THE KIOWA AND KIOWA APACHE

KIOWA TRIBAL SYNONYMY

Be′shĭltchă—Kiowa Apache name, meaning unknown.

Caygua—Spanish form, from their proper name, Kaigwu.

Gahe′wa—Wichita and Kichai name; another form of Kiowa.

Kâ′igwŭ—“real or principal people,” proper tribal name.

Kai-wă—Comanche and Caddo name; from their proper name, Kaigwu.

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

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

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

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

Witapä′hat or Witapä′tu—Cheyenne name, from their Sioux name, Witapähä′tu.

Wi′tapähä′tu—“island butte people” (?), Sioux name.

KIOWA TRIBAL SIGN

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

SKETCH OF THE KIOWA

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

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

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

2. Ko′‛gu′i—“elks.”

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

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

5. Semät—“thieves,” the Apache.

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

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

Fig. 104—Kiowa camping circle.

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

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

THE KIOWA APACHE

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

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

SONGS OF THE KIOWA

1. Da′ta-i so′da′te

Da′ta-i so′da′te,

Da′ta-i so′da′te.

Do′m ezä′nteda′te,

Do′m ezä′nteda′te.

De′ĭmhä′date,

De′ĭmhä′date.

Be′a‛ma′nhäyi′,

Be′a‛ma′nhäyi′.

Translation

The father will descend,

The father will descend.

The earth will tremble,

The earth will tremble.

Everybody will arise,

Everybody will arise.

Stretch out your hands,

Stretch out your hands.

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

2. Da′k̔′ñago (ĭm) zä′nteähe′dal

Da′k̔i′ñago (ĭm) zä′nteähe′dal,

De′dom ezä′nteähe′dal,

De′dom ezä′nteähe′dal.

De′ĭmgo (ä-)dä′tode′yo′,

De′ĭmgo (ä-)dä′tode′yo′.

De′beko′datsä′,

De′beko′datsä′.

Translation

The spirit army is approaching,

The whole world is moving onward,

The whole world is moving onward.

See! Everybody is standing watching,

See! Everybody is standing watching.

Let us all pray,

Let us all pray.

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

3. Gu′ato ädâ′ga

Gu′ato ädâ′ga nyä′ongu′m,

Go′mtäyä′ ätso′dalsâ′dal,

Go′mtäyä′ ätso′dalsâ′dal.

Ä′nyä‛gâlo′nte,

Ä′nyä‛gâlo′nte.

Tä′lyi ĭmhä′go,

Tä′lyi ĭmhä′go.

Translation

I scream because I am a bird,

I bellow like a buffalo,

I bellow like a buffalo.

The boy will rise up,

The boy will rise up.

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

4. Da′ta-i nyä′hoănga′mo

Ä′häyä′ Ehä′eho′! Ä′häyä′ Ehä′eho′!

E′häyä′ Ehä′eho′! E′häyä′ Ehä′eho′!

Da′ta-i nyä′hoănga′mo,

Da′ta-i nyä′hoănga′mo.

Äde′tepo′nbä,

Ä′guănpo′nbä,

Ä′guănpo′nbä.

Translation

Ä′häyä′ Ehä′eho′! Ä′häyä′ Ehä′eho′!

E′häyä′ Ehä′eho′! E′häyä′ Ehä′eho′!

The father shows me the road,

The father shows me the road.

I went to see my friends,

I went to see the dances,

I went to see the dances.

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

5. Dak̔iñ′a bate′yä

Dak̔iñ′a bate′yä,

Dak̔iñ′a bate′yä.

Guăto ton nyäâmo,

Guăto ton nyäâ′mo.

Ähiñ′äih nyäâ′mo,

Ähiñ′äih nyäâ′mo.

Translation

The spirit (God) is approaching,

The spirit (God) is approaching.

He is going to give me a bird tail,

He is going to give me a bird tail.

He will give it to me in the tops of the cottonwoods,

He will give it to me in the tops of the cottonwoods.

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

6. Na′da′g äka′na

Heyĕ′heyĕ′heyĕ′heye′ Äho′ho′!

