Part 5

"Pas-ló-han" is played in smaller groups with a wand about eight feet long, heavy at the forward end, which is shaped somewhat like the head of a snake, and tapering gently to about the size of a man's finger. Sometimes the head is made of buffalo, elk, or deer's horn. The girls hold it between the thumb, middle, and ring fingers, while the index finger presses against the end. The arm is closely bent at the elbow and held at right angles to the body, bringing the half-opened hand directly over the shoulder, and the wand is then hurled with all the strength of the player's arm, two or three forward steps being taken at the same time. The head hits the ground slantwise, and the body slides and wriggles after it much like a fleeing snake. The immediate object of the girls, who throw in turn, is to see who can make it go furthest, but grace and swiftness of flight are also points to be considered.

This simple sport brings into use practically all the muscles that are required to throw a baseball, and helps much to make the girls supple and agile. It is easier to play in winter and late fall, as the wands travel much faster over crusty snow or hard-trampled ground.

The Minnesota Sioux used to play a very pretty aquatic game when their homes were in that beautiful lake country. It was really the original Indian game of lacrosse played in birch-bark canoes, and might be christened "water lacrosse" or "canoe ball."

The ball was twice as large as the one the men used on land; I should say a little larger than a baseball, but much lighter in weight. The sticks used by the Sioux women were about like the ordinary lacrosse stick, only a foot longer and with twice as large a pocket. This pocket is made of vegetable fiber so that the wet does not stretch it, and when the ball is in it, barely one-third shows above the rim.

Ten to twenty girls may play on a side, two to each canoe. We will designate them "ball-player" and "canoeist." The latter must devote herself entirely to her canoe and that of her opponent. She may not touch the ball nor interfere with the opposing ball-player, but she may use all her skill to obstruct the opposing canoe, and if her partner secures the ball, it is her duty to guard against being thus obstructed. In a skirmish she must be skilful and alert to balance her craft. No canoeist may ram her opponent head on, and if she does so, the game is given to the other side.

The ball-player must throw the ball to one of her own side if possible. Here again special skill is required, for it is nearly as difficult as making a successful "forward pass." However, she has the privilege of passing it in any direction to one of her own players. It is not allowable to hit the ball while in the water. Each player may carry it on toward her opponent's goal so long as her canoe is not obstructed, but as soon as her bows are crossed, she must pass it on. Thus the struggle continues until the ball either goes out of bounds, or passes over one of the goals. The field is about a hundred yards long by fifty wide. If the ball goes out of bounds, the referee must toss it up as at the beginning, in the middle of the field between two opposing canoes, the canoeists placing the canoes parallel to each other, while the players struggle for the possession of the ball. Meanwhile, the other players occupy strategic points and hold themselves ready to receive it.

In this feminine game, it is forbidden to throw the ball with a full arm swing; it must be lobbed or tossed with the forearm only, to avoid risk of injury to the players. It develops much nicety of physical equilibrium, and might be successfully revived in a summer camp by girls who are good swimmers. They would do well to wear bathing-suits and be fully prepared for the chances of an upset. In our day, the winners were entertained by the conquered side at a simple feast.

XVI--INDIAN NAMES AND THEIR SIGNIFICANCE

As you all know, we Indians had no books; our history and traditions were orally preserved. The pictograph cut into a rock or tree, or painted upon a buffalo-skin tent, was our only record of current or past events. Moreover, we had no family names, so that a boy's name did not indicate his parentage. Under such circumstances, one should have a striking cognomen in order to be readily identified.

The Sioux had three classes of names; first, birth names; second, honor or public names; third, nicknames. The first indicated the order in which children were born into the family; as "Chaskáy," first-born son, "Wenónah," first-born daughter, and so on to the fifth child, who was presumed to be the last. There were a few who carried this childhood name through life.

The nickname usually records some humorous act or odd characteristic of the boy or man. It is seldom a flattering one. There is an imaginary Indian personage called "Wink'tah," who is supposed to be ever on the watch for an excuse to coin a ridiculous or insinuating name, and such a one will travel like a prairie fire before its owner is aware of it.

