The Sacred Formulas of the Cherokees - James Mooney (summer books txt) 📗

“Your spittle, I take it, I eat it,” repeating the words four times. While singing he moistens his fingers with spittle, which he rubs upon the breast of the woman. The next night he repeats the operation, this time singing the words, “I take your body.” The third night, in the same way, he sings, “I take your flesh,” and the fourth and last night, he sings “I take your heart,” after which he repeats the prayer addressed to the Ancient One, by which is probably meant the Fire (the Ancient White). A‘yû´ninĭ states that the final sentences should be masculine, i.e., His soul has faded, etc., and refer to any would-be seducer. There is no gender distinction in the third person in Cherokee. He claimed that this ceremony was so effective that no husband need have any fears for his wife after performing it. ADAYE´LIGA´GTA‘TĬ´.

Yû! Galû´nlatĭ tsûl‘da´histĭ, Giya´giya´ Sa‘ka´ni, nâ´gwa nûntalûn i´yû´nta. Tsâ´la Sa‘ka´ni tsûgistâ´‘tĭ adûnni´ga. Nâ´gwa nidâtsu´l‘tanû´nta, nû´ntātagû´ hisa´hasi´ga. Tani´dâgûn´ aye´‘lĭ dehidâ´siga. Unada´ndâ dehiyâ´staneli´ga. Nidugale´ntanû´nta nidûhûnneli´ga.

Tsisga´ya agine´ga, nûndâgû´nyĭ ditsidâ´‘stĭ. Gû´nĭ âstû´ uhisa´‘tĭ nige´sûnna. Agĕ´‘ya une´ga hi´ă iyu´stĭ gûlstû´‘lĭ, iyu´stĭ tsûdâ´ita. Uda´ndâ usĭnu´lĭ dâdatinilû´gûnelĭ´. Nûndâgû´nyitsû´ dâdatinilugûstanelĭ. Tsisga´ya agine´ga, ditsidâstû´nĭ nû‘nû´ kana´tlani´ga. Tsûnkta´ tegă‘la´watege´stĭ. Tsiye´lûn gesû´nĭ uhisa´‘tĭ nige´sûnna.

Translation. FOR SEPARATION (OF LOVERS).

Yû! On high you repose, O Blue Hawk, there at the far distant lake. The blue tobacco has come to be your recompense. Now you have arisen at once and come down. You have alighted midway between them where they two are standing. You have spoiled their souls immediately. They have at once become separated.

I am a white man; I stand at the sunrise. The good sperm shall never allow any feeling of loneliness. This white woman is of the Paint (iyustĭ) clan; she is called (iyustĭ) Wâyĭ´. We shall instantly turn her soul over. We shall turn it over as we go toward the Sun Land. I am a white man. Here where I stand it (her soul) has attached itself to (literally, “come against”) mine. Let her eyes in their sockets be forever watching (for me). There is no loneliness where my body is.

Explanation.

This formula, from A‘yûninĭ’s book, is used to separate two lovers or even a husband and wife, if the jealous rival so desires. In the latter case the preceding formula, from the same source, would be used to forestall this spell. No explanation of the ceremony is given, but the reference to tobacco may indicate that tobacco is smoked or thrown into the fire during the recitation. The particular hawk invoked (giya´giya´) is a large species found in the coast region but seldom met with in the mountains. Blue indicates that it brings trouble with it, while white in the second paragraph indicates that the man is happy and attractive in manner.

In the first part of the formula the speaker calls upon the Blue Hawk to separate the lovers and spoil their souls, i.e., change their feeling toward each other. In the second paragraph he endeavors to attract the attention of the woman by eulogizing himself. The expression, “we shall turn her soul over,” seems here to refer to turning her affections, but as generally used, to turn one’s soul is equivalent to killing him.

(ADALANĬ´STĂ‘TI´YĬ II.)

Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga, * * hĭlû(stû´‘lĭ), (* *) ditsa(dâ´ita). A´yû 0 0 tsila(stû´‘lĭ). Hiye´la tsĭkĭ´ tsĭkû´. (Yû!)

Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ), * * ditsa(dâ´íta). A´yû 0 0 tsûwi´ya tsĭkĭ´ tsĭkû´. Yû!

Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ) * * ditsa(dâ´íta). A´yû 0 0 tsûwatsi´la tsĭkĭ´ tsĭkû´ a´yû. Yû!

Yû! Ha-nâ´gwa ada´ntĭ dătsâsi´ga. * * hĭlû(stû´‘lĭ), * * ditsadâ´(ita). A´yû 0 0 tsûnahŭ´ tsĭkĭ´ tsĭkû´. Yû!

