SUN WORSHIP FEWKES. 503 



closing- symbols of sprouting vegetation. As this trio passes through 

 the village these symbols are distributed to the head of each clan. 

 Many rites in addition to those above mentioned are performed, but 

 those described illustrate the more important phase of the drama — 

 the combined efforts of the Sun worshipers to overcome hostile 

 powers, to halt his departure, and to renew life, thereby insuring the 

 growth of the corn. 



The role that sun serpent worship plays among the Hopi may be 

 more clearly understood by an examination of another celebration of 

 the Patki clans occurring at the end of March, near the vernal equi- 

 nox. So close is this to a theatrical exhibition that it is difficult to 

 determine whether it is a religious or a secular observance. Origi- 

 nally, probably, it was the former, but the personations in it are so 

 striking that it has been modified into a secular performance. A 

 special article 1 has already been devoted to the different acts, six in 

 number, which last from sunset to sunrise the next day. 



The setting of the horned serpent scenario at the vernal equinox 

 at Walpi is quite different from that at the winter solstice, although 

 the effigies of this monster are identical in both ceremonies. During 

 this celebration we have a succession of dramatic performances, each 

 of which crudely represents some cultural episode in the history of 

 the tribe. 



The events about to be described occurred consecutively in sacred 

 rooms or kivas which at the time were occupied by spectators, the 

 performers passing from one room to another performing simul- 

 taneously different acts in the rooms. Each room at that time had a 

 different audience, determined by clan affiliations, crowded in the 

 spectators' section or the raised part of the floor at one end of the 

 chamber. The ceremonial region of the room was unoccupied save 

 by the performers, who came and left before and after each act. 

 During the performance the kiva chief, who controls the rites, sits 

 near the fireplace at the base of the ladder, and feeds the fire with 

 greasewood, the flames of which furnish the only light to illuminate 

 the chamber. The performers bring their own paraphernalia, which 

 they set up in the dark, the fire tender allowing the flame to go down 

 meanwhile or covering it with a blanket that the preparations for 

 the successive acts may not be witnessed by spectators. In the sev- 

 eral acts that form this primitive drama many episodes in the cul- 

 ture history of the tribe were dramatized, but I shall consider only 

 those in which the horned snake cult was introduced. 



The first act, in some respects, is similar to the so-called screen 

 drama of the winter solstice and is one of the most instructive. The 

 spectators having assembled, the kiva chief takes his seat on the floor 



1 A theatrical performance at Walpi. Proc. Wash. Academy of Science, Vol. II, 

 pp. 605-629, 1900. 



