In Seneca myths raising from the dead was very impressive. Sometimes the dry, fleshless bones of hundreds and hundreds of the first people were found lying in a heap or close together. The hero, another of the first people, pushes a hickory-tree as if to throw it on them, crying at the same time, “Rise up! or the tree will fall on you.” That moment all the dry bones sprang up, took on flesh, and assumed their old forms immediately. Indian humor creeps out sometimes by giving us two lame people of the uprisen company. In the hurry and rush, while the dry bones are arranging themselves, two legs get astray; two personages have each one leg which is his own and one which belongs to his neighbor.
JUIWAIYU
This myth has many and very valuable elements,—the importance of dreams, the stopping or slackening the course of the sun, the music of Juiwaiyu as he moves, the choice of the right road, the storm of vermin, Jupka as monitor and helper, the summons to send Damhauja’s daughters to meet him, the inexhaustible venison no larger than a walnut, Juiwaiyu’s marvellous music on the mountain, the bringing home of countless deer in the body of a fawn, the race with Damhauja’s sons-in-law, the meeting with the poison spider, the rattlesnake and the grizzly bear, the storm, the drowning of Damhauja and his resurrection,—make this one of the richest of Yana tales.
Playing with two bones was very much like playing ball. Near both ends of the field barriers were set up, and each side had to put the bones past the barrier toward which they faced.
The starting-point was in the middle of the field, at an equal distance from both barriers. At the opening of the game all the players gathered at this middle point; the bones were thrown up, and all struggled for them. Whoever caught the bones on his stick either hurled them toward the barrier beyond which he wished to put them, or he ran toward it, bearing them on the point of his stick. If there were swifter runners than he, they took the bones from him, or if he hurled them ahead, they ran and threw them or carried them toward one barrier or another. The bones were fastened together by a string some inches long.
In Yana tales, Damhauja, the moon during the last quarter, plays or rather played, a great part. I say played, since, unfortunately, we have but a fragment of Yana lore left after the events of 1864. Damhauja’s sons-in-law on the west side of the river, in this tale, were various Mapchemaina people,—that is, beings who somewhat later became beasts, birds, plants, rocks, and insects on earth. All the stars were his children. His daughters, stars, were married to Mapchemaina people, except the two of whom Juiwaiyu had dreamed. His sons, stars also, lived near him, and were at enmity with his sons-in-law.
THE FLIGHT OF TSANUNEWA AND DEFEAT OF HEHKU
It is not so easy to decide who Hehku is. Her most usual, if not her regular and normal, form is that of a horned serpent; but she changes herself into various forms. When angry, or rather when raging, she becomes a Putokya,—that is, a skull person, like Hitchinna. These Putokyas seem to be the cyclone or tremendous wind which moves in a narrow path and makes a clean sweep of everything.
The gambling scene in Jupka’s sweat-house is good. Hehku has easy work till she meets the master, who to his incomparable power adds deceit.
The game, connected here with Jupka’s sweat-house, is played by two persons sitting opposite each other. One of these holds a small “Jupaiauna” bone or stick in one of his closed hands, and the other guesses which hand it is in. The process of playing is as follows:—