It has been written by white men that an Indian child is called after the first noticeable thing its mother sees after its birth. This is not so as a rule, though it is possible such cases may have occurred. Again, it has been declared that some event occurring near the child's birth establishes its name. This occasionally happens, but only when the event is of unusual importance.

The child's "honor name" is properly conferred by the clan medicine-man at a public ceremony, some time after the child is able to walk. Such an Indian christening is announced by the herald, a feast made, and gifts presented to the poor of the tribe, in honor of the occasion. These needy old people in their turn go away singing the praises of the child by his new name.

Such a name usually indicates the distinguishing character or famous deeds of the boy's ancestors, and its bearer is expected to live up to, defend, and pass it on, unstained. Through this ancient custom, he is early recognized by his tribe, impressed with a sense of his personal responsibility, and inspired with the ambition to be worthy of his ancestry. By giving away their property to those in want, his parents intend to teach him love and good-will toward his fellow-men. But if, when he grows up, the boy fails to sustain his honor name, he is no longer called by it.

If he does not fail, but on the other hand performs some special deed of valor, or wins some distinguished honor on his own account, he may later be given a special "deed name," and the conferring of such was at one time strictly guarded among the Sioux. Our unwritten book of "Who's Who" is composed of just such heroes.

The deed name is generally given by the war chief, and such naming is not accompanied by gifts. A deed requiring great physical courage is often celebrated by giving the name of some fear-inspiring animal, such as Bear or Buffalo, or one of the nobler bird names--those of Eagle, Hawk, and Owl. The character of the exploit, calling for special strength, swiftness, agility, or endurance, helps to determine the name chosen, or adds a qualifying word descriptive of some poetic or picturesque quality in the action. Examples are "Charging Eagle" and "Conquering Bear."

Not only bird and animal names, but those of the elements, are commonly used to express temperament. The rash, impetuous man may be called "Storm," or "Whirlwind." Loftiness and beauty of character is indicated by a name including the word "sky," or "cloud," such as "Red Cloud," "Touch-the-Cloud," "Blue Sky," or "Hole-in-the-Day," all names of well-known chiefs. Sometimes the idea of bravery or swiftness conveyed by the name of animal or bird is combined with another suggestive of dignity, sacredness, mystery, or magic; as, for example, "Thunder Bear," or "Spirit Buffalo."

The highest type of brave deed name is represented by "Thunder," or "Lightning," in one of its many variations. "Crazy Bull" and "Crazy Horse" stand for utter fearlessness and unconsciousness of danger, rather than madness. Resourcefulness, generosity, and productiveness are expressed in the name of "Earth" with some of its poetic attributes. "Fire" represents daring and war-like qualities. Colors are used in a purely symbolic sense, thus redeeming from any touch of absurdity such names as "Red Wolf" and "Black Eagle."

Many Indian names have been roughly handled in translation by illiterate persons, such as were most of the early interpreters. The raven was a dignified bird which disappeared with the buffalo, but its name is generally mistranslated as crow. The Sioux call the crow the "scolding grandmother," and use its name only as a satirical jest. The famous chief known as "Young-man-afraid-of-his-Horses," was really called "Man-whose-Horse-is-feared" (by the enemy).

An instance of the highly poetic and figurative name is that of "Wee-yó-tank-ah-loó-tah." Literally translated, it means "He who in his usual home-going pauses upon an eminence glowing with scarlet light." The reference is to the Sun, who, at the close of his day's journey across the prairies of the sky, apparently rests for a moment upon his gorgeous seat at the verge of the horizon. He who bears that name needs no introduction; its beauty is eloquence enough.

Here are some honor names for Boy Scouts.

