap."
Both hands clinched, placed as high as and in front of the hips, palms facing opposite sides and about a foot apart, then bring them upward and inward, describing an arc, until the thumbs touch. (Apache I.) Fig. 274.
Sweep out both hands as if inclosing a large object; wave the hands forward and somewhat upward. (Apache III.) "Suggesting immensity."
Deaf-mute sign:
The French deaf-mutes place the two hands, with fingers united and extended in a slight curve, nearly together, left above right, in front of the body, and then raise the left in a direct line above the right, thus suggesting the idea of a large and slightly-rounded object being held between the two palms.
—— And heavy.
Hands open, palms turned in, held about three feet apart, and about two feet from the ground, raise them about a foot; close the fists, backs of hands down, as if lifting something heavy; then move a short distance up and down several times. (Omaha I.)
Remarks connected with the signs for quantity appear on pages [291], [359], and [382], supra.
QUESTION; INQUIRY; INTERROGATION.
The palm of the hand upward and carried circularly outward, and depressed. (Dunbar.)
The hand held up with the thumb near the face, and the palm directed toward the person of whom the inquiry is made; then rotated upon the wrist two or three times edgewise, to denote uncertainty. (Long; Comanche I; Wichita I.) The motion might be mistaken for the derisive, vulgar gesture called "taking a sight," "donner un pied de nez," descending to our small boys from antiquity. The separate motion of the fingers in the vulgar gesture as used in our eastern cities is, however, more nearly correlated with some of the Indian signs for fool, one of which is the same as that for Kaiowa, see Tribal Signs. It may be noted that the Latin "sagax," from which is derived "sagacity," was chiefly used to denote the keen scent of dogs, so there is a relation established between the nasal organ and wisdom or its absence, and that "suspendere naso" was a classic phrase for hoaxing. The Italian expressions "restare con un palmo di naso," "con tanto di naso," etc., mentioned by the canon De Jorio, refer to the same vulgar gesture in which the face is supposed to be thrust forward sillily. Further remarks connected with this sign appear on pp. [304], [305], supra.
Extend the open hand perpendicularly with the palm outward, and move it from side to side several times. (Wied.) This sign is still used. For "outward," however, I would substitute "forward." The hand is usually, but not always, held before the face. (Matthews.) This is not the sign for question, but is used to attract attention before commencing a conversation or any other time during the talk, when found necessary. (McChesney.) With due deference to Dr. McChesney, this is the sign for question, as used by many tribes, and especially Dakotas. The Prince of Wied probably intended to convey the motion of forward, to the front, when he said outward. In making the sign for attention the hand is held more nearly horizontal, and is directed toward the individual whose attention is desired. (Hoffman.)
Right hand in front of right side of body, forearm horizontal, palm of hand to the left, fingers extended, joined and horizontal, thumb extending upward naturally, turn hand to the left about 60°, then resume first position. Continue this motion for about two to four seconds, depending on earnestness of inquiry. (Creel.)
Right hand, fingers pointing upward, palm outward, elevated to the level of the shoulder, extended toward the person addressed, and slightly shaken from side to side. (Cheyenne II.)
Hold the elbow of the right arm against the side, extending the right hand, palm inward, with all the fingers straight joined, as far as may be, while the elbow remains fixed against the side; then turn the extended hand to the right and left, repeating this movement several times, being performed by the muscles of the arm. (Sac, Fox, and Kickapoo I.)
Place the flat and extended right hand, palm forward, about twelve inches in front of and as high as the shoulder, then shake the hand from side to side as it is moved upward and forward. (Apache I.) See Fig. 304, in Tendoy-Huerito Dialogue, p. [486]. This may be compared with the ancient Greek sign, Fig. 67, and with the modern Neapolitan sign, Fig. 70, both of which are discussed on p. [291], supra.
Deaf-mute natural sign:
A quick motion of the lips with an inquiring look. (Ballard.)
Deaf-mute sign:
The French deaf-mutes for inquiry, "qu'est-ce que c'est?" bring the hands to the lower part of the chest, with open palms about a foot separate and diverging outward.
