Ah, a smile plays upon her lips, as she realizes that she has kissed her child! In its eyes and mouth she discerns clearly the features she has loved in the strong countenance of another, though in the little woman’s face they are softened and retouched by the hand of the “Great Mystery.”
The baby girl is called Winona for some months, when the medicine-man is summoned and requested to name publicly the first-born daughter of Chetonska, the White Hawk; but not until he has received a present of a good pony with a finely painted buffalo-robe. It is usual to confer another name besides that of the “First-born,” which may be resumed later if the maiden proves worthy. The name Winona implies much of honor. It means charitable, kind, helpful; all that an eldest sister should be!
The herald goes around the ring of lodges announcing in singsong fashion the christening, and inviting everybody to a feast in honor of the event. A real American christening is always a gala occasion, when much savage wealth is distributed among the poor and old people. Winona has only just walked, and this fact is also announced with additional gifts. A wellborn child is ever before the tribal eye and in the tribal ear, as every little step in its progress toward manhood or womanhood—the first time of walking or swimming, first shot with bow and arrow (if a boy), first pair of moccasins made (if a girl)—is announced publicly with feasting and the giving of presents.
So Winona receives her individual name of Tatiyopa, or Her Door. It is symbolic, like most Indian names, and implies that the door of the bearer is hospitable and her home attractive.
The two grandmothers, who have carried the little maiden upon their backs, now tell and sing to her by turns all the legends of their most noted female ancestors, from the twin sisters of the old story, the maidens who married among the star people of the sky, down to their own mothers. All her lullabies are feminine, and designed to impress upon her tender mind the life and duties of her sex.
As soon as she is old enough to play with dolls she plays mother in all seriousness and gravity. She is dressed like a miniature woman (and her dolls are clad likewise), in garments of doeskin to her ankles, adorned with long fringes, embroidered with porcupine quills, and dyed with root dyes in various colors. Her little blanket or robe, with which she shyly drapes or screens her head and shoulders, is the skin of a buffalo calf or a deer, soft, white, embroidered on the smooth side, and often with the head and hoofs left on.
“You must never forget, my little daughter, that you are a woman like myself. Do always those things that you see me do,” her mother often admonishes her.
Even the language of the Sioux has its feminine dialect, and the tiny girl would be greatly abashed were it ever needful to correct her for using a masculine termination.
This mother makes for her little daughter a miniature copy of every rude tool that she uses in her daily tasks. There is a little scraper of elk-horn to scrape rawhides preparatory to tanning them, another scraper of a different shape for tanning, bone knives, and stone mallets for pounding choke-cherries and jerked meat.
While her mother is bending over a large buffalo-hide stretched and pinned upon the ground, standing upon it and scraping off the fleshy portion as nimbly as a carpenter shaves a board with his plane, Winona, at five years of age, stands upon a corner of the great hide and industriously scrapes away with her tiny instrument! When the mother stops to sharpen her tool, the little woman always sharpens hers also. Perhaps there is water to be fetched in bags made from the dried pericardium of an animal; the girl brings some in a smaller water-bag. When her mother goes for wood she carries one or two sticks on her back. She pitches her play teepee to form an exact copy of her mother’s. Her little belongings are nearly all practical, and her very play is real!