(d) Explanatory Speeches.—These are of so specific a nature that no single one can be considered typical.
(e) Speeches of Admonition.—“Nephew, now I shall tell you the path you must walk, the life you must lead. This is the life the Rabbit obtained for us. This is the only kind of life, this that our ancestors followed. Listen to me. If you will always help yourself, then you will attain to the right life. Never do anything wrong. Never steal, never tell an untruth, and never fight. If you meet a woman on the left side of the road, turn to the right. Never accost her, nor speak familiarly with a person whom you are not permitted thus to address. If you do all these things, then you will be acting correctly. This is what I desire of you.”
2. Types of Songs.—The songs may be divided into two groups: (1) those that are sung in connection with myths and after the speeches of a more general nature, and (2) those that are sung to accompany definite and specific actions. These latter can therefore be most conveniently divided into (a) minor dance songs, (b) major dance songs, (c) initial songs, (d) terminal songs, (e) loading songs, and (f) shooting songs. The medicine-men distinguish only between four kinds of songs,—major and minor dance songs, terminal and shooting songs. Each has a different rhythm and music. For purposes of description, however, the above division is more convenient.
3. Types of Action. (1) Blessing.—Either hand is held outstretched, palm downward, and moved horizontally through the air. It is always used when entering and leaving the lodge, and on any occasion where an individual has to pass from one part of the lodge to another. It is always rendered as “blessing” by the Indians; and they particularly insisted upon the fact that the “blessing” was not conveyed by any words used in connection with the action, but by the action itself. Each person who is thus passed answered with a long-drawn-out “ho-o-o,” and with an obeisance of the head.
A modification of the above is the nansura niñkuruhintce (or “blessing of the head”), which consists of a simple laying of the hand upon the head; both the giver and recipient keeping their eyes fixed on the ground, and the recipient slightly bending his head. A few mumbled words accompany this action.
(2) Direction of Walking in the Lodge.—One must always pass contrary to the hands of the clock. A person in the East Band must make the entire circuit of the lodge in order to pass out. In only exceptional cases can this rule of passing be broken; and that is when an old and specially privileged member crosses from his seat to that directly opposite him, during the shooting ceremony. I was given to understand that this was an extremely expensive privilege.
4. Types of Ritual.—Parts III, IV, and V can be so analyzed that they fall into a fairly well-defined number of complexes, consisting of speeches, songs, and movements. These are nine in number. Artificial distinctions have been avoided in this division, as far as possible. The complexes are (1) entrance ritual; (2) exit ritual; (3) fire ritual; (4) presentation-of-food ritual; (5) shooting ritual; (6) initiation ritual; (7) sweat-lodge ritual; (8) smoking ritual; (9) basic ritual.
Of these, (3), (5), (7), (8), and (9) are found in Part III; all, except (7) and (6), in Part IV (a); and all except (7) in Part IV (b); (5) does not actually occur in Part III, but is described in detail in the myth related there. The order in which we will discuss these ceremonial complexes is not the order in which they follow one another in the ritual. Some of them are likewise interwoven with one another. Both these factors will, however, be considered in the description of the entire ritual, following the description of each ceremonial complex.
(1) Entrance Ritual.—The band enters the tent, makes one complete circuit, and stops. The leader now delivers a short speech, followed by a song. They then continue to the west end, where another speech is delivered and another song sung. After this, they continue again, and stop at the east end, where the leader talks and sings. Now all sit down. After a short pause, the leader again rises, and, walking over to the ancestor-host, talks to him, and gives him some tobacco. He then returns to his seat. Each band entering repeats the same ritual. This applies, however, only to Part IV (a) and (b).
(2) Exit Ritual (Part IV, a and b).—The East leader rises and speaks, followed by North, West, and South. They then speak again, and, singing, walk towards the entrance in such a way that the South, North, and West Bands make complete circuits of the lodge, thus enabling the East Band to precede them. Near the entrance all stop singing, and say “wahi-hi-hi” four times, and pass out. This exit ceremony differs slightly in the two divisions of IV.