Wam-blee´-skah. White Eagle. Ta-tonk´-ah-sap´-ah. Black Buffalo. Mah-to´-skah. White Bear. Chay-ton´-ho-tah. Gray Falcon. Chay-ton´-wah-koo´-wah. Charging Falcon. Kan-gee´-loo-tah. Red Raven. Kan-gee´-wah-kan. Sacred Raven. Mah-kah´-skah. White Earth. Mah-pee´-yah-to. Blue Sky. Mah-pee´-yah-loo´-tah. Red Sky (or Cloud). Wah-kan´-glee-o´-ta. Many Lightnings. Tah-tay´-an-pah. Wind, or Storm. O-han´-zee. Shadow (Comforting). Pay´-tah. Fire. Tah-wah´-soo-o´-ta. His Hailstorm (Forcible, or Impetuous). We-hin´-ah-pay. Rising Sun. We´-e-yah-yah. Setting Sun. Ah-kee´-chee-tah. Soldier. O-hit´-e-kah. Brave. Wan´-ah-ton. Charger. O´-tak-tay. Kills or Strikes Many. Tee-tonk´-ah. Big Lodge. Chank-oo´-wash-tay. Good Road. Nah-pay´-shnee. He does not flee (Courageous). E´-nap-ay. Comes Out (Appears Bravely). Wah-chin´-tonk-ah. Patient. Wah-chink´-sap-ah. Wise, Clear-headed. Tah-ko´-dah. Friend to them all. O-dah´-ko-tah. Friendly. Tah-o´-han-o´-tah. His Many Good Deeds. Tah-wah´-hink-pay-o´-tah. His Many Arrows (Resourceful). Ko-han´-nah. Swift. O´-gal-lee-shah. Red Shirt. Ho´-wah-kan. Mysterious Voice. Wah-nah´-gee-skah. White Spirit. Wah-nee´-kee-yah. Savior. Wah-hah´-chank-ah. Shield.

XVII--INDIAN GIRLS' NAMES AND SYMBOLIC DECORATIONS

All Indian art is symbolic, and the decorative native designs may be so applied in bead-work, basketry, weaving, embroidery, or jewelry as to express the ideals and personality of the maker. This is true of all the tribes, but the individual symbols vary with their customs and habitat.

In all genuine Sioux handiwork, the central design is the isosceles triangle (Fig. 11), representing the conical teepee or tent--the home. This is used in many different ways. Two tents with the bases united, forming a diamond (Fig. 12), indicate the four points of the compass, or the whole world. Two tents with the peaks together (Fig. 13) are symbolic of life here and hereafter. The dark tent cut in half with a band of white, yellow, or light blue in the center (Fig. 14) signifies happiness in the home. The tent enclosed in a circle (Fig. 15) means eternal union.

Figure 16 is commonly used to represent footprints or man's trail through the world. The zig-zag line (Fig. 17) is lightning or destruction; the wavy line (Fig. 18) mountains or prayer.

In the symbolism of colors, pale blue or white is generally used for background, and represents sky or heaven; red, life; dark blue or black, shadow or trouble; green, summer or plenty; and yellow, sun-light or happiness. Dark blue, dovetailed with pale blue or yellow, represents the light and shade of life's common experience.

Animal figures are much used in conventionalized designs. The figure of the bear means courage; the buffalo, plenty; the eagle (wings spread), honor; the owl, observation; the wolf, skill; the turtle, wisdom and longevity; the serpent, healing; the hawk, swiftness; the beaver, industry; the deer, love. The figure of a man on horseback represents a warrior.

No Indian girl may wear the skin or any representation of the bear, wolf, or cat, nor wear the feathers of the eagle, since these are masculine emblems. The doe, ermine, otter, and mink are feminine emblems.

It is usually possible to distinguish feminine from masculine personal names by the meaning. The names of the fiercer wild animals, such as bear, wolf, and eagle, are given to boys; girls are called after the fawn, mink, beaver, etc. Either may be called after sky, wind, or water, but the name of Fire is masculine. The syllable "wee" is a feminine termination.

"Na" is a diminutive, used much like "ie" in English.

The following are Sioux feminine names appropriate to "Camp Fire girls," with their literal and symbolic meanings.