Sgĕ! “Ha-nâ´gwa ada´ntĭ dutsase´, tsugale´ntĭ nige´sûnna,” tsûdûneĭ, Hĭkayû´nlige galû´nlatĭ. Kananĕ´skĭ Û´nnage galû´nlatĭ (h)etsatsâ´ûntănile´ĭ. Tsănilta´gĭ tsûksâ´ûntanile´ĭ. ** gûla(stû´‘lĭ), ** ditsadâ´(ita). Dudantâ´gĭ uhani´latâ tĭkwenû´ntani´ga. Kûlkwâ´gĭ igûlsta´lagĭ iyû´nta yû´nwĭ adayû´nlatawă´ dudûne´lida´lûn uhisa´‘tĭ nige´sûnna.

Sgĕ! Ha-nâ´gwatĭ uhisa´‘tĭ dutlû´ntani´ga. Tsû´nkta daskâ´lûntsi´ga. Sâ´gwahĭ di´kta de´gayelûntsi´ga. Ga´tsa igûnû´nugâ´ĭstû uda´ntâ? Usû´hita nudanû´nna ûltûnge´ta gûnwadûneli´dege´stĭ. Igûnwûlsta´‘ti-gwû duwâlu´wa‘tûntĭ nige´sûnna. Kananĕ´skĭ Ûnnage´ĭ tsanildew’se´stĭ ada´ntâ uktûnlesi´dastĭ nige´sûna. Gadâyu´stĭ tsûdâ´ita ada´ntĭ tside´atsasi´ga. A´ya a´kwatseli´ga.

Sgĕ! Ha-nâ´gwûlĕ´ hûnhatûnga´ga, Hĭkayû´nlĭ Gi´gage. Tsetsûli´sĭ hiye´lastûn a‘ta´hisi´ga. Ada´ntâ hasû‘gû´‘lawĭ´stani´ga, tsa´skaláhĭstĭ nige´sûnna. Hĭkayû´nlige denătsegû‘la´wĭstani´ga. Agĕ´‘ya gĭ´nsûngû‘lawĭs´tani´ga uda´ntâ uwahisĭ´sata. Dĭgĭnaskûlâ´hĭstĭ nige´sûnna. Yû!

Hi´ănasgwû´ u‘tlâ´yi-gwû dĭgalû´nwistan´tĭ snûnâ´yĭ hani´‘lihûn gûnasgi´stĭ. Gane´tsĭ aye´‘lĭ asi´tadis´tĭ watsi´la, ganûnli´yetĭ aguwaye´nĭ andisgâ´ĭ. Sâi´yĭ tsika´nâhe itsu´laha´gwû.

Translation. TO FIX THE AFFECTIONS.

Yû! Ha! Now the souls have come together. You are of the Deer (x x) clan. Your name is (x x) Ayâsta, I am of the Wolf (o-o) clan. Your body, I take it, I eat it. Yû! Ha! Now the souls have come together. You are of the Deer clan. Your name is Ayâsta. I am of the Wolf clan. Your flesh I take, I eat. Yû!

Yû! Ha! Now the souls have come together. You are of the Deer clan. Your name is Ayâsta. I am of the Wolf clan. Your spittle I take, I eat. I! Yû!

Yû! Ha! Now the souls have come together. You are of the Deer clan. Your name is Ayâsta. I am of the Wolf clan. Your heart I take, I eat. Yû!

Listen! “Ha! Now the souls have met, never to part,” you have said, O Ancient One above. O Black Spider, you have been brought down from on high. You have let down your web. She is of the Deer clan; her name is Ayâsta. Her soul you have wrapped up in (your) web. There where the people of the seven clans are continually coming in sight and again disappearing (i.e. moving about, coming and going), there was never any feeling of loneliness.

Listen! Ha! But now you have covered her over with loneliness. Her eyes have faded. Her eyes have come to fasten themselves on one alone. Whither can her soul escape? Let her be sorrowing as she goes along, and not for one night alone. Let her become an aimless wanderer, whose trail may never be followed. O Black Spider, may you hold her soul in your web so that it shall never get through the meshes. What is the name of the soul? They two have come together. It is mine!

Listen! Ha! And now you have hearkened, O Ancient Red. Your grandchildren have come to the edge of your body. You hold them yet more firmly in your grasp, never to let go your hold. O Ancient One, we have become as one. The woman has put her (x x x) soul into our hands. We shall never let it go! Yû!

(Directions.)—And this also is for just the same purpose (the preceding formula in the manuscript book is also a love charm). It must be done by stealth at night when they are asleep. One must put the hand on the middle of the breast and rub on spittle with the hand, they say. The other formula is equally good.

Explanation.

