122 BUREAU OF AMERICAN ETHNOLOflY , [bitx. 6i 



Analysis. — Two intervals of a fourth form the framework of this 

 melotly, the first being C-F and the second G-C. The tonic is espe- 

 cially prominent, as it occurs in both these intervals and is frequently 

 repeated. The song is minor in tonahty and contains only the tones 

 of the minor triad and fourth. A monotony in the melody is shown 

 by the fact that it contains 27 measures and only 12 progressions. 

 It has been noted that the average number of progressions in this 

 class of songs is 31.3. The rhythmic unit occurs six times and its 

 count-divisions were clearly given by the singer. 



The sacred pole was placed in such a manner that the crossbar 

 extended north and south, and the earth was packed solidly around 

 the base. 



The dance enclosure was about 50 feet in diameter, with a wide 

 entrance at the east, (See p. 93.) The sacred pole stood in the center 

 of this circle, and about 15 feet west of the pole a square of earth was 

 exposed, all vegetation being carefully removed and the ground finely 

 pulverized. This square of earth was called oway'lca waJcay', 

 "sacred place," and no one was allowed to pass between it and the 

 pole.^ Two intersecting lines were traced within the square of earth, 

 forming a cross, these lines being parallel to the sides of the square 

 but not touching them.^ After tracing these lines in the soil, the Inter- 

 cessor filled the incisions with tobacco which had been offered to the 

 sky, the earth, and the cardinal points. He then covered the tobacco 

 with vermihon paint-powder, over which he spread shining white 

 "mica dust. "^ At the intersection and ends of the lines he placed 

 bunches of downy white eagle feathers. Very beautiful was the con- 

 trast of green turf, soft brown earth, shining white lines, and downy 

 eagle feathers. West of this was placed a bed of fresh sage, on which 

 the buffalo skuU would be laid during the ceremony. (Pis. 16, 17.) 



The Intercessor sang the following song as he prepared the square 

 of earth. When this and similar songs were sung by the Intercessor, 

 there was absolute silence in the great gathering of people. 



1 Miss Fletcher states (in Peahody Mus. Reps., m, p. 284, note, Cambridge, 1887): "The mellowed earth 

 space . . . has never been absent from any religious exercise I have yet seen or learned of from the 

 Indians. It represents the unappropriated life or power of the earth, hence man may obtain it." 



2 Concerning this outline, which is widely used by the Indians, Mr. W. H. Holmes writes (in Handbook 

 Amer.Inds.,pt. l,p.366): "Primitive man adjusts himself to his environment, real and imaginary, by keep- 

 ing in mind the cardinal points as he understands them. When the Indian considers the world about him, 

 he thinks of it as divided into four quarters, and when he communicates with the mysterious beings and 

 powers with which his imagination peoples it — the rulers of the winds and rains— he turns his face to the 

 four directions in stipulated order and addresses them to make his appeals and his oflerings. Thus h is wor- 

 ship, his ceremonies, his games, and even his more ordinary occupations in many cases are arranged to con- 

 form to the cardinal points, and the various symbolic representations associated with them assume the 

 form of the cross." 



3 A specimen of the "mica" was secured, and was identified as "Gypsum, variety Selenite," by Dr. G. S. 

 Merrill, curator of the department of geology of the U. S. National Museum. 



