The hero hides himself from the four women.
Lets himself be found rotten but is restored.
Wins encounter with Meteor.
Wins gambling with Sun.
Through his winning makes himself attractive to his wives.
Complex as the action is here, it is thus nevertheless well tied together.
This is the longest section of Cane: about a quarter of the total narration, and this crowded with stirring events. But the songs of the section constitute only about a sixth, and the song stations or paragraphs about an eighth, of the total. There is much happening, but little of the discrete incident that best lends itself to singing about.
Section I is moderately long and describes the journey home, but now with his wives, in order to meet his mother, a half-brother unmentioned before, and finally his dead father's shadow. Kinship relations are thus in the forefront, and most of the topography is still indefinite. The return, as so often in Mohave story, presages war. The hero's successive reunions, culminating in the unique interview with his father's spirit, build up affect toward a climax which can end only in a contest with his hereditary foes.
This contest constitutes part J, and is characteristically brief: the Mohave seem not to know how to dilate on a fight, even one conducted by magic. The hero first beats his enemies in competitions, then destroys them with lightning from his magic cane. The narrator's knitting together of items, and suspending them over intervals, is evidenced by the lightning cane, which has been acquired in paragraph [90], but is used only in [102].
Section K, the final transformation of the hero and his folk into stars, birds, and rocks, is of course a conventional coda—somewhat like the particle used in some languages, or the tone-glide in others, to indicate end of sentence. It means nothing specific in relation to the particular events preceding, but without it the tale would not be felt as having been brought to an end.