284 THE HAKO, A PAWNEK CEREMONY [kth.ann.-22 



111 this Sony we meet e.xchiiiiations eharaeteristic of many others of 

 the ceremony. These exclamations express tlie emotions evoked in 

 the progress of the apjieal. Few words are used, their iteration mak- 

 ing the memorizing of the song easier than if the emotion had been 

 fully elaborated in many different words. Tliis apparent j^overty of 

 expression, Avhich may in jiart be aeeoiinted for by the necessity of 

 oral transmission, has not prevented metrical forms throughout the 

 ceremony; with one exoejjtion, the songs are rhj'thmic. In the i)]-es- 

 ent instance the repetition of the exclamation I'liarel extended 

 through the musical x>hrase by the echoing of its sjdlables, conveys 

 even to the eye of a stranger the meaning as given by the Ku'rahus 

 in his explanation of line 2. "The repetition of the word as we sing 

 riiare, 'hare, "aheo indicates that our minds are dwelling upon the 

 snb,]'ect bi-onglit to our attention." 



This opening song is in two parts. One refers to the powers, the 

 other to the inauguration of rites through which man can turn toward 

 these powers. 



Six stanzas belong to the first i^art, suggesting the six syml)olic 

 motions, indicating the four directions, the above, aud the below. 

 The first stanza is an apjjeal to Tira'wa; its form is noteworthy when 

 viewed in connection with the opening stanza of the second jjart. 

 Tira'wa is not addressed directly, but the mind is turned to his place 

 of abode, ^Vwahokslui, as to a detinite locality where prayer .should 

 be sent, whence lielj) may come. The fixing of tihc mind upon a holy 

 i:»lace serves as a precedent for the establishment of a holy place, 

 Kushai'u (stanza vii), where man is to think of Tira'wa, and where 

 rites in accordance with his thought are to be performed. The 

 order in which the powers are addressed in these first six stanzas 

 reveals something of the Pawnee's idea of man's relation to the su])er- 

 natural. First, the holy jjlacp, the abode of Tira'wa, tJie father of all, 

 is addressed; second, Hoturu, the invisible Wind, the bearer or giver 

 of breath; third, Chakaru, the Sun, the father of strength; fourth, 

 irUraru, the Earth, the mother, the conserver of life; fifth, Toharu, 

 Vegetation, I lie giver of food; sixth, C'haharu, ^Vatel•, the giver of 

 drink. 



Starting from the abode of the central p()wer, Tii-a'wa, designated 

 in the first stanza, the lesser powers bring to man first breath, next 

 vitality or strength, then the abilitj^ to conserve and use that strength, 

 and, finally, they give him food and drink to sustain his life. The 

 physical man stands forth in these first six stanzas as the result of 

 the gifts of the powers. 



The second part of the song is in seven stanzas. The number sug- 

 gests the seven symbolic niotio'ns, indicating the four directions, the 

 above, the below, and the center, the ego. 



The first stanza of the second part (vii) calls the people to "give 

 heed" to Kusharu, the place set apart for sacred purposes. Concern- 



