﻿FLETCHER-LA 
  flesche] 
  WARFARE 
  427 
  

  

  

  ho"-ga 
  wa 
  - 
  tin 
  thi" 
  ke 
  wa 
  - 
  the 
  - 
  shna-zhia 
  a- 
  he 
  - 
  the 
  U 
  Ui 
  

  

  

  te 
  tlii 
  no"-o 
  a 
  tu 
  ye 
  he 
  e-he 
  the 
  I 
  ya 
  he 
  e 
  ya 
  he 
  

  

  — 
  v 
  (Cry 
  of 
  the 
  bird 
  hawk) 
  

  

  ya 
  lie 
  the 
  :i 
  he 
  a 
  - 
  he 
  the 
  he 
  tho 
  

  

  Notb.— 
  The 
  pitch 
  is 
  taken 
  from 
  the 
  graphophone 
  record 
  made 
  by 
  the 
  young 
  woman. 
  

   tier 
  voice 
  whs 
  a 
  clear, 
  strong, 
  bell-like 
  soprano, 
  and 
  her 
  intonation 
  remarkably 
  true. 
  The 
  

   bird 
  hawk 
  is 
  the 
  war 
  bird. 
  The 
  cry 
  at 
  the 
  close 
  of 
  the 
  sung 
  was 
  a 
  call 
  to 
  the 
  bird 
  to 
  help 
  the 
  

   warrior 
  goiug 
  forth. 
  

  

  Nudo 
  n 
  ho"ga 
  wathi 
  tlii 
  "k<- 
  wathishna 
  zhia 
  ahe 
  the 
  

   Ukite 
  thino 
  n 
  o" 
  da 
  ye 
  he 
  ehe 
  the 
  (vocables) 
  

  

  Translation: 
  Nudo 
  n 
  ho 
  n 
  ga, 
  leader; 
  wafki, 
  timid; 
  th'vle, 
  who 
  is; 
  

   wathishna, 
  prominent 
  . 
  well 
  known; 
  zhia, 
  not; 
  ahe, 
  I 
  say; 
  the, 
  vocable; 
  

   ukete, 
  the 
  tribe; 
  thi»o 
  n 
  o 
  n 
  , 
  hear 
  you; 
  da, 
  let 
  them; 
  ye 
  he, 
  vowel 
  pro- 
  

   longation; 
  ehe, 
  I 
  say; 
  the, 
  end 
  of 
  sentence. 
  "The. 
  timid 
  leader 
  never 
  

   wins 
  fame, 
  achieves 
  a 
  prominent 
  place. 
  Let 
  the 
  tribes 
  hear 
  of 
  you!" 
  

  

  In 
  Omaha 
  warfare 
  there 
  was 
  no 
  arrangement 
  of 
  the 
  soldiers 
  in 
  lines, 
  

   companies, 
  or 
  battalions. 
  There 
  was 
  a 
  recognized 
  leader 
  but 
  each 
  

   warrior 
  marched 
  and 
  fought 
  independently 
  and 
  although 
  obedient 
  to 
  

   the 
  leader's 
  general 
  orders 
  he 
  did 
  not 
  wait 
  for 
  any 
  official 
  command 
  

   to 
  take 
  part 
  in 
  the 
  fight. 
  When 
  a 
  group 
  of 
  warriors 
  moved 
  out 
  to 
  

   defend 
  the 
  camp 
  they 
  did 
  not 
  go 
  silently 
  to 
  the 
  field 
  of 
  battle. 
  Each 
  

   man 
  sang 
  as 
  he 
  went. 
  There 
  was 
  a 
  class 
  of 
  songs 
  which 
  belonged 
  

   exclusively 
  to 
  these 
  occasions; 
  these 
  were 
  called 
  na'gthe 
  wad* 
  

   (na'gthe, 
  "captive;" 
  waa"', 
  "song"). 
  But 
  the 
  import 
  of 
  the 
  term 
  

   "captive" 
  lies 
  in 
  the 
  war 
  customs 
  of 
  the 
  people. 
  If 
  a 
  man 
  was 
  

   taken 
  captive, 
  his 
  fate 
  was 
  torture 
  and 
  death; 
  therefore 
  the 
  captive 
  

   song 
  was 
  synonymous 
  with 
  the 
  death 
  song. 
  These 
  songs 
  were 
  fre- 
  

   quently 
  composed 
  by 
  those 
  who 
  sang 
  them, 
  though 
  occasionally 
  one 
  

   was 
  handed 
  down 
  from 
  father 
  to 
  son. 
  Captive 
  songs 
  always 
  ex- 
  

   pressed 
  the 
  warrior's 
  feeling 
  when 
  contemplating 
  the 
  dangers 
  of 
  war 
  

   and 
  the 
  facing 
  of 
  death. 
  Other 
  songs 
  were 
  sometimes 
  sung 
  by 
  the 
  

   men 
  going 
  forth, 
  as 
  an 
  hethu'shka, 
  or 
  some 
  favorite 
  mystery 
  song. 
  

  

  The 
  na'gthe 
  waa" 
  afford 
  an 
  opportunity 
  to 
  discern 
  the 
  ideals 
  and 
  

   beliefs 
  which 
  a 
  man 
  calls 
  up 
  before 
  him 
  when 
  he 
  seeks 
  strength 
  and 
  

   courage 
  to 
  meet 
  death. 
  The 
  three 
  songs 
  following 
  are 
  lair 
  examples 
  

   of 
  the 
  na'gthe 
  waa 
  71 
  class. 
  

  

  