[69] A sharp upright rock at Picacho at the foot of the Chocolate mountains, above Yuma. According to Ford, Ethnography of the Yuma, p. 102, there was a historic Yuma village here.
36. Now the people there stood in a circle about her. She was thinking about her own body. "I wonder what color I shall be: white or blue or yellow? Well, I will turn black. I shall be a rock, but all will know me, that I am Nyohaiva. My name will be Avi-soqwīlye.[70] All will know that rock and that it is Nyohaiva." (No songs.)
[70] A black rock, "as large as a house," on which soqwīlye hawks nest. It is about a quarter of a mile from Amaṭ-ya'āma. The transformation is appropriate for the leading character of a war cycle, because dreaming of soqwīlye hawks is what makes warriors.
THE SONG SCHEME
As already said, the Nyohaiva singing is "short": it requires only one night to complete, probably including a certain amount of narration.
I give the number of songs at each point, first as the narrator volunteered them in telling the full text, and next as he subsequently revised them in a review of the skeleton of the story. There are the usual discrepancies; some perhaps due to misunderstanding; more, probably, to his not having in mind any really fixed scheme of the number of songs at each place.
Outline
| Origin, Identity, Future | ||
| [1]. Born at Miakwa'orve | 3 | 3 |
| [2]. South to Iδô-kuva'īre | 2 | 1 |
| [3]. Yuma Av'alyunu singing like Mohave Nyohaiva | 1 | 0 |
| [4]. At Selye'aya-kumītše, about her identity | 4 | 4 |
| [5]. At Kamahnulye, the same | 4 | 4 |
| [6]. At Savêt-tôhe, the same | 3 | 3 |
| Detour to the Walapai | ||
| [7]. At Aha-kuvilye, about buckskin shirt wearers | 4 | 1 |
| [8]. Returning from the Walapai to the river | 4 | 3 |
| Southward again | ||
| [9]. At Hotūrveve, on the trail | 1 | 1 |
| [10]. At Iveθīkwe-'akyulye, about her new name | 4 | 4 |
| [11]. At Amaṭ-ehê'-kwaδôske, claimed as sister | 3 | 3 |
| [12]. At Ho'aunye-vatše, claimed again | 3 | 3 |
| [13]. At Ahmo-kutšeθīlye, hears singing ahead | 2 | (?) |
| Magic, Game Won, Defiance | ||
| [14]. Flies as arrow to Amaṭa-kwitše; afraid to eat | 3 | 3 |
| [15]. From Aqwāqa-have to Avi-tšôrinyêne, wins contest, defiance | 4 | 4 |
| War Will Come | ||
| [16]. At Avi-haly'a, telling of war coming | 4 | 4 |
| [17]. At Avê-ny-eva, same | 1 | 1 |
| [18]. At Qapotaq-ivauve, the cardinal directions | 4 | 3 |
| [19]. At Avi-tuva'auve, the sky is near | 2 | 3 |
| [20]. At Akulye-tšakapava | 2 | 3 |
| [21]. Avi-tšitše named | 4 | 3 |
| [22]. At Amaṭ-ehê-'iδauve, about white paint | 4 | 3 |
| War Party Got up | ||
| [23]. At Ava-tšohai, reaching allies | 4 | 4 |
| [24]. Horrave-sakamīm appointed leader there | 3 | 0 |
| On the March, and Preparations | ||
| [25]. Crossing the river to Ahpe-hwêlyeve | 4 | 2 |
| [26]. At Amaṭ-tato'itše, curing cactus spine | 2 | 2 |
| [27]. At Aqwāqa-mūnyô, on the way to battle | 3 | 3 |
| [28]. At Matha-tše-kwilyeve, meeting mountain sheep | 4 | 3 |
| [29]. At Koθīlye, crossing the river | 3 | 3 |
| [30]. Across it, painting themselves | 4 | 3 |
| [31]. On the way, about her steps and arms | 5 | 3 |
| The Stupefied Foe Is Beheaded | ||
| [32]. At Aqwāqa-have again, Otšôuta decapitated | 4 | 4 |
| The Victory Dance | ||
| [33]. At Sama'ôkusa, about his scalp; the Alyha' | 4 | 4 |
| [34]. At same place, the scalp on the pole | 4 | 4 |
| Transformation of Victim and Victor | ||
| [35]. At Amaṭ-ya'āma, Otšôuta's skull thrown to Picacho Rock | 0 | 4 |
| [36]. Nyohaiva turns into Hawk-Rock | 0 | 0 |
| — | — | |
| 110 | 98+ |
The first list aggregates 110 songs in 34 groups; the second, 98 or 100 in 33. In the first list, groups of four songs are most frequent, occurring 17 times. In the second list groups of four occur only 10 times, but groups of three 16 times. In short, in the second enumeration the typical group consists of three instead of four songs. At what appear to be crucial points—Nyohaiva's identity, her new name, the contest, Otšôuta's killing, the scalp dance—the two lists agree in naming the full complement of four songs. Evidently there is some sense that lesser episodes merit fewer songs. That this sense of relative weight is fairly constant is shown by the fact that of 31 places or stages to which both lists attribute songs, 19 have the same number; 9 differ by only one song, as three for four or three for two; and only 3 differ more widely: see paragraphs [7], [25], [31]. There is thus evident a plan in the narrator's mind for relative elaboration of songs in different parts of the story. This plan is adhered to with approximate consistency or repetition; but it is no precise ritual scheme fixed in memory.