FLETCHER] THIRD AND FOURTH RITUALS 295 



which do not directly appeal to the supernatural. The lirst stanza is 

 addressed to the messengers; tlie second to the Father's party within 

 the lodge. 



SONG n 



Diagram of Time 



Rhf/fhmic Rendition 

 I 

 I bid you ti'avel o'er the land to the Son, 

 And with yon take these words of mine unto him: 

 " Behold! Your Father comes to yon speedily."' 



II 



We wait their journey o'er the land to the Son. 

 When they will give these words of mine lanto him: 

 ' Behold! Your Father comes to you speedily." 



FOURTH RITUAL 



Part I. Vivifyino the Sacked Objects 



These first four rituals are in sequence and deal with the peculiar 

 preparations required for the ceremonJ^ In the first ritual the sacred 

 articles are prepared; in the second ritual the Son is selected; in 

 the third ritual the Father notifies the Son, who responds; and 

 in the fourth ritual the sacred articles are virified and assume 

 leadershiiJ. In these i)reparations the supernatural powers bear a 

 leading part. At the verj- beginning, in the first song of the first 

 ritual, their presence is invoked, and in the fourth ritual, after man's 

 preparations for the cerenionj' are completed, they accept his work. 



The first, second, and third rituals took place in the lodge of the 

 Father, where the sacred objects were guarded day and night bj- the 

 Ku'rahus, his assistant, and the chief, or b}' persons appointed to act 

 as their substitutes. In the fourth ritual the objects were for the 

 first time taken outside the lodge, under the open sky, where the 

 final act of their x'reparation took place. They were tied upon a pole 

 and elevated in the eai'ly dawn, that they might be vivified by the 

 powers and acknowledged as their representatives. 



The order in which these sacred objects were tied upon the pole 

 indicates their relative significance in this ceremony. The two feath- 

 ered stems were placed near the top, because they typify the powers 

 of the upper world. But they also represent the male and female ele- 

 ments, therefore the male stem was placed toward the south — the 

 light, the day, the sun; and the female stem toward the north — the 

 darkness, the night, the moon. Beneath the feathered stems were 

 the rattles and the ear of corn, representing the living covering of 



a Music on page 56. 