Australian sign:
One is a sort of note of interrogation. For instance, if I were to meet a native and make the sign: Hand flat, fingers and thumb extended, the two middle fingers touching, the two outer slightly separated from the middle by turning the hand palm upward as I met him, it would mean: "Where are you going?" In other words I should say "Minna?" (what name?). (Smyth.) Fig. 275.
Some comparisons and illustrations connected with the signs for question appear on pages [291], [297], and [303], supra, and under Phrases, infra. Quintilian remarks upon this subject as follows: "In questioning, we do not compose our gesture after any single manner; the position of the hand, for the most part is to be changed, however disposed before."
SOLDIER.
——, American.
The upright nearly closed hands, thumbs against the middle of the forefingers, being in front of the body, with their thumbs near together, palms forward, separate them about two feet horizontally on the same line. All in a line in front. (Cheyenne III; Dakota IV.)
Pass each hand down the outer seam of the pants. (Sac, Fox, and Kickapoo I.) "Stripes."
Sign for White Man as follows: The extended index (M turned inward) is drawn from the left side of the head around in front to the right side, about on a line with the brim of the hat, with the back of the hand outward; and then for Fort, viz, on level of the breasts in front of body, both hands with fingers turned inward, straight, backs joined, backs of hands outward, horizontal, turn outward the hands until the fingers are free, curve them, and bring the wrists together so as to describe a circle with a space left between the ends of the curved fingers. (Dakota I.) "From his fortified place of abode."
Another: Both hands in front of body, fists, backs outward, hands in contact, draw them apart on a straight line right to right, left to left about two feet, then draw the index, other fingers closed, across the forehead above the eyebrows. This is the sign preferred by the Sioux. (Dakota I.)
Extend the fingers of the right hand; place the thumb on the same plane close beside them, and then bring the thumb side of the hand horizontally against the middle of the forehead, palm downward and little finger to the front. (Dakota II; Ute I.) "Visor of forage cap."
First make the sign for Soldier substantially the same as (Dakota VI) below, then that for White Man, viz.: Draw the opened right hand horizontally from left to right across the forehead a little above the eyebrows, the back of the hand to be upward and the fingers pointing toward the left; or, close all the fingers except the index and draw it across the forehead in the same manner. (Dakota IV.) For illustrations of other signs for white man see Figs 315 and 329, infra.
Place the radial sides of the clinched hands together before the chest, then draw them horizontally apart. (Dakota VI; Arikara I.) "All in a line." Fig. 276.
Put thumbs to temples, and forefingers forward, meeting in front, other fingers closed. (Apache III.) "Cap-visor."
——, Arikara.
Make the sign for Arikara (see Tribal Signs) and that for Brave. (Arikara I.)
——, Dakota.
Make the sign for Dakota (see Tribal Signs) and that for Soldier. (Dakota VI.)
——, Indian.
Both fists before the body, palms down, thumbs touching, then draw them horizontally apart to the right and left. (Arapaho II; Cheyenne V; Ponka II; Pani I.) This is the same sign illustrated in Fig. 276, above, as given by tribes there cited for white or American soldier. The tribes now cited use it for a soldier of the same tribe as the gesturer, or perhaps for soldier generically, as they subjoin a tribal sign or the sign for white man, when desiring to refer to any other than their own tribe.
TRADE or BARTER; EXCHANGE.
—— TRADE.
First make the sign of Exchange (see below), then pat the left arm with the right finger, with a rapid motion from the hand passing it toward the shoulder. (Long.)
Strike the extended index finger of the right hand several times upon that of the left. (Wied.) I have described the same sign in different terms and at greater length. It is only necessary, however, to place the fingers in contact once. The person whom the prince saw making this sign may have meant to indicate something more than the simple idea of trade, i.e., trade often or habitually. The idea of frequency is often conveyed by the repetition of a sign (as in some Indian languages by repetition of the root). Or the sign-maker may have repeated the sign to demonstrate it more clearly. (Matthews.) Though some difference exists in the motions executed in Wied's sign and that of (Oto and Missouri I), there is sufficient similarity to justify a probable identity of conception and to make them easily understood. (Boteler.) In the author's mind exchange was probably intended for one transaction, in which each of two articles took the place before occupied by the other, and trade was intended for a more general and systematic barter, indicated by the repetition of strokes. Such distinction would not perhaps have occurred to most observers, but as the older authorities, such as Long and Wied, give distinct signs under the separate titles of trade and exchange they must be credited with having some reason for so doing. A pictograph connected with this sign is shown on page [381], supra.
