Kitabı oku: «The Sacred Formulas of the Cherokees», sayfa 10
HIĂ´ ATSÛ‘TI´YĬ TSUN´TANÛ
Sgĕ! Nâ´gwa hitsatû´ngani´ga hitsiga´tugĭ´. Titsila´wisû´nhĭ uwâgi´‘lĭ tege´tsûts‘gû´‘lawĭstĭ´. Tsuli´stana´lû ûlĕ´ waktûĭ, agi´stĭ une´ka itsû´nyatanilû´ĭstani´ga. Gûnwatu´hwĭtû´ nûnnâ´hĭ degûndâltsi´dâhe´stĭ. uWâ´hisâ´nahĭ tigiwatsi´la. Tutsegû´‘lawistĭ´tege´stĭ. Ûntalĭ´ degû´nwatanûhĭ, uhisa´‘tĭ nige´sûnna. Tsuwatsi´la dadâl‘tsi´ga. A‘yû A‘yû´ninĭ tigwadâ´ita. Yû!
Translation
THIS IS FOR CATCHING LARGE FISH
Listen! Now you settlements have drawn near to hearken. Where you have gathered in the foam you are moving about as one. You Blue Cat and the others, I have come to offer you freely the white food. Let the paths from every direction recognize each other. Our spittle shall be in agreement. Let them (your and my spittle) be together as we go about. They (the fish) have become a prey and there shall be no loneliness. Your spittle has become agreeable. I am called Swimmer. Yû!
Explanation
This formula, from A‘yûninĭ´s’ book, is for the purpose of catching large fish. According to his instructions, the fisherman must first chew a small piece of Yugwilû´ (Venus’ Flytrap—Dionæa muscipula) and spit it upon the bait and also upon the hook. Then, standing facing the stream, he recites the formula and puts the bait upon the hook. He will be able to pull out a fish at once, or if the fish are not about at the moment they will come in a very short time.
The Yugwilû´ is put upon the bait from the idea that it will enable the hook to attract and hold the fish as the plant itself seizes and holds insects in its cup. The root is much prized by the Cherokees for this purpose, and those in the West, where the plant is not found, frequently send requests for it to their friends in Carolina.
The prayer is addressed directly to the fish, who are represented as living in settlements. The same expression as has already been mentioned is sometimes used by the doctors in speaking of the tsgâ´ya or worms which are supposed to cause sickness by getting under the skin of the patient. The Blue Cat (Amiurus, genus) is addressed as the principal fish and the bait is spoken of as the “white food,” an expression used also of the viands prepared at the feast of the green corn dance, to indicate their wholesome character. “Let the paths from every direction recognize each other,” means let the fishes, which are supposed to have regular trails through the water, assemble together at the place where the speaker takes his station, as friends recognizing each other at a distance approach to greet each other, uWâhisâ´nahĭ tigiwatsi´la, rendered “our spittle shall be in agreement,” is a peculiar archaic expression that can not be literally translated. It implies that there shall be such close sympathy between the fisher and the fish that their spittle shall be as the spittle of one individual. As before stated, the spittle is believed to exert an important influence upon the whole physical and mental being. The expression “your spittle has become agreeable” is explained by A‘yûninĭ as an assertion or wish that the fish may prove palatable, while the words rendered “there shall be no loneliness” imply that there shall be an abundant catch.
LOVE
(YÛnWĔ´HĬ UGÛ´nWA‘LĬ I.)