Wee-no´-nah. Eldest Daughter. Loafgiver, charitable. Wee-hah´-kay-dah. Youngest Daughter. Little One. War-chah´-wash-tay. Pretty Flower. Beautiful. O-jin´-jint-kah. Rose. Queen of Flowers. Zit-kah´-lah-skah. White Bird. Pure. Do´-wan-ho´-wee. Singing Voice. Wa-chee´-wee. Dancing Girl. Han-tay´-wee. Cedar Maid. Faithful. Wa-zee´-me-nah-wee. Odors of the Pine. Wholesome, refreshing. Mah-kah´-wee. Earth Maiden. Generous, motherly. Mah-pee´-yah. Sky. Heavenly. E-ha´-wee. Laughing Maid. Wee-ko'. Pretty Girl. Ptay-san´-wee. White Buffalo. Queen of the Herd. Mah-gah´-skah-wee. Swan Maiden. Graceful. Wah-su´-lah. Little Hailstorm. Stormy, impulsive. Snah´-nah. Jingles (like little bells). Musical. Ta-lu´-tah. Scarlet. Brilliant. Ta-tee´-yo-pah. Her Door. Happy Hostess. Wee-tash´-nah. Virgin. Untouched. Tak-cha´-wee. Doe. Loving. Chah´-pah-wee. Beaver. Industrious. An-pay´-too. Day. Radiant. Wik-mun´-kee-wee. Rainbow. Return of Blessing.

And some Ojibway girls' names.

Man-e-do-bin´-es. Spirit Bird, or Bird Spirit. O-min-o-tah´-go. Pleasant Voice. Ke-we-din´-ok. Woman of the Wind. A-ya´-she. Little One. A-be´-da-bun. Peep of Day, Ke-zhe-ko´-ne. Fire Briskly Burning. O-dah-ing´-um. Ripple on the Water. Me-o-quan´-ee. Clothed in Red. Nah-tah´-ak-on. Expert Canoeist. She-she´-bens. Little Duck. A-be´-qua. She Stays at Home.

XVIII--THE LANGUAGE OF FEATHERS AND CEREMONIAL DRESS

In the first place, the wearing of feathers is not peculiar to the Indians, except in the value attached to them as symbols of character and true worth. Any one may wear any sort of feather as ornament merely, or in imitation of the old-time warrior, but with him it was a serious affair. He adopted only the feathers of certain birds, and these must be worn in accordance with well-understood law and custom.

The following birds are held in especially high honor: namely, the eagle, raven, and falcon, commonly called hawk. But it must be borne in mind that as far as the Indian is concerned, there is only one hawk that holds an honorable position: that is the American falcon. He is daring to recklessness in his methods of warfare and hunting, and though not large, is swift and graceful. The raven is held next to the eagle in dignity and wisdom; and the owl comes next on the roll of honored birds. Some of the water-fowl, such as the loon, cormorant, and pelican, play a minor part in our myths and folklore, but in the warriors' codes and emblems only the dashing and courageous birds of prey are permitted to appear--the American eagle standing first.

The feathers of this bird are highly prized, since they stand for brave deeds and form a warrior's record. They are variously worn among different tribes. Perhaps the best and completest system was developed by the Sioux nation; a system which was gradually adopted by their neighbors on the plains, and which I shall follow closely.

No Sioux may wear an eagle's tail-feather unless he has counted a coup, or stroke, upon an enemy, dead or alive. If in a battle, the deed is witnessed by his fellow-warriors; but if he was alone when he made the count, he must have unmistakable proof, or the feather is not awarded. There are four _coup_ counts on each enemy, and these are secured in succession. Even upon a living enemy, if he is overpowered and held captive, these four counts could properly be shared by the warriors. But it is obvious that in most cases they are very difficult to secure. A man may strike an enemy in a hand-to-hand battle, or, as you would say, in a "mix-up," and he gets away without being killed or even seriously hurt. In this case, only one _coup_ is counted. Again, many foes are killed upon whose bodies no _coup_ at all is counted, because it is impossible to obtain, and upon others, one or two may be taken with much difficulty and superb daring in the face of the enemy's fire. Herein lies the relative value of individual feathers, and the degree of valor shown or difficulty encountered determines the subsidiary trimmings, tassels, and ornaments.

Primarily, every eagle feather worn by a warrior represents a _coup_ given in battle. This is important to remember. No other feather stands for the same thing, though different degrees of courage and endurance may be expressed by other feathers.

