ABORIGINAL AMERICAN BASKETRY. 319 



that some styles of patterns found on tent ornaments and [larfleches are very old and 

 sacred, because originating from mythic beings; that a considerable number of 

 objects are decorated according to dreams and visions; and, finally, that all syndiol- 

 ism, even when decorative and unconnected with any ceremon\-, tends to be to the 

 Indian a matter of a serious and religious nature. 



The Kskiino also and the Aleuts perpetuate no thought or niyth in 

 basketry synilwls. The etchinos of the former on i\'ory are also mod- 

 ern and were learned from outside teachers. It is not in these that 

 the idea is to bo sought. Not for a moment is it to be thought, how- 

 ever, that ther(^ is no syml)olisin existing. All the life is wrapped up 

 in hunting. The long, dark wnnter, the return of the sun with the 

 innum(u-a])le retinue of life in the air and in the waters gives the key- 

 note. It is in the dramaof hunting and tlu^ masks worn in dances that 

 symbolism is embodied. 



On the Pacific coast from Alaska to the peninsula of C'tilifornia and 

 in the Interior Basin the tribes have l)een left to their own devices 

 through the centuries, and it is here that survivals of symbolism are to 

 be sought. They will ])e found in one place full of life and ancient 

 spirituality; in another stung l)y civilization, they are as torpid as the 

 spiders that are placed in their nests bv the mud wasps. 



The name Tlinkit applies to a luuuber of basket-making tribes in 

 southeastern Alaska. In their charming archipelago they^ have devel- 

 oped a uni([ue scheme of symbolism growing out of their mode of life. 

 This has been thoroughly studied hy Lieut. G. T. Enunons, U. S. 

 Navy, in his collections in the American Museum of Natural History, 

 New York, and the identifications here made are on his authority." 

 They cover a wdde range of meanings. Supplementary to this l)asket 

 symbolism, or rather preeminent over it, are the Chilkat blankets and 

 the endless variety of carvings in stone, horn, and wood, and the sym- 

 bolic paintings on all sorts of surfaces. The following identitications 

 are from specimens in the U. S. National Museum: 



Ars suck har ha yar ku, "Spirit voice, or shadow of a tree." 



Kah thluckt yar, " Water drops." 



Kisht, "The crossing." 



Klake da kheet see tee, "Single tying around." 



Klaok shar yar kee kee, " Head of the salmon l)erry cut in half." 



Ku Klate ar ku wu, "The Arctic tern's tail." 



Kuk thla ku, " Flaking of the flesh of fish." 



Shon tche kultli kah katch ul tee, "Tattooing on the back of the hand of au 



old person." 

 Shuh tuck ou hu, " Shark's tooth." 

 Shar dar yar ar kee, "Work on Shaman's hat." 

 Thlul k 3'ar nee, "The leaves of the fireweed." 

 Ut tu wark ee, ' 'An eye. ' ' 

 Ut kheet see tee, "Tying around." 

 Yehlh ku wu, " Raven's tail." 



"Basketry of the Tlingit Indians, Memoirs of the American Museum Natural 

 History, III, 1903, pp. 229-277. 