Ku! Sgĕ! Alahi´yĭ tsûl‘dâ´histĭ, Higĕ´‘ya tsûl‘di´yĭ, hatû´ngani´ga. Elahi´yĭ iyû´nta ditsûl‘da´histĭ, Higĕ´‘ya Tsûne´ga. Tsisa´‘tĭ nige´sûnna. Tsâduhi´yĭ. Nâ´gwa-skĭn´ĭ usĭnuli´yu hûnskwane´‘lûngû´ tsisga´ya agine´ga. Agisa´‘tĭ nige´sûnna. Nâ´gwa nû´nnâ, une´ga hûnskwanûnneli´ga. Uhisa´‘tĭ nige´sûnna. Nâ´gwa skwade´tastani´ga. Sa‘ka´ni u´tatĭ nige´sûnna. Nûnnâ une´ga skiksa´‘ûntaneli´ga. Elaye´‘lĭ iyû´nta skwalewistă´‘tani´ga E´latĭ gesû´n tsĭtage´stĭ. Agisa´‘tĭ nige´sûnna. Agwâ´duhi´yu. Kûltsâ´te une´ga skiga´‘tani´ga. Uhisa´‘tĭ nige´sûnna, gûnkwatsâti´tege´stĭ. Tsi-sa‘ka´ni agwă´tatĭ nige´sûnna. Usĭnuli´yu hûnskwane´‘lûngû´.
Ha-nâ´gwûlĕ Elahi´yĭ iyû´ntă dûhiyane´‘lûngû´ a‘gĕ´‘ya sa‘ka´ni. Nâ´gwa nûnnâ´hĭ sa‘ka´ni hûntane´‘laneli´ga. Uhisa´‘tĭ-gwû u´danû dudusa´gĭ tanela´sĭ. Nûnnâ´hĭ sa‘ka´ni tade´tâstani´ga. Nâgwûlĕ´ hûnhiyatsâ´ûntaniga. E´latĭ gesû´n tû´l‘taniga. Dedu´laskû´n-gwû igû´nwa‘lawĭ´stĭ uhi´sa‘ti´yĭ widaye´la‘ni´ga. Dedulaskû´n-gwû igû´nwa‘lawĭ´stĭ uhi´sa‘ti´yĭ nitû´nneli´ga.
Ha-sâgwahi´yu itsilasta´lagĭ + + uwă´sahi´yu, etsane´‘laneli´ga. Agisa´‘tĭ nige´sûnna. Agwâ´duhĭ. A´yû agwadantâ´gĭ aye‘li´yu d’ka´‘lani´lĭ duda´ntâ, uktahû´nstĭ nige´sûnna. Yû´nwĭ tsu´tsatûn widudante´‘tĭ nige´sûnna, nitû´nneli´ga. Sâ´gwahĭ itsilasta´lagĭ, etsane´‘laneli´ga kûlkwâ´gi-nasĭ´ igûlstû´‘lĭ gegane´‘lanû´n.
Anisga´ya anewadi´sûn unihisa‘ti´yĭ. Tsu´nada´neilti´yĭ. Dĭ´la-gwû degû´nwănatsegû´‘lawi´sdidegû´. Ayâ´ise´ta-gwû u´danû. Tsunada´neilti´yĭ. Utse´tsti-gwû degû´nwănatsegû´‘lawis´didegû´. Tsunada´neilti´yĭ. Ka´ga-gwû degû´nwănatsegû´‘awisdidegû´. Tsunada´neilti´yĭ. Da´l‘ka-gwû degû´nwănatsegû´‘lawisdidegû´.
Kûlkwâ´gĭ igûlsta´lagĭ unihisa‘ti´yu. Ige´ski-gwû nige´sûnna. Ayâ´ise´ta-gwû u´danû degû´nwănatsûn‘ti-degû´. K’si-gwû degû´nwănatsûn‘ti-degû´. A´yagâgû´ tsisga´ya agine´ga ûngwane´‘lanû´hĭ + + Nûndâgû´nyĭ iti´tsa ditsidâ´ga. Agisa´‘tĭ nige´sûnna. Agwâduhi´yu. Tsi-sa‘ka´nĭ agwă´tatĭ nige´sûnna. Kûltsâ´te une´ga ûnni´tagâgû´ gûkwatsâ´nti-degû´. Agisă´‘tĭ nige´sûnna. A´yû agwadantâ´gĭ aye‘li´yu gûlasi´ga tsûda´ntâ, uktahû´nstĭ nige´sûnna. A´yû tsĭ´gĭ tsûda´nta 0 0. Sgĕ!