Na′da′g äka′na,

De′gyägo′mga da′tsä′to,

De′gyägo′mga da′tsä′to.

Äo′ñyo, Äo′ñyo.

Translation

Heyĕ′heyĕ′heyĕ′heye′ Äho′ho′!

Because I am poor,

I pray for every living creature,

I pray for every living creature.

Äo′ñyo! Äo′ñyo!

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

7. Ze′bät-gâ′ga igu′ănpa′-ima′

Ze′bät-gâ′ga igu′ănpa′-ima′,

Ze′bät-gâ′ga igu′ănpa′-ima′.

Bälä′gâ na′ta′dălgo′ma,

Bälä′gâ na′ta′dălgo′ma.

Tä′lyiă be′`pe′te,

Tä′lyiă be′`pe′te.

Translation

He makes me dance with arrows,

He makes me dance with arrows.

He calls the bow my father,

He calls the bow my father.

Grandmother, persevere,

Grandmother, persevere.

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

8. Be′ta! To′ngyä-gu′adăl

Be′ta! To′ngyä-gu′adăl äto′tl-e′dal,

Be′ta! To′ngyä-gu′adăl äto′tl-e′dal.

Bä′ate′ñyi, Bä′ate′ñyi.

Da′te gyäko′m ä′omhe′dăl,

Da′te gyäko′m ä′omhe′dăl.

Translation

Now I understand! Red Tail has been sent,

Now I understand! Red Tail has been sent.

We cry and hold fast to him,

We cry and hold fast to him.

He was made to live a long time,

He was made to live a long time.

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

9. Da′ta′-i änka′ñgo′na

Da′ta′-i änka′ñgo′na,

Da′ta′-i änka′ñgo′na.

Da′mânhä′go, Da′mânhä′go.

Ka′ante damânhä′go,

Ka′ante damânhä′go.

Translation

My father has much pity for us,

My father has much pity for us.

I hold out my hands toward him and cry,

I hold out my hands toward him and cry.

In my poverty I hold out my hands toward him and cry,

In my poverty I hold out my hands toward him and cry.

10. Da′ta-i iñka′ñtähe′dal

Ähä′yä Ehä′eho′,

Ähä′yä Ehä′eho′.

Da′ta-i iñka′ñtähe′dal.

A‛da′ta′-i dä′sa,

Ä‛da′ta′-i mâ′nsâ′dal,

Ä‛da′ta′-i to′ñsâ′dal,

Ä‛da′ta′-i o′mda.

Translation

Ähä′yä Ehä′eho′,

Ähä′yä Ehä′eho′.

My father has had pity on me.

I have eyes like my father’s,

I have hands like my father’s,

I have legs like my father’s,

I have a form like my father’s.

“So God created man in his own image.”

11. Dak`iñ′ago äho′ähe′dal

Dak`iñ′ago äho′ähe′dal,

Dak`iñ′ago äho′ähe′dal.

Gâ′dal-gâ′ga äho′ähe′dal,

Gâ′dal-gâ′ga äho′ähe′dal.

Do′m-gâ′ga äho′ähe′dal,

Do′m-gâ′ga äho′ähe′dal.

Translation

The spirit host is advancing, they say,

The spirit host is advancing, they say.

They are coming with the buffalo, they say,

They are coming with the buffalo, they say.

They are coming with the (new) earth, they say,

They are coming with the (new) earth, they say.

12. E′hyu′ñi degi′ăta

[[audio/mpeg]] [MusicXML]]

E′hyuñ′i degi′ăta,

E′hyuñ′i degi′ăta.

Tsä′hop ä′ä′he′dal,

Tsä′hop ä′ä′he′dal.

Na de‛gu′ănta, de‛gu′ănta; Na de‛gu′ănta, de‛gu′ănta;

Gâ′dal-guñ t`añ′gya deo′ta,

Gâ′dal-guñ t`añ′gya deo′ta.

Go′ dehi′äta, dehi′äta,

Go′ dehi′äta, dehi′äta.