Cross the forefingers of both hands before the breast. (Burton.) "Diamond cut diamond." This conception of one smart trader cutting into the profits of another is a mistake arising from the rough resemblance of the sign to that for cutting. Captain Burton is right, however, in reporting that this sign for trade is also used for white man, American, and that the same Indians using it orally call white men "shwop," from the English or American word "swap" or "swop." This is a legacy from the early traders, the first white men met by the Western tribes, and the expression extends even to the Sahaptins on the Yakama River, where it appears incorporated in their language as swiapoin. It must have penetrated to them through the Shoshoni.
Cross the index fingers. (Macgowan.)
Cross the forefingers at right angles. (Arapaho I.)
Both hands, palms facing each other, forefingers extended, crossed right above left before the breast. (Cheyenne II.)
The left hand, with forefinger extended, pointing toward the right (rest of fingers closed), horizontal, back outward, otherwise as (M), is held in front of left breast about a foot; and the right hand, with forefinger extended (J), in front of and near the right breast, is carried outward and struck over the top of the stationary left (+) crosswise, where it remains for a moment. (Dakota I.)
Hold the extended left index about a foot in front of the breast, pointing obliquely forward toward the right, and lay the extended right index at right angles across the left, first raising the right about a foot above the left, palms of both inward, other fingers half closed. This is also an Arapaho sign as well as Dakota. Yours is there and mine is there; take either. (Dakota IV.)
Place the first two fingers of the right hand across those of the left, both being slightly spread. The hands are sometimes used, but are placed edgewise. (Dakota V.) Fig. 277.
Another: The index of the right hand is laid across the forefinger of the left when the transaction includes but two persons trading single article for article. (Dakota V.)
Strike the back of the extended index at a right angle against the radial side of the extended forefinger of the left hand. (Dakota VI, VII.) Fig. 278.
The forefingers are extended, held obliquely upward, and crossed at right angles to one another, usually in front of the chest. (Mandan and Hidatsa I.)
Bring each hand as high as the breast, forefinger pointing up, the other fingers closed, then move quickly the right hand to the left, the left to the right, the forefingers making an acute angle as they cross. (Omaha I; Ponka I.)
The palm point of the right index extended touches the chest; it is then turned toward the second individual interested, then touches the object. The arms are now drawn toward the body, semiflexed, with the hands, in type-positions (W W), crossed, the right superposed to the left. The individual then casts an interrogating glance at the second person. (Oto and Missouri I.) "To cross something from one to another."
Close the hands, except the index fingers and the thumbs; with them open, move the hands several times past one another at the height of the breast; the index fingers pointing upward and the thumbs outward. (Iroquois I.) "The movement indicates 'exchanging.'"
Hold the left hand horizontally before the body, with the forefinger only extended and pointing to the right, palm downward; then, with the right hand closed, index only extended, palm to the right, place the index at right angles on the forefinger of the left, touching at the second joints. (Kaiowa I; Comanche III; Apache II; Wichita II.)
Pass the hands in front of the body, all the fingers closed except the forefingers. (Sahaptin I.)
Close the fingers of both hands (K); bring them opposite each shoulder; then bring the hands across each other's pathway, without permitting them to touch. At the close of the sign the left hand will be near and pointing at the right shoulder; right hand will be near and pointing at the left shoulder. (Comanche I.)
Close both hands, leaving the forefingers only extended; place the right before and several inches above the left, then pass the right hand toward the left elbow and the left hand toward the right elbow, each hand following the course made by a flourishing cut with a short sword. This sign, according to the informant, is also employed by the Banak and Umatilla Indians. (Comanche II; Pai-Ute I.)