Translation
CONCERNING LIVING HUMANITY (LOVE)
Kû! Listen! In Alahi´yĭ you repose, O Terrible Woman, O you have drawn near to hearken. There in Elahiyĭ you are at rest, O White Woman. No one is ever lonely when with you. You are most beautiful. Instantly and at once you have rendered me a white man. No one is ever lonely when with me. Now you have made the path white for me. It shall never be dreary. Now you have put me into it. It shall never become blue. You have brought down to me from above the white road. There in mid-earth (mid-surface) you have placed me. I shall stand erect upon the earth. No one is ever lonely when with me. I am very handsome. You have put me into the white house. I shall be in it as it moves about and no one with me shall ever be lonely. Verily, I shall never become blue. Instantly you have caused it to be so with me.
And now there in Elahiyĭ you have rendered the woman blue. Now you have made the path blue for her. Let her be completely veiled in loneliness. Put her into the blue road. And now bring her down. Place her standing upon the earth. Where her feet are now and wherever she may go, let loneliness leave its mark upon her. Let her be marked out for loneliness where she stands.
Ha! I belong to the (Wolf) ( + + ) clan, that one alone which was allotted into for you. No one is ever lonely with me. I am handsome. Let her put her soul the very center of my soul, never to turn away. Grant that in the midst of men she shall never think of them. I belong to the one clan alone which was allotted for you when the seven clans were established.
Where (other) men live it is lonely. They are very loathsome. The common polecat has made them so like himself that they are fit only for his company. They have became mere refuse. They are very loathsome. The common opossum has made them so like himself that they are fit only to be with him. They are very loathsome. Even the crow has made them so like himself that they are fit only for his company. They are very loathsome. The miserable rain-crow has made them so like himself that they are fit only to be with him.
The seven clans all alike make one feel very lonely in their company. They are not even good looking. They go about clothed with mere refuse. They even go about covered with dung. But I—I was ordained to be a white man. I stand with my face toward the Sun Land. No one is ever lonely with me. I am very handsome. I shall certainly never become blue. I am covered by the everlasting white house wherever I go. No one is ever lonely with me. Your soul has come into the very center of my soul, never to turn away. I—(Gatigwanasti,) (0 0)—I take your soul. Sgĕ!
Explanation
This unique formula is from one of the loose manuscript sheets of Gatigwanasti, now dead, and belongs to the class known as Yûnwĕ´hĭ or love charms (literally, concerning “living humanity”), including all those referring in any way to the marital or sexual relation. No explanation accompanies the formula, which must therefore be interpreted from analogy. It appears to be recited by the lover himself—not by a hired shaman—perhaps while painting and adorning himself for the dance. (See next two formulas.)
The formula contains several obscure expressions which require further investigation. Elahiyĭ or Alahiyĭ, for it is written both ways in the manuscript, does not occur in any other formula met with thus far, and could not be explained by any of the shamans to whom it was submitted. The nominative form may be Elahĭ, perhaps from ela, “the earth,” and it may be connected with Wa´hĭlĭ, the formulistic name for the south. The spirit invoked is the White Woman, white being the color denoting the south.
Uhisa´‘tĭ, rendered here “lonely,” is a very expressive word to a Cherokee and is of constant recurrence in the love formulas. It refers to that intangible something characteristic of certain persons which inevitably chills and depresses the spirits of all who may be so unfortunate as to come within its influence. Agisa´‘tĭ nige´sûnna, “I never render any one lonely,” is an intensified equivalent for, “I am the best company in the world,” and to tell a girl that a rival lover is uhisa´‘tĭ is to hold out to her the sum of all dreary prospects should she cast in her lot with him.
The speaker, who evidently has an exalted opinion of himself, invokes the aid of the White Woman, who is most beautiful and is never uhisa´‘tĭ. She at once responds by making him a white—that is, a happy—man, and placing him in the white road of happiness, which shall never become blue with grief or despondency. She then places him standing in the middle of the earth, that he may be seen and admired by the whole world, especially by the female portion. She finally puts him into the white house, where happiness abides forever. The verb implies that the house shelters him like a cloak and goes about with him wherever he may go.
