Feb., 191 2. The Oraibi Marau Ceremony — Voth. 69 



outside of the kiva, late in the afternoon (see Plate XXXI). After 

 the, last performance all take their marau-vahos (slabs) into the kiva 

 and then rest on the banquettes. 



The eight arrows are taken to the Pookong kihu (shrine of the War 

 God), north of Oraibi (see Plate XXXII). 



One of the last acts of the entire ceremony, as far as I could as- 

 certain, is the breaking up of the corn-cone, that is prepared by several 

 women on the fourth day. Every woman receives a small piece of 

 the cone with a few grains of corn in it. This they hold in one hand, 

 covering it with the other hand for a few minutes in deep silence, per- 

 haps uttering a silent prayer. They take this with them to their homes. 



In conclusion I might state that, in going through my notes again, 

 I realize more than ever how many details about the Hopi ceremonies 

 remain to be studied yet. And I hope that some one may be able to 

 secure what is lacking in our knowledge of the complicated, rich Hopi 

 ceremoniology, though the opportunities for this are far less favorable 

 now than they were some years ago. 



SONGS CHANTED IN THE ALTAR CEREMONIES. 



INTRODUCTORY NOTE. 



The following songs do not constitute the entire number that are 

 sung, the third and the last four not having been obtained. When 

 Wickwaya alone dictated and sang these for me towards the end of 

 my stay in Oraibi we did not get through, and my hope to get the 

 rest of the songs was never realized. Like very many of the songs 

 of the regular Hopi ceremonies a number of the Marau songs either 

 contain words and forms that are no longer in every-day use or they 

 are entirely in another language than the Hopi, probably having been 

 borrowed from the Pueblo of New Mexico. Hence the translation 

 of these songs is not claimed to be perfect and in some cases is frag- 

 mentary. Hopi songs usually contain only a few words at the best, 

 a large part of the lines being filled out by repeating and dragging 

 out certain syllables or ejaculations ad libitum. Where this is the 

 case these parts of the different stanzas of a song have not been fully 

 written out every time, reference* being made to the first verse. It 

 will be noticed that these repetitions are not exactly alike in the differ- 

 ent verses of a song. Everything being a matter of oral tradition and 

 memory, it may easily be understood that small variations would occur, 

 a fact which I have noticed very frequently in the different ceremonies. 



The numbers in the songs refer to corresponding .numbers in the 

 explanation at the end of the song. 



