HOME SONGS OF THE TEWA INDIANS 79 
bal Old Men.” 
personated at Christmas time by men 
These bogies are im- 
who wear masks and carry whips. 
When they enter the pueblo the children 
run and hide in the inner rooms but the 
masked men go from house to house 
asking how the children have behaved 
during the year. In case one has been 
incorrigible he is severely whipped. As 
a rule the punishment is not severe and 
a promise to mend one’s ways is some- 
times sufficient to ward off the dreaded 
whips of wide-leaved yucca. A whole- 
some discipline is introduced by these 
men; the parents themselves seldom 
punish their children. Sometimes a 
child may have a dislike for his morning 
porridge for instance, and in such a case 
the Siveyo Sendo call for a brimming 
bowl and stand over the child until every 
spoonful is gone. 
This song about the Siiveyo Sendo is 
sung as a lullaby to children four or five 
years of age. As in the preceding ex- 
ample the child’s name may be inter- 
polated. 
Stop crying! Go to sleep, my little boy, 
Primrose. 
That Saveyo Sendo will take you if you cry. 
Over there he will chew you, if you do not 
stop crying; 
Right now he will chew you, if you do not 
stop crying. 
That Siveyo Sendo in his bag he will put you. 
Stop crying! Go to sleep, my little boy, 
Primrose. 
Over there he will take you, then I will be 
crying! 
Very thick now are the leaves of the cotton- 
wood; 
Very thick now are the leaves of the willow. 
There he will take you in under the willow. 
That Siveyo Sendo, his teeth we all fear. 
Over there now, if you do not stop crying, 
Over there now, on the crest of the mountains, 
Those Siveyo walk and they hear every 
sound. 
And there in the mountains that one he will 
take you 
Where now they are taking the big boys and 
girls. 
Other lullabys threaten the child with 
being carried off by a coyote and forced 
to live on juniper berries. They dilate on 
the stony paths for bare feet, the thorns 
that tear the little garments, the heat of 
day and the cold of night, and the mourn- 
ing of the playmates and of the parents 
for the little boy that will never find his 
ray home again. 
When I asked whether it was consid- 
ered wise to frighten children in this way, 
my interpreter, who was the mother of 
six children, answered very properly that 
no child could be frightened seriously 
No doubt 
the Tewa child looks upon the Siveyo 
when in its mother’s arms. 
Sendo with the same delicious trembling 
that we ourselves used to feel when 
hearing of the dangers of Jack in the 
giant’s house. 
Among the songs of labor are “ grind- 
ing songs”? sung by the women and girls 
as they bend over the metate. Then 
there are the “shouting songs”’ which the 
men sing in the fields and about the vil- 
lage. The hunting songs are, as has 
been stated, primarily magical and do 
not come in discussion. Certain 
dances are of a purely social nature and 
Most of the 
songs used in these dances do not have 
words. 
for 
may be begun at any time. 
Concerts by the men are some- 
times arranged, 
“bees.” 
The grinding songs are various. Some 
relate to the Corn Girls, the Corn Youths, 
and other personages that enliven the 
myths, and some comment upon the 
usually at grinding 
sprouting leaves, the flowering meadows 
and other pleasing aspects of nature. 
Many are love songs pure and simple, 
while others are rather cynical reflec- 
tions on the instability of love and the 
hardness of life. Some are humorous 
songs. It is pretty clear that the Tewa 
formerly had definite sequences in girls’ 
grinding songs that covered all times of 