There is something comical in the extreme self-complacency with which he asserts that he is very handsome and will never become blue and no one with him is ever lonely. As before stated, white signifies peace and happiness, while blue is the emblem of sorrow and disappointment.
Having thus rendered himself attractive to womankind, he turns his attention to the girl whom he particularly desires to win. He begins by filling her soul with a sense of desolation and loneliness. In the beautiful language of the formula, her path becomes blue and she is veiled in loneliness. He then asserts, and reiterates, that he is of the one only clan which was allotted for her when the seven clans were established.
He next pays his respects to his rivals and advances some very forcible arguments to show that she could never be happy with any of them. He says that they are all “lonesome” and utterly loathsome—the word implies that they are mutually loathsome—and that they are the veriest trash and refuse. He compares them to so many polecats, opossums, and crows, and finally likens them to the rain-crow (cuckoo; Coccygus), which is regarded with disfavor on account of its disagreeable note. He grows more bitter in his denunciations as he proceeds and finally disposes of the matter by saying that all the seven clans alike are uhisa´‘tĭ and are covered with filth. Then follows another glowing panegyric of himself, closing with the beautiful expression, “your soul has come into the very center of mine, never to turn away,” which reminds one forcibly of the sentiment in the German love song, “Du liegst mir im Herzen.” The final expression, “I take your soul,” implies that the formula has now accomplished its purpose in fixing her thoughts upon himself.
When successful, a ceremony of this kind has the effect of rendering the victim so “blue” or lovesick that her life is in danger until another formula is repeated to make her soul “white” or happy again. Where the name of the individual or clan is mentioned in these formulas the blank is indicated in the manuscript by crosses + + or ciphers 0 0 or by the word iyu´stĭ, “like.”
HĬ´Ă ĂMA´YĬ Ă´TAWASTI´YĬ KAN´HEHÛ
Sgĕ! Ha-nâ´gwa usĭnuli´yu hatû´ngani´ga Higĕ´‘yagu´ga, tsûwatsi´la gi´gage tsiye´la skĭna´dû‘lani´ga. 0 0 digwadâ´ita. Sa‘ka´nĭ tûgwadûne´lûhĭ. Atsanû´ngĭ gi´gage skwâsû´hisa‘tani´ga. + + kûlstă´lagĭ + sa‘ka´nĭ nu´tatanû´nta. Ditu´nûnnâ´gĭ dagwû´laskû´n-gwû deganu´y’tasi´ga. Galâ´nûntse´ta-gwû dagwadûne´lidise´stĭ. Sgĕ!
Translation
THIS TELLS ABOUT GOING INTO THE WATER
Listen! O, now instantly, you have drawn near to hearken, O Agĕ´‘yagu´ga. You have come to put your red spittle upon my body. My name is (Gatigwanasti.) The blue had affected me. You have come and clothed me with a red dress. She is of the (Deer) clan. She has become blue. You have directed her paths straight to where I have my feet, and I shall feel exultant. Listen!
Explanation
This formula, from Gatigwanasti’s book, is also of the Yûnwĕ´hĭ class, and is repeated by the lover when about to bathe in the stream preparatory to painting himself for the dance. The services of a shaman are not required, neither is any special ceremony observed. The technical word used in the heading, ă´tawasti´yĭ, signifies plunging or going entirely into a liquid. The expression used for the ordinary “going to water,” where the water is simply dipped up with the hand, is ămâ´yĭ dita‘ti´yĭ, “taking them to water.”
The prayer is addressed to Agĕ´‘yaguga, a formulistic name for the moon, which is supposed to exert a great influence in love affairs, because the dances, which give such opportunities for love making, always take place at night. The shamans can not explain the meaning of the term, which plainly contains the word agĕ´‘ya, “woman,” and may refer to the moon’s supposed influence over women. In Cherokee mythology the moon is a man. The ordinary name is nû´ndâ, or more fully, nû´ndâ sûnnâyĕ´hĭ, “the sun living in the night,” while the sun itself is designated as nû´ndâ igĕ´hĭ, “the sun living in the day.”
