OOOING AND WOOING. 187 



NOTES. 



I. Erotic songs obtaiued from Chief Johnsou, Miunie Frobeu, and others, in the 

 Klamath Lake dialect. The twelve songs obtained from Minnie Froben are among the 

 l>rettiest and most melodious, as for instance 9. 16. 17. 18. 25. 26., and the eighteen songs 

 dictated by Johnson are of importance for the study of manners and customs,. viz: 6. 

 7. 8. 10. 11. 19. 20. 28. 29. 41. 42. 43 etc. 



With the Indians all of these and many other erotic songs pass under the name of 

 pilpil or puberty songs. They include lines on signs of womanhood, courting, love 

 sentiments, disappointments in love, marriage fees paid to parents, on marrying and on 

 conjugal life. Some love songs have quite pretty melodies. A few songs of the present 

 interesting series of song- lines seem to treat of commonplace subjects only, as 22. to 24. ; 

 28. to 31., while others apparently contain nothing but heartless mockeries and satiric 

 strictures, like 9. 28. 40. 44. But they all refer in fact to love-making and kindred 

 sentiments, the satiric lines confirming the proverbial inclination of lovers to fight 

 among themselves. I have deemed appropriate to gather all these songs under a 

 heading which unmistakably expresses their real purport. 



182; 1. The accent is laid sometimes on first, sometimes on second syllable. This 

 word is abbreviated from yiiyuline'pka, as it occurs in the Modoc pilpil song. The 

 event mentioned here is followed by a dance-feast ; cf. shuyu;ifalsh, and 134, 21. 



182; 4. ginhi«3na "inside" means into a secluded spot, lodge or enclosure. O-olka, 

 o'laka is the diminutive of o'lsh, the grayish jjigeon with the plaintive voice. 



182; 7. gitkuapka, a contraction of gitko gi-uapka i. 



182; 8. Pay a wedding gift is equivalent to purchasing a girl from her parents for 

 a handsome consideration. 



182; 11. Sung by women. The original as given to me does not contain the 

 negative particle: G^ntala nCi haikanka piishpnshlish hishudkshash. 



183; 12. yau'wdn i stands for yanhutini i. 



183; 13. kali'napka: they are not only "dead but out of sight", as the suffix -apka 

 indicates. This being an erotic song-line, kalinapka simply means that the females 

 looked for are either asleep or absent, and not deceased, as kalina would seem to 

 indicate. 'mutch6watk for kemutchewatko ; cf. 136, 5. 



183; 14. 15. These two songs follow a purely anapaestic metre. No. 15 adding two 

 acatalectic syllables to its three anapaests. Compare also the first line of 182; 7. with 

 one supernumerary syllable. As for the contents of 183; 15. compare the analogous 

 Modoc song 186; 51. 



183; 17. Melody very engaging. In luluash the second n is redoubled for metrical 

 reasons. Dactylic rhythm prevails here, in 16, and in 182; 11. 



183; 18. That is, while he was seeking young girls inside the kayatas. Melody 

 very beautiful. 



183; 19. wayosham, possessive case of waiwash, q. v. 



183; 20. shkut^ntki stands for skutatko gi or shkutandtko gi: "he is wrapped in." 



183; 21. The much more so, because he is in his festive garb, the potash and Ids 

 stuck on his headdress. 



184 ; 26. Melody very pretty. A young woman addresses these words to a lover, 



184; 27. Sung by young women who have fallen out with their beaux. 