This formula to fix the affections of a young wife is taken from the manuscript sheets of the late Gatigwanasti. It very much resembles the other formula for the same purpose, obtained from. A‘yû´ninĭ, and the brief directions show that the ceremony is alike in both. The first four paragraphs are probably sung, as in the other formula, on four successive nights, and, as explained in the directions and as stated verbally by A‘yû´ninĭ, this must be done stealthily at night while the woman is asleep, the husband rubbing his spittle on her breast with his hand while chanting the song in a low tone, hardly above a whisper. The prayer to the Ancient One, or Ancient Red (Fire), in both formulas, and the expression, “I come to the edge of your body,” indicate that the hands are first warmed over the fire, in accordance with the general practice when laying on the hands. The prayer to the Black Spider is a beautiful specimen of poetic imagery, and hardly requires an explanation. The final paragraph indicates the successful accomplishment of his purpose. “Your grandchildren” (tsetsûli´sĭ) is an expression frequently used in addressing the more important deities.

MISCELLANEOUS FORMULAS. SÛnN´YĬ ED´HĬ E´SGA ASTÛnTI´YĬ.

Sgĕ! Uhyûntsâ´yĭ galûnlti´tla tsûltâ´histĭ, Hĭsgaya Gigage´ĭ, usĭnu´lĭ di´tsakûnĭ´ denatlûnhi´sani´ga Uy-igawa´stĭ duda´ntĭ. Nûnnâ´hĭ tatuna´watĭ. Usĭnu´lĭ duda´ntâ dani´yûnstanilĭ´.

Sgĕ! Uhyûntlâ´yĭ galûnlti´tla tsûltâ´histĭ, Hĭsga´ya Tĕ´halu, hinaw’sŭ´’ki. Ha-usĭnu´lĭ nâ´gwa di´tsakûnĭ´ denatlûnhisani´ga uy-igawa´stĭ duda´ntĭ. Nûnnâ´hĭ tătuna´wătĭ. Usĭnu´lĭ duda´ntâ dani´galĭstanĭ´.

Translation. TO SHORTEN A NIGHT-GOER ON THIS SIDE.

Listen! In the Frigid Land above you repose, O Red Man, quickly we two have prepared your arrows for the soul of the Imprecator. He has them lying along the path. Quickly we two will take his soul as we go along.

Listen! In the Frigid Land above you repose, O Purple Man, * * * *. Ha! Quickly now we two have prepared your arrows for the soul of the Imprecator. He has them lying along the path. Quickly we two will cut his soul in two.

Explanation.

This formula, from A‘yû´ninĭs’ book, is for the purpose of driving away a witch from the house of a sick person, and opens up a most interesting chapter of Cherokee beliefs. The witch is supposed to go about chiefly under cover of darkness, and hence is called sûnnâ´yĭ edâ´hĭ, “the night goer.” This is the term in common use; but there are a number of formulistic expressions to designate a witch, one of which, u´ya igawa´stĭ, occurs in the body of the formula and may be rendered “the imprecator,” i.e., the sayer of evil things or curses. As the counteracting of a deadly spell always results in the death of its author, the formula is stated to be not merely to drive away the wizard, but to kill him, or, according to the formulistic expression, “to shorten him (his life) on this side.”

When it becomes known that a man is dangerously sick the witches from far and near gather invisibly about his house after nightfall to worry him and even force their way in to his bedside unless prevented by the presence of a more powerful shaman within the house. They annoy the sick man and thus hasten his death by stamping upon the roof and beating upon the sides of the house; and if they can manage to get inside they raise up the dying sufferer from the bed and let him fall again or even drag him out upon the floor. The object of the witch in doing this is to prolong his term of years by adding to his own life as much as he can take from that of the sick man. Thus it is that a witch who is successful in these practices lives to be very old. Without going into extended details, it may be sufficient to state that the one most dreaded, alike by the friends of the sick man and by the lesser witches, is the Kâ´lana-ayeli´skĭ or Raven Mocker, so called because he flies through the air at night in a shape of fire, uttering sounds like the harsh croak of a raven.

The formula here given is short and simple as compared with some others. There is evidently a mistake in regard to the Red Man, who is here placed in the north, instead of in the east, as it should be. The reference to the arrows will be explained further on. Purple, mentioned in the second paragraph, has nearly the same symbolic meaning as blue, viz: Trouble, vexation and defeat; hence the Purple Man is called upon to frustrate the designs of the witch.

To drive away the witch the shaman first prepares four sharpened sticks, which he drives down into the ground outside the house at each of the four corners, leaving the pointed ends projecting upward and outward. Then, about noontime he gets ready the Tsâlagayû´nlĭ or “Old Tobacco” (Nicotiana rustica), with which he fills his pipe, repeating this formula during the operation, after which he wraps the pipe thus filled in a black cloth. This sacred tobacco is smoked only for this purpose. He then goes out into the forest, and returns just before dark, about which