The forefingers of both hands only extended, pass the left from left to right, and the right at the same time crossing its course from the tip toward the wrist of the left, stopping when the wrists cross. (Ute I.) "Exchange of articles."
Right hand carried across chest, hand extended, palm upward, fingers and thumb closed as if holding something; left hand, in same position, carried across the right, palm downward. (Kutchin I.)
Hands pronated and forefingers crossed. (Zun̄i I.)
Deaf-mute natural sign:
Close the hand slightly, as if taking something, and move it forward and open the hand as if to drop or give away the thing, and again close and withdraw the hand as if to take something else. (Bollard.)
American instructed deaf-mutes use substantially the sign described by (Mandan and Hidatsa I).
—— To buy.
Hold the left hand about twelve inches before the breast, the thumb resting on the closed third and fourth fingers; the fore and second fingers separated and extended, palm toward the breast; then pass the extended index into the crotch formed by the separated fingers of the left hand. This is an invented sign, and was given to illustrate the difference between buying and trading. (Ute I.) Fig. 279.
Deaf-mute natural sign:
Make a circle on the palm of the left hand with the forefinger of the right hand, to denote coin, and close the thumb and finger as if to take the money, and put the hand forward to signify giving it to some one, and move the hand a little apart from the place where it left the money, and then close and withdraw the hand, as if to take the thing purchased. (Ballard.)
Italian sign:
To indicate paying, in the language of the fingers, one makes as though he put something, piece after piece, from one hand into the other—a gesture, however, far less expressive than that when a man lacks money, and yet cannot make up a face to beg it; or simply to indicate want of money, which is to rub together the thumb and forefinger, at the same time stretching out the hand. (Butler.) An illustration from De Jorio of the Neapolitan sign for money is given on page [297], supra.
—— EXCHANGE.
The two forefingers are extended perpendicularly, and the hands are then passed by each other transversely in front of the breast so as nearly to exchange positions. (Long.)
Pass both hands, with extended forefingers, across each other before the breast. (Wied.) See remarks on this author's sign for Trade, supra.
Hands brought up to front of breast, forefingers extended and other fingers slightly closed; hands suddenly drawn toward and past each other until forearms are crossed in front of breast. (Cheyenne II.) "Exchange; right hand exchanging position with the left."
Left hand, with forefinger extended, others closed (M, except back of hand outward), is brought, arm extended, in front of the left breast, and the extended forefinger of the right hand, obliquely upward, others closed, is placed crosswise over the left and maintained in that position for a moment, when the fingers of the right hand are relaxed (as in Y), brought near the breast with hand horizontal, palm inward, and then carried out again in front of right breast twenty inches, with palm looking toward the left, fingers pointing forward, hand horizontal, and then the left hand performs the same movements on the left side of the body, (Dakota I.) "You give me, I give you."
The hands, backs forward, are held as index hands, pointing upward, the elbows being fully bent; each hand is then, simultaneously with the other, moved to the opposite shoulder, so that the forearms cross one another almost at right angles. (Mandan and Hidatsa I.)
YES; AFFIRMATION; IT IS SO. (Compare Good.)
The motion is somewhat like truth, viz: The forefinger in the attitude of pointing, from the mouth forward in a line curving a little upward, the other fingers being carefully closed; but the finger is held rather more upright, and is passed nearly straightforward from opposite the breast, and when at the end of its course it seems gently to strike something, though with rather a slow and not suddenly accelerated motion. (Long.)
Wave the hand straight forward from the face. (Burton.) This may be compared with the forward nod common over most of the world for assent, but that gesture is not universal, as the New Zealanders elevate the head and chin, and the Turks are reported by several travelers to shake the head somewhat like our negative. Rev. H.N. Barnum denies that report, giving below the gesture observed by him. He, however, describes the Turkish gesture sign for truth to be "gently bowing with head inclined to the right." This sidewise inclination may be what has been called the shake of the head in affirmation.
Another: Wave the hand from the mouth, extending the thumb from the index and closing the other three fingers. (Burton.)
Gesticulate vertically downward and in front of the body with the extended forefinger (right hand usually), the remaining fingers and thumb closed, their nails down. (Creel; Arapaho I.)
