310 Wisconsin Academy of Sciences, Arts, and Letters . 
drama and these original demi-god characters which it repre¬ 
sents; so that when a member is properly dressed in the cos¬ 
tume of any one of these characters, a ceremony (the desoripr 
tion of which is too long for insertion here) accompanying the 
putting on of the mask is supposed not only to place him en 
rapport spiritually with the character he represents^, but even 
to possess him) with the spirit of that character or demi-god. 
He is, therefore, so long asi he remains disguised as one of 
these demi-gods., treated as if he were actually that being 
which he personates. ” 
These authorities are confirmed by Boas in the before-men¬ 
tioned study. In speaking of the legends which have to do 
with the gifts which the spirits impart, to* the Kwakiutl youth, 
he says: 
“The principal gifts in these tales are the magic harpoon 
which insures success in sea-otter hunting; the death bringer, 
which, when pointed against enemies, kills them; the water of 
life which resuscitates the dead; the burning fire which, when 
pointed against an object, burns it; and a dance, a song and 
cries which are peculiar to the spirit. The gift of this dance 
means that the protege of the spirit is to> perform the same 
dances which have been shown him. In these dances he per¬ 
sonates the spirit. He wears his mask and his ornaments. 
Thus the dance may be considered a dramatic performance of 
the myth relating to the acquisition of the spirit, and shows to 
the people that the performer by his visit to the spirit has ob¬ 
tained his powers and desires. When nowadays a spirit ap¬ 
pears to a young Indian, he gives him the same dance, and the 
youth also returns from the initiation filled with the powers 
and desires of the spirit. He authenticates his initiation by 
his dance in the same way as his mythical ancestor did.” 1 
This corresponds with what is said by J. GL Frazer regard¬ 
ing such a ceremony as that at the sanctuary of the goddess 
Astarte in Zela, when her myth “was translated into action.” 
“The story of her love and death and that of her divine lover 
Was performed year by year as a sort of mystery-play by men 
i Report of the Smithsonian Institution, 1895, p. 396. 
