§ 125. Lynd’s account is slightly different, though in substantial accord with the preceding one:
When a youth arrives at the age proper for going on the warpath he first purifies himself by fasting and the inipi or steam bath for three days, and then goes, with tears in his eyes, to some wakan man whose influence is undoubted, and prays that he will present him with the wotawe or consecrated armor. This wakan man is usually some old and experienced zuya wakan or sacred war leader. After a time the armor is presented to the young man, but until it is so presented he must fast and continue his purifications incessantly. It is a singular fact that nothing but the spear of this armor is ever used in battle, though it is always carried when the owner accompanies a war party. At the same time that the old man presents the armor he tells the youth to what animal it is dedicated, and enjoins upon him to hold that animal wakan. He must never harm or kill it, even though starvation threaten him. At all times and under all circumstances the taboo or wohduze is upon it, until by slaying numerous enemies it is gradually removed. By some the animal is held sacred during life, the taboo being voluntarily retained.[127] (See §§ 101, 127.)
THE SPIRITS OF THE MYSTERY SACKS.
§ 126. These are similar to the armor gods, in that they are divinities who act as guardian spirits. Each of these powers is appropriated by a single individual, protecting and aiding him, and receiving his worship. These spirits are conferred at the time of initiation into the order of the Mystery Dance, and of course are confined to the members of that order.[128] Each spirit of the mystery sack is not a separate god, but a wakan power derived from the Unkteḣi, according to a later statement of Riggs.[129]
TAKUŚKAŊŚKAŊ, THE MOVING DEITY.
§ 127. This is a form of the wakan which jugglers, so-called mystery men, and war prophets invoke. In their estimation he is the most powerful of their gods; the one most to be feared and propitiated, since, more than all others, he influences human weal and woe. He is supposed to live in the four winds, and the four black spirits of night do his bidding. The consecrated spear and tomahawk (see § 124) are its weapons. The buzzard, raven, fox, wolf, and other animals are its lieutenants, to produce disease and death.[130] (Compare this with some of the pictographs on the war chart of the Kansa tribe: Fig. 4, Wind songs; the connection between the winds and war is shown in § 33. Fig. 8, Deer songs. Fig. 9, an Elk song. Fig. 10, seven songs of the Wakanda who makes night songs. Fig. 11, five songs of the Big Rock. This is a rough red rock near Topeka, Kans. “This rock has a hard body, like that of a wakanda. May you walk like it.” Fig. 12, Wolf songs. The wolf howls at night. Fig. 13, Moon songs. Fig. 14, Crow songs. The crow flies around a dead body which it wishes to devour. Fig. 18, Shade songs. There is a Wakanda who makes shade. Fig. 20, song of the Small Rock. Fig. 22, songs of the young Moon. Fig. 23, songs of the Buffalo Bull. Fig. 27, Owl songs. The owl hoots at night.[131])
§ 128. Miss Fletcher has given us a very interesting account of “The Religious Ceremony of the Four Winds or Quarters, as observed by the Santee Sioux.” “Among the Santee (Sioux) Indians the Four Winds are symbolized by the raven and a small black stone, less than a hen’s egg in size.” “An intelligent Santee said to me: ‘The worship of the Four Winds is the most difficult to explain for it is the most complicated.’ The Four Winds are sent by the ‘Something that Moves.’”[132] There is a “Something that Moves” at each of the four directions or quarters. The winds are, therefore, the messengers or exponents of the powers which remain at the four quarters. These four quarters are spoken of as upholding the earth,[133] and are connected with thunder and lightning as well as the wind.[134] * * *
“My informant went on to tell me that the spirits of the four winds were not one, but twelve, and they are spoken of as twelve.”[135] (See § 42.)
§ 129. In Tah-koo Wah-kon, pp. 64, 65, Riggs says:
This god is too subtle in essence to be perceived by the senses, and is as subtle in disposition. He is present everywhere. He exerts a controlling influence over instinct, intellect, and passion. He can rob a man of the use of his rational faculties, and inspire a beast with intelligence, so that the hunter will wander idiot-like, while the game on which he hoped to feast his family at night escapes with perfect ease. Or, if he please, the god can reverse his influence. He is much gratified to see men in trouble, and is particularly glad when they die in battle or otherwise. Passionate and capricious in the highest degree, it is very difficult to retain his favor. His symbol and supposed residence is the bowlder (see Big Rock and Small Rock, § 127), as it is also of another god, the Tunkan.