Translation

I am mashing the berries,

I am mashing the berries.

They say travelers are coming on the march,

They say travelers are coming on the march.

I stir (the berries) around, I stir them around;

I take them up with a spoon of buffalo horn,

And I carry them, I carry them (to the strangers),

And I carry them, I carry them (to the strangers).

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

13. Go′mgyä-da′ga

Go′mgyä-da′ga,

Do′ nyä′zä′ngo,

Go′ da′gya iñhä′po,

Go′ da′gya iñhä′po.

Translation

That wind, that wind

Shakes my tipi, shakes my tipi,

And sings a song for me,

And sings a song for me.

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

14. Dak̔iñ′a daka′ñtähe′dal

Dak̔iñ′a daka′ñtähe′dal,

Dak̔iñ′a daka′ñtähe′dal.

Tsi′sûs-ä daka′ñtähe′dal,

Tsi′sûs-ä daka′ñtähe′dal.

Da′gya nyäpa′de,

Da′gya nyäpa′de.

Da′gya iñatä′gyi,

Da′gya iñatä′gyi.

Translation

God has had pity on us,

God has had pity on us.

Jesus has taken pity on us,

Jesus has taken pity on us.

He teaches me a song,

He teaches me a song.

My song is a good one,

My song is a good one.

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

15. Anso′ gyätä′to

[[audio/mpeg]] [MusicXML]]

Anso′ gyätä′to,

Anso′ gyätä′to;

Â′dalte′m ga′tä′dalto′-o′,

Â′dalte′m ga′tä′dalto′-o′;

Änĭmhä′go, Änĭmhä′go.

Translation

I shall cut off his feet,

I shall cut off his feet;

I shall cut off his head,

I shall cut off his head;

He gets up again, he gets up again.

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

KIOWA GLOSSARY

Äähe′dal—they are coming, it is said (ää′, I come); the suffix hedal implies a report.

Ädâ′ga—because I am; the suffix ga gives the idea of because.

Â′daltem—head; literally hair bone, i. e., skull; from â′dal, hair, and tem, bone.

Ädalto′yui—“young mountain sheep,” literally “herders” or “corralers,” one of the degrees of the Kiowa military organization. Also called Teñbeyu′i. (See [Arapaho song 43].)

Ä‛′data′i—like my father, resembling my father; from data′-i, father, my father.

Ädä′tode′yo′—he is standing watching it; ädä′tode, I stand watching it.

Äde′tepo′nbä—I went to see my friends; äde′teponbäta, I am going, etc; de′te, friend.

Äguănpo′nbä—I went to see dancing; ägu′anponbä′ta, I am going to see a dance; guan, a dance.

Ähäyä′—an unmeaning exclamation used in the songs.

Ä′hiñ-aih—in the tops of the cottonwood; from ä′hiñ, cottonwood, and aih, in or on the tree tops.

Aho′ähe′dal—they are approaching, it is said (as a family on the move, or an army on the march, with household goods, etc); the suffix hedal implies a report or rumor. Äho′ä, I am coming on, with my family and possessions. Compare Imzä′nteähe′dal.

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

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

Äka′na—for Äka′on, q. v.

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

Änĭmhä′go—he gets up again, he rises again. Dehä′go, I rise; behä′, get up; ĭmhä′go, he will get up.

Ankañ′gona—he pities us much; gyäkañ′ti, it is a pity. Compare Iñkañ′tähe′dal.

Anso—feet; anso′i, foot.

Ä′nyä′gâlo′nte—I bellow like a buffalo (habitual); nyäo′nto, I am bellowing like a buffalo.

Äomhe′dal—he was made so; äo′mdatso′ha, I am made so, I am rendered thus.

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

Asa′tito′la—“he whom we send to work,” i. e., “the messenger;” the name by which the Kiowa prophet, Bi′äñk̔i, is now known.

Äto′tl-e′dal—he was sent; gyäto′, I send him.

Ätso′dalsâ′dal—I have wings (attached); from tsodal, wing.

