﻿492 
  ANNUAL 
  EEPOKT 
  SMITHSONIAN 
  INSTITUTION, 
  1921 
  

  

  A 
  man 
  and 
  his 
  wife 
  of 
  the 
  Kiksadi 
  clan 
  were 
  out 
  fishing 
  one 
  day 
  

   when 
  they 
  heard 
  a 
  song. 
  They 
  loolced 
  for 
  some 
  time 
  before 
  tliey 
  

   discovered 
  that 
  it 
  came 
  from 
  a 
  little 
  frog 
  in 
  the 
  stern 
  of 
  their 
  canoe. 
  

   The 
  frog 
  was 
  cared 
  for 
  by 
  the 
  ^voman. 
  In 
  this 
  manner 
  the 
  frog- 
  

   became 
  the 
  property 
  of 
  the 
  Kiksadi 
  clan. 
  

  

  The 
  Kakwantan 
  claim 
  that 
  at 
  one 
  time 
  the 
  eagle 
  rendered 
  valu- 
  

   able 
  assistance 
  to 
  a 
  member 
  of 
  the 
  clan 
  who 
  in 
  time 
  turned 
  into 
  an 
  

   eagle. 
  That 
  is 
  how 
  the 
  eagle 
  (a 
  Haida 
  totem) 
  became 
  the 
  property 
  of 
  

   the 
  northern 
  Tlingit. 
  

  

  The 
  woodworm 
  is 
  the 
  particular 
  crest 
  of 
  the 
  Ganaxadi 
  since 
  a 
  

   woman 
  of 
  that 
  clan 
  suckled 
  the 
  legendary 
  woodworm 
  at 
  Tuxikan. 
  

  

  O 
  onventionalis 
  fm 
  in 
  art 
  designs. 
  — 
  Totem 
  pole 
  art 
  is 
  almost 
  entirely 
  

   a 
  representation 
  of 
  animals. 
  These 
  representations 
  refer 
  for 
  the 
  

   most 
  part 
  to 
  the 
  role 
  played 
  by 
  certain 
  animals 
  as 
  actors 
  in 
  native 
  

   mj'ths. 
  To 
  properly 
  understand 
  the 
  carving 
  one 
  must 
  know 
  the 
  

   story 
  of 
  the 
  myth. 
  Then, 
  to 
  make 
  the 
  totem 
  pole 
  art 
  still 
  more 
  

   abstruse, 
  the 
  Indian 
  artist 
  has 
  certain 
  rules 
  of 
  procedure 
  which 
  

   obtain 
  for 
  him 
  the 
  desired 
  results 
  but 
  which 
  make 
  the 
  representa- 
  

   tions 
  of 
  animals 
  unintelligible 
  to 
  us 
  unless 
  the 
  rules 
  are 
  also 
  known. 
  

  

  He 
  adds 
  certain 
  parts 
  which 
  convention 
  dictates 
  must 
  be 
  added; 
  

   or 
  he 
  may 
  simplify 
  and 
  represent 
  only 
  what 
  are 
  to 
  him 
  the 
  essen- 
  

   tial 
  animal 
  parts. 
  As 
  he 
  wishes 
  to 
  represent 
  animals 
  as 
  the 
  ancestors 
  

   of 
  the 
  family 
  they 
  are 
  shown 
  with 
  human 
  faces 
  revealing 
  only 
  a 
  

   few 
  animal 
  characteristics. 
  

  

  The 
  moon 
  has 
  a 
  circular, 
  hawklike 
  face, 
  although 
  the 
  raven 
  is 
  

   often 
  carved 
  holding 
  the 
  moon 
  as 
  a 
  crescent 
  in 
  its 
  beak. 
  In 
  the 
  first 
  

   instance, 
  the 
  moon 
  is 
  a 
  personified 
  natural 
  object; 
  in 
  the 
  second, 
  the 
  

   moon 
  is 
  a 
  feature 
  in 
  the 
  mythical 
  life 
  of 
  the 
  raven 
  as 
  a 
  culture 
  

   hero. 
  The 
  mythical 
  thunderbird 
  who 
  makes 
  lightning 
  by 
  the 
  flash 
  

   of 
  its 
  eyes 
  and 
  thunder 
  by 
  the 
  flapping 
  of 
  its 
  wings 
  does 
  not 
  differ 
  

   from 
  the 
  carved 
  representations 
  of 
  the 
  eagle. 
  The 
  context 
  alone 
  must 
  

   aid 
  in 
  telling 
  what 
  is 
  intended. 
  There 
  is 
  often 
  a 
  cloud 
  hat 
  on 
  the 
  

   thunderbird, 
  and 
  the 
  beak 
  is 
  longer 
  than 
  that 
  of 
  the 
  eagle, 
  which 
  

   is 
  short 
  and 
  curved 
  downward. 
  

  

  The 
  curved 
  beak 
  of 
  the 
  hawk 
  is 
  invariably 
  represented 
  as 
  touching 
  

   the 
  mouth 
  on 
  the 
  underside; 
  the 
  raven, 
  on 
  the 
  contrary, 
  has 
  a 
  long, 
  

   straight 
  beak. 
  Birds, 
  even 
  when 
  they 
  take 
  human 
  form, 
  may 
  be 
  

   recognized 
  by 
  the 
  added 
  beak. 
  

  

  The 
  bear 
  is 
  usually 
  carved 
  in 
  a 
  sitting 
  position 
  holding 
  a 
  stick 
  

   between 
  its 
  paws. 
  Its 
  teeth 
  are 
  prominent 
  and 
  the 
  tongue 
  protrudes 
  

   from 
  its 
  mouth. 
  

  

  The 
  sliark 
  may 
  be 
  recognized, 
  even 
  when 
  represented 
  in 
  human 
  

   form, 
  by 
  three 
  parallel 
  markings 
  on 
  the 
  cheeks, 
  representing 
  gill 
  

  

  