Right hand elevated to the level and in front of the shoulder, two first fingers somewhat extended, thumb resting against the middle finger; sudden motion in a curve forward and downward. (Cheyenne II.) It has been suggested that the correspondence between this gesture and the one given by the same gesturer for sitting (made by holding the right hand to one side, fingers and thumb drooping, and striking downward to the ground or object to be sat upon) seemingly indicates that the origin of the former is in connection with the idea of "resting," or "settling a question." It is however at least equally probable that the forward and downward curve is an abbreviation of the sign for truth, true, a typical description of which follows given by (Dakota I). The sign for true can often be interchanged with that for yes, in the same manner as the several words.
The index of the horizontal hand (M), other fingers closed, is carried straight outward from the mouth. This is also the sign for truth. (Dakota I.) "But one tongue."
Extend the right index, the thumb against it, nearly close the other fingers, and holding it about a foot in front of the right breast, bend the hand from the wrist downward until the end of the index has passed about six inches through an arc. Some at the same time move the hand forward a little. (Dakota IV.) "A nod; the hand representing the head and the index the nose."
Hold the naturally closed hand before the right side of the breast, or shoulder, leaving the index and thumb extended, then throw the hand downward, bring the index against the inner side of the thumb. (Dakota VI, VII, VIII.) Fig. 280. Compare also Fig. 61, p. [286], supra, Quintilian's sign for approbation.
The right hand, with the forefinger only extended and pointing forward, is held before and near the chest. It is then moved forward one or two feet, usually with a slight curve downward. (Mandan and Hidatsa I.)
Bend the right arm, pointing toward the chest with the index finger; unbend, throwing the hand up and forward. (Omaha I.)
Another: Close the three fingers, close the thumb over them, extend forefinger, and then shake forward and down. This is more emphatic than the preceding, and signifies, Yes, I know. (Omaha I.)
The right arm is raised to head with the index finger in type-position (I1), modified by being more opened. From aside the head the hands sweep in a curve to the right ear as of something entering or hearing something; the finger is then more open and carried direct to the ground as something emphatic or direct. (Oto and Missouri I.) "'I hear,' emphatically symbolized." It is doubted if this sign is more than an expression of understanding which may or may not imply positive assent. It would not probably be used as a direct affirmative, for instance, in response to a question.
The hand open, palm downward, at the level of the breast, is moved forward with a quick downward motion from the wrist, imitating a bow of the head. (Iroquois I.)
Throw the closed right hand, with the index extended and bent, as high as the face, and let it drop again naturally; but as the hand reaches its greatest elevation the index is fully extended and suddenly drawn into the palm, the gesture resembling a beckoning from above toward the ground. (Kaiowa I; Comanche III; Apache II; Wichita II.)
Quick motion of the right hand forward from the mouth; first position about six inches from the mouth and final as far again away. In first position the index finger is extended, the others closed; in final, the index loosely closed, thrown in that position as the hand is moved forward, as though hooking something with it; palm of hand out. (Sahaptin I.)
Another: Move right hand to a position in front of the body, letting arm hang loosely at the side, the thumb standing alone, all fingers hooked except forefinger, which is partially extended (E 1, palm upward). The sign consists in moving the forefinger from its partially extended position to one similar to the others, as though making a sly motion for some one to come to you. This is done once each tune the assent is made. More emphatic than the preceding. (Sahaptin I.) "We are together, think alike."
Deaf-mute natural sign:
Indicate by nodding the head. (Ballard.)
Deaf-mute sign:
The French mutes unite the extremities of the index and thumb so as to form a circle and move the hand downward with back vertical and turned outward. It has been suggested in explanation that the circle formed and exhibited is merely the letter O, the initial of the word oui.
Fiji sign:
Assent is expressed, not by a downward nod as with ourselves, but by an upward nod; the head is jerked backward. Assent is also expressed by uplifting the eyebrows. (Fison.)
Turkish sign:
One or two nods of the head forward. (Barnum.)
Other remarks and illustrations upon the signs for yes are given on page [286], supra.