Bä′ateñ′yi—we cry and hold fast to him; gyäteñ′ta, I cry and hold fast to him.

Bäte′yä—he is approaching; äba′teyä, I am approaching. Compare Imzä′nteähe′dal.

Be′a‛mâ′nhäyi—stretch out your (plural) hands in entreaty. Dea′‛mânhä′go, I stretch out, etc; bea′‛mânhä, stretch out your (singular vocative), etc.

Be′dălgu′at—another Kiowa name for the Wichita; signifying “painted or tattooed lips;” from bedal, lips or mouth, and guat, painted, tattooed, or written. See Do‛gu′at.

Be′dălpago—“hairy mouths;” one of the Kiowa names for the whites; from bedal, lips or mouth, pa, downy hair or fuzz, and go or gua, the tribal terminal. Compare Ta‛ka′-i.

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

Bi′äñk̔i—“eating man,” “eater,” a Kiowa prophet and medicine-man; also known as Asa′tito′la, “the messenger.”

Botk̔iñ′ago—the Kiowa name for the Aä′ninĕ′na or Arapaho Grosventres. The name signifies “belly people;” from bot, belly or stomach, and k̔iñago, people, from k̔iñahi, “man.”

Dä-e′dal—“great star;” from dä, star, and e′dal, great; one of the Kiowa names for the morning star. It is more commonly called T’aiñso, “the cross.” (See [Arapaho song 72].)

Da′gya—a song.

Dakañ′äthe′dal—another form of Iñkañ′tähe′dal, q. v.

Dak̔iñ′a—spirit, God; plural dak̔iñ′ago; from da-i, medicine, mystery, and k̔iña or k̔iñahi, man.

Dak̔iñ′ago—spirits, the spirits; spirit, God, dak̔iñ′a.

Da′mânhä′go—for Dea′‛mânhä′go.

Däsa—I have eyes; dä, t’ä, eye.

Da′ta-i—father.

Da′te—a long time.

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

Datsä′to—I pray for them; nĭ′ndatsä′to, I pray for him.

Dea′‛mânhä′go—I hold out my hands toward him in entreaty. Compare Be′a‛mâ′nhäyi.

De′beko′datsä—let us all pray or worship, we must all pray or worship; deda′tsäto, I pray.

De′dom—all the world; from dom, the earth, and de, all, complete.

Degi′ăta—I am mashing or pounding it.

De‛gu′ănta—I stir it around.

De′gyägo′mga—every living creature; the prefix de conveys the idea of every or all.

Dehi′äta—I take it.

De′ĭmgo—look, everybody! See, everybody around! The prefix de gives the idea of everybody or all.

De′ĭmhä′date—everybody will arise; from dehä, I rose up from a reclining position. The prefix de gives the idea of everybody, all, or completeness, according to context.

Deo′ta—I lift it up, I raise it.

Do′—tipi.

Do‛gu′at—the Kiowa name for the Wichita, signifying “painted or tattooed faces,” from dobä, face, and gu′at, painted, engraved, or written.

Dom—the earth.

Dom-gäga—with the earth; gâga, with, in composition.

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

E′häyä!—ibid.

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

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

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

Ezä′nteähe′dal—it is approaching, they say. Compare Imzä′nteähe′dal.

Ezä′nteda′te—it will shake, or tremble (impersonal).

Gâ′dal-gâ′ga—with the buffalo; gâga, with, in composition; gâdal, buffalo, generic; pa, a buffalo bull.

Gâ′dal-guñ—a buffalo horn; from gâdal, buffalo; and gu′ñti, horn.

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

Go—and.

Go′mgyä-da′ga—that wind; from gomgyä, wind, and daga, that, the, in composition.

Go′mtäyä—on (my) back; from gomtä or gombă, back.

Guadal—red.

Guăn—a dance.

Guan-â′dalka-i—“dance frenzy;” from guan, a dance, and â′dalka-i, crazy or foolish; the Kiowa name for the Ghost-dance ecstasy.

Gu′ato—bird.

Gyäko′m—life, living; hita′ägyä′komta′yä, I am alive.