For instance, a group of raven or of Canadian goose feathers trimmed on the sides, indicates that the wearer has been wounded in battle more than once. A single goose feather dyed red and trimmed, means that the wearer was severely wounded in battle. Sometimes a man wears an eagle feather dyed or trimmed, meaning that he was wounded at the time he counted the _coup_. An eagle feather notched and the cut dyed red, means that the wearer counted the _coup_ and took the scalp also, but was wounded while so doing.

He may have the feather cut off at the tip, showing that he killed his foe and counted the _coup_ on that same enemy. If he fought a desperate battle, with the odds against him, in which he came off victor, he may tip his eagle's feather with buffalo hair; and if he counted _coup_ in a charge on horseback in the face of imminent danger, he may tip it with hair from a horse's tail.

Among some tribes, the wearing of a split feather denotes that the wearer has been wounded, and when the feather is clipped off at the tip, that he has taken a scalp. When a warrior wears one eagle feather upright and the rest drooping, it indicates that he was surrounded in company with a party of warriors of whom he was the sole survivor.

As I have said, the Indian might wear as many eagle feathers as he had counted _coups_. When he had won a number of these in difficult circumstances, and had been held at bay and surrounded by the enemy, but succeeded in getting away, he was entitled to a regular war-bonnet. Only an exceptional record of many battles in which he had shown great coolness, skill, and daring, entitled him to the long, trailing war-bonnet of many plumes.

There are other ornaments and portions of a warrior's dress that bear a special significance. If he has been in the vanguard of battle more than once and led counter-charges, he may wear the whole skin of a raven on his back in the dances. If he has pursued his enemy into the hostile camp and killed him there, he may wear an otter skin slit up the middle so that his head comes through, and the head of the animal hangs upon his chest. A garter made of skunk's skin with the head and tail on, shows that he has successfully taken a scalp under the enemy's fire. He wears a grizzly bear's claws when he has been surrounded, but charged singly, bear-like, and repulsed the enemy. The paws of a grizzly bear, claws and all, denote that he has knocked off or pulled off the foe in a mounted encounter.

The deer-tail head-gear dyed in shades of red, with a thin square of bone, resembling ivory, in the center, to which one or more eagle feathers are attached, is equivalent to the eagle feather war-bonnet. The quill end of each feather is placed in the hollow of a goose's wing-bone embossed with the beautiful iridescent neck-skin of a drake, and the whole forms an imposing ornament.

The wearing of the skins of certain animals and birds represents the totem, or, as it were, the coat-of-arms of the Indian. These symbols take a wide range, almost every familiar bird and animal, even fish and reptiles, being used as a sort of charm or talisman, some for healing, and others for protection from harm. But these things are not mere dead feathers or skins to the Indians; they symbolize an appeal to the brotherly spirit of the animal representing their individual lodge or clan, and are honored in recognition of the wonderful intuitive power of the dumb creatures. The Indian believes that instinct comes more directly from the "Great Mystery" than reason even; why else does an animal or child show wisdom without thought?

The addition of an ermine skin to the war-bonnet is an honor that few warriors earned in the old days. It is a degree of the highest type. The man who is recognized as a past master of courage, having achieved all the decorations of a patriot and a true warrior, dauntless in war, yet gentle at home, a friend and a brother--he alone may wear ermine upon his war-bonnet, or trim his ceremonial shirt with the beautiful white fur.

The addition of buffalo-hair trimming to a warrior's bonnet or shirt or leggings is an indication that he has taken many scalps. If he is a chief, he may even have a buffalo tail dangle from one of his teepee poles. No one may do so without the authority of the tribe. Neither can the councilors confer these degrees without actual proof of service. No favoritism is possible under our system, and the highest degrees are conferred only upon men who have been tried again and again by every conceivable ordeal. Heroism is common, because the universal spirit of gallantry and chivalry requires it.

At a public dance, an Indian may recount some particular brave deed. This he acts out for the benefit of the younger element. He could not add anything to it, because the event is already well known. When the old customs were intact, it was the old warriors who claimed this privilege, and they, too, were allowed to paint their bodies in imitation of their severe wounds.