By the red spittle of Agĕ´‘yagu´ga and the red dress with which the lover is clothed are meant the red paint which he puts upon himself. This in former days was procured from a deep red clay known as ela-wâ´tĭ, or “reddish brown clay.” The word red as used in the formula is emblematic of success in attaining his object, besides being the actual color of the paint. Red, in connection with dress or ornamentation, has always been a favorite color with Indians throughout America, and there is some evidence that among the Cherokees it was regarded also as having a mysterious protective power. In all these formulas the lover renders the woman blue or disconsolate and uneasy in mind as a preliminary to fixing her thoughts upon himself. (See next formula.)
(YÛ´nWĔ´HĬ UGÛ´nWA‘LĬ II.)
Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.
Galû´nlatĭ, datsila´ĭ—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.
Nûndâgû´nyĭ gatla´ahĭ—Yû´nwĕhĭ.
Ge‘yagu´ga Gi´gage, tsûwatsi´la gi´gage tsiye´la skĭna´dû‘lani´ga—
Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.
Hiă-‘nû´ atawe´ladi´yĭ kanâ´hĕhû galûnlti´tla.
Translation
SONG FOR PAINTING
Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.
I am come from above—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.
I am come down from the Sun Land—Yû´nwĕhĭ.
O Red Agĕ‘yagu´ga, you have come and put your red spittle upon my body—Yû´nwĕhĭ, yû´nwĕhĭ, yû´nwĕhĭ.
And this above is to recite while one is painting himself.
Explanation
This formula, from Gatigwanasti, immediately follows the one last given, in the manuscript book, and evidently comes immediately after it also in practical use. The expressions used have been already explained. The one using the formula first bathes in the running stream, reciting at the same time the previous formula “Amâ´yĭ Ă´tawasti´yĭ.” He then repairs to some convenient spot with his paint, beads, and other paraphernalia and proceeds to adorn himself for the dance, which usually begins about an hour after dark, but is not fairly under way until nearly midnight. The refrain, yû´nwĕhĭ, is probably sung while mixing the paint, and the other portion is recited while applying the pigment, or vice versa. Although these formula are still in use, the painting is now obsolete, beyond an occasional daubing of the face, without any plan or pattern, on the occasion of a dance or ball play.
ADALANI´STA‘TI´YĬ. Ĭ
Sgĕ! Ha-nâ´gwa hatû´ngani´ga nihĭ´—
—Tsa´watsi´lû tsĭkĭ´ tsĭkû´ ayû´.
—Hiyelû´ tsĭkĭ´ tsĭkû´ ayû´.
—Tsăwiyû´ tsĭkĭ´ tsĭkû´ ayû´.
—Tsûnahu´ tsĭkĭ´ tsĭkû´ ayû´.
Sgĕ! Nâ´gwa hatû´ngani´ga, Hĭkayû´nlige. Hiă´ asga´ya uda´ntâ tsa‘ta´hisi´ga [Hĭkayû´nlige] hiye´lastûn. Tsaskûlâ´hĭsti-gwû´ nige´sûnna. Dĭkana´watû´nta-gwû tsûtû´neli´ga. Hĭlû dudantĕ´‘tĭ nige´sûnna. Duda´ntâ dûskalûn´tseli´ga. Astĭ´ digû´nnage tagu´talûntani´ga.
Translation
TO ATTRACT AND FIX THE AFFECTIONS
Listen! O, now you have drawn near to hearken, O, Ancient One. This man’s (woman’s) soul has come to rest at the edge of your body. You are never to let go your hold upon it. It is ordained that you shall do just as you are requested to do. Let her never think upon any other place. Her soul has faded within her. She is bound by the black threads.
Explanation
This formula is said by the young husband, who has just married an especially engaging wife, who is liable to be attracted by other men. The same formula may also be used by the woman to fix her husband’s affections. On the first night that they are together the husband watches until his wife is asleep, when, sitting up by her side, he recites the first words: Sgĕ! Ha-nâ´gwa hatû´ngani´ga nihĭ´, and then sings the next four words: Tsawatsi´lû tsĭkĭ´ tsĭkû´ ayû´, “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.