Gyätä′to—I shall cut them off; gatä′dalto, I cut it off.

Häoñ′yo, or Äoñ′yo—a cry of grief, especially at funerals.

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

Imhä′go—he would get up, he would arise. Compare Änĭmhä′go.

Imzä′nteähe′dal—they are approaching, it is said; from dezä′nteä, I move about; the termination hedal makes it a matter of report or common belief, equivalent to “they say.” Compare Ezä′nteähe′dal. The verb implies coming on like a herd or company or like persons on a march. The simple verb for approaching is äba′teä. Compare Bate′yä and Äho′ähe′dal.

Iñatä′gyi—it is a good one; from tãgya or gyätä′gya, good.

Iñhä′po or Iñhäpa′de—he sings for me (as if to teach me); dagya gehäpo, I sing a song for him.

Iñkañ′tähe′dal—he has had pity on me; from gyäkañ′ti, (it is a) pity. Compare Ankañ′gona.

Ka′ante—another form of Ka′on, poor. Compare Äka′on.

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

Komse′ka-k̔iñ′ahyup—the former Kiowa name for the Arapaho. It signifies “men of the worn-out leggings;” from komse, “smoky, soiled, or worn-out,” kati, “leggings,” and k̔iñ′ahyup, “men.”

Mânsâ′dal—I have hands or arms; mânto, hand, arm.

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

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

Na ädâ′ga—because I am (emphatic); from na, I, my, and ädâ′ga (q. v.), because I am.

Nada′g—for Na ädâ′ga, q. v.

Nyäâ′mo—he will give it to me; nyänâ′mo, I shall give it to him. There are a number of verbs for give, according to the nature of the thing given.

Nyä′hoănga′mo—he shows or tells me the road; nyän′hoănga′mo, I show him the road; hoăn, road.

Nyäo′ngum—I scream; from äno′nde, it screams, or makes utterance with the mouth.

Nyäpa′de—for Iñhä′po or Iñhäpa′de, q. v.

Nyäzä′ngo—it shakes mine; änzä′ngo, it shakes his.

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

Pa-gu′adal—“red buffalo;” from pa, a buffalo bull, said gu′adal, red. A Kiowa man, the author of one of the Ghost-dance songs.

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

Poläñ′yup—“rabbits;” the lowest degree of the Kiowa military organization. (See [Arapaho song 43].)

Sa′he—green. (See [Arapaho song 64].)

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

Set-t’aiñ′ti—“white bear,” a noted Kiowa chief, about 1865–1875. The name comes from set, bear, t’aiñ, white, and ti, the personal suffix.

Soda′te—he will descend; äso′ta, I descend.

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

T’aiñ′so—the morning star; literally “the cross;” it is sometimes also called Dä-e′dal, the “great star.” (See [Arapaho song 43].)

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

Tälyi—a boy.

T‛añgya—a spoon; under certain circumstances the suffix gyă is dropped and the word becomes t’a.

T‛añ′peko—skunkberry (?) people; one of the degrees of the Kiowa military organization. (See [Arapaho song 43].)

Teñ′beyui—“young mountain sheep,” another name for the Ädalto′yui, q. v.

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

Tongyä-gu′adal—“red tail;” the name of a Kiowa man; from ton or tongyä, tail, and gu′adal, red.

Toñkoñ′go—“black legs,” one of the degrees of the Kiowa military organization. (See [Arapaho song 43]).

To′ñsâdal—I have legs; from toñti, leg.

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

Tsäñ′yui—“rabbits;” another name for the Poläñ′yup degree of the Kiowa military organization. (See [Arapaho song 43].)

Tseñtän′mo—horse headdress people (?), one of the degrees of the Kiowa military organization. (See [Arapaho song 43].)

Tsi′sûs (Tsi′sûs-ä)—Jesus.

Tsoñ—an awl.

Tsoñ′ä—the awl game. (See [Arapaho song 64].)

Yä′‛pähe—soldiers; the military organization of the Kiowa. (See [Arapaho song 43].)