SENECA THANKSGIVING RITUALS 147 



The class of sandhi alternates which can be designated ^formal' 

 and associated Avitli the formal morphological style 127.1] is easily 

 described. A word that ends in h before juncture occurs with- 

 out this h before a following word: see the first three words of sen- 

 tence 2, ta: ne^ho wai (niotiye.'sh), which are in isolation ta:h, ne^hoh, 

 and waih. Interword juncture occurs after t, k, and s when another 

 word directly follows. Since its presence can be inferred from the 

 word boundaries, which are marked by word space, there is no need 

 for a special notation. It is found, for example, between ?ethihso:t 

 and soekha:^ in sentence 138. Finally, when a word that ends with ^ 

 precedes a word beginning ?, only one ^ is actually present. The 

 convention is followed of writing it at the end of the first word and 

 omitting it at the beginning of the second: see ne^ eyakao^eshdhse^ in 

 sentence 6, where the second word is in isolation ^eyakao^eshdhse^ . 

 Compare in the same sentence ne ^o:kweh, where the fu'st word is 

 neh in isolation. 



There is a second class of sandhi alternates which can be termed 

 'colloquial' and associated with the colloquial st^de of [27]. This 

 style is distinguished by the absence of word-initial ^ or h after a 

 word that would end in h in isolation. In the following list of alterna- 

 tions included in this style, a stands for any vowel and o for any 

 second vowel: 



In Isolation: In Sequence: 



(a) ah ?o o 



(b) ah ?o : o : 



(c) ah ho(:) o: 



(d) a:h 'o(:) ao 



An example of (a) is n okhi:owi:h (neh, ?okhi:owi:h) in sentence 2; 

 of (b), ne^h o'.neh (ne^hoh, ^o:nch) in sentence 33; of (c), n o:tye:n6^k- 

 ta?oh (neh, hoiy£:n6^kta?oh) in sentence 9; of (d), ta oneh (ta:h, ^orneh) 

 in sentence 1. In (a), however, if the first vowel is i, it, rather than 

 the second vowel, remains: ti yakoto^se^6:ok (tih, ?£yakotd?se^6:ok) in 

 sentence 65. 



There are in Seneca at least three speaking styles that are dis- 

 tinguished solely by their patterns of pitch and stress. Two of them, 

 which will be referred to as 'chanting' and 'preaching', are exemplified 

 in these texts. The third is the st3de of normal conversation, and it 

 is represented here only in the Epilogue to the Thanksgiving Speech. 



Chanting is the characteristic style for rituals of this sort. It is 

 followed throughout the Thanksgiving Speech and in sections 2 to 12 

 and 15 to 17 of the Thanksgiving Dance. It utilizes only pitches 

 1 to 4. In it, nearly all of the phrases which are not sentence-final 



