FLETCHER] RHYTHM IN THE CEREMONY 283 



'J'he unit of time is au eighth note, represented by a short dasli, -; 

 a (iuarter note is represented hj- a longer dash, two beats, — ; a three- 



eiglitlis note by a still longer dash, three beats, , and so on. The 



dots indicate the number of voice pnlsations given to a tone while it 

 is held. Where there is emphasis it is marked on tlie <liagrain by 

 the accent sign '. 



A rliythmic rendition, which aims not only to convey the literal 

 meaning Imt to embody the elucidations of the Ku'i'aluis as well, has 

 been made. Its words have been so chosen that tlie lines shall con- 

 form to the rliythm of the corresponding phrases of the song. This 

 rendition is for the purpose of presenting to the eye and the ear of 

 the English reader the song as it appeals to the Pawnee who has l)een 

 instructed in the rite. 



The variety of rhytlimic forms in Ihe songs of the i-ituals offers 

 interesting material for the .study of the relation of the musical 

 phrase to the development of metrical language. The movements 

 which accompany each song and act of the ceremony give further 

 testimony to the fundamental character of rhythm. 



In the following analysis the scheme of llie ceremony will be closely 

 obsei'ved. 



THK PREPARATION 



FiKST Division. Initial Rites 



FIRST RITUAL. MAKINCi THE HAKO 



Part I. Ixvokino the Powers 



The ceremony of the Hako, we are told by the Ku'rahus, is a jjrayer 

 for offspring. It opens with a song which i-ecalls the creation of man, 

 tlie gifts bestowed on him by Tira'wa alius through the powers, and 

 the establishment of rites by which he can appeal to the powers. 

 The content of the song prefigures the fulfilment of man's desire for 

 the reproduction of his life, and the orderly approach by which he 

 should nuike his desire known. Such a prefiguring seems to be essen- 

 tial at the opening of a ceremony to give it a siipernatural warrant. 



The preparation of the Hako constitutes the opening ritual, the 

 first song of which is an appeal to the lesser powers in the order of 

 their coming near to man from the holy jilace, Awahokshu (first song. 

 line 4). They are said to descend bj' the four paths at the four car- 

 dinal points (line U), and the ceremonial motions indicating these 

 quarters are an indirect waj' of mentioning the powers. Each stanza 

 of the appeal, falling into four musical phrases, suggests this four- 

 fold symbol. 



The appeal is in the form of a litany, each stanza beginning with a 

 call to "give heed," and closing with the response that heed has been 

 given. The climax in both words and music is reached in the third 

 phrase, which is a direct invocation of one of the powers. 



