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SEVEN MOHAVE MYTHS
SEVEN MOHAVE MYTHS
BY A. L. KROEBER ANTHROPOLOGICAL RECORDS Vol. 11, No. 1 ANTHROPOLOGICAL RECORDS Editors: A. L. Kroeber, E. W. Gifford, R. H. Lowie, R. L. Olson Volume 11, No. 1, pp. 1-70, frontispiece Submitted by editors August 17, 1945 Issued August 6, 1948 Price, $1.25 UNIVERSITY OF CALIFORNIA PRESS BERKELEY AND LOS ANGELES CALIFORNIA —— CAMBRIDGE UNIVERSITY PRESS LONDON, ENGLAND MANUFACTURED IN THE UNITED STATES OF AMERICA KWATNIALKA OR JACK JONES, INTERPRETER BLUEBIRD, NARRATOR OF CANE STORY JO NELSON, NAR
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INTRODUCTION
INTRODUCTION
In quality the narratives of the Mohave resemble not only those of the other Yuman tribes of the Colorado River, but also, to a considerable extent, those of the Shoshonean Indians of southern California. The typical story of the region is not a relatively rapid narrative of plot, but a detailed elaboration still further expanded by the inclusion of a song series. A myth might be characterized as a web loaded with a heavy embroidery of songs which carry an emotional stimulus of their own, and at
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THE CANE NARRATIVE
THE CANE NARRATIVE
1a. All the people at Avikwame had gone out of the house and had sent for (the great snake in the ocean to the south) Kamaiavêta. [1] They thought it was he who had killed Matavilya and they wanted to kill him. No one knew this to be so but all believed it. Then when he came they killed him, and his body lay stretched over the earth. When he was dead, I [2] took a piece from his tail, the rattle nearest the body. I took it for good luck. Several tribes dream about this killing: the Yuma, the Mar
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SONG SCHEME AND NARRATIVE OUTLINE
SONG SCHEME AND NARRATIVE OUTLINE
As usual for Mohave myths, a list of song topics also provides a sort of skeleton or framework of the story, and, although somewhat imperfectly, it serves conveniently as an outline of the plot. The list that follows is in a sense the informant's. Wherever he said: "one song," or "four songs here," a paragraph has been terminated. The sections thus indicated by him normally deal with a single episode or thought, and are presented as consecutively numbered paragraphs. The only departure I have ma
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MOVEMENT OF THE NARRATIVE
MOVEMENT OF THE NARRATIVE
Bluebird was a competent narrator in making his story move while retaining concrete and vivid detail. There is not the actionlessness of Raven, the bald outline manner of Vinimulye-pātše, the constant self-communing of Deer, or the deliberate repetitive prolixity of Mastamho. The tale always progresses. Either there are incidents crowding into a situation of emotional interest; or, when this flags, as in a long journey, the stages of travel are passed through with conciseness. The direct story a
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APPARENT INCONSISTENCIES
APPARENT INCONSISTENCIES
There are a number of internal inconsistencies or contradictions. Some of these are almost certainly due to misunderstandings by either the interpreter or myself; for others I strongly suspect the narrator to be responsible; but in any given case it is almost impossible to be sure. After all, the story is so long that it took three days to tell and English it, and these three days were interrupted by a fourth. There was thus much provocation for the narrator to change his plot in spots through f
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HANDLING OF THE PLOT
HANDLING OF THE PLOT
Part C has the brothers get themselves wives, at their uncle's instigation. The plot is beginning to have "human interest." And yet it remains quite "decorative": there are four girls in four directions, each living alone with a pet bird in a cage, the approach is through the bird, then the brothers struggle for the girl, and bring her home. Still, the repetition is not formally exact, as it would be in a ritual, or as in the myths of some other tribes; no two of the four episodes are told quite
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SUPPLEMENTARY
SUPPLEMENTARY
Vinimūlye-pātše, more fully "Vinimūlya-hapātša," is a song series prominent in Mohave consciousness, perhaps because it deals with war. I have never secured an etymology for the name. The present version was narrated April 23, 1904, upstream from Fort Mohave, by an old man called Hiweik-kwini'īlye, "her anus is black." He told his tale with unusual compactness: part of a day sufficed for his outline and the Englishing. He mentioned the place in the story of 196 songs; besides an indefinite group
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THE TALE
THE TALE
[2] Downstream from Hatšioq-vaṭveve. [3] , [3a] The narrator stated that he usually omitted the songs credited to pars. 1 and 2 and began with those referring to the Providence mountains. Iθava is arrowweed. 2. Then they went up on the mesa, and from there into the mountains at Iθave-kukyave. (2 songs.) [3a] 3. Then they went on to the large mountains, Avi-kwe-havasu, [4] the Providence mountains. (2 songs.) [4] "Blue mountains," as they appear from the Mohave country. 4. They had found that lan
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CIRCUMSTANCES AND NATURE OF THE STORY
CIRCUMSTANCES AND NATURE OF THE STORY
Nyohaiva is sung standing, at any rate when women dance in a ring around the singer. He leans on a stick, which he sometimes thrusts forward and waves to the rhythm of his song, sometimes drops through his hand to strike the ground. There is no rattle or musical instrument. Nyohaiva is classed by the Mohave as one of their song-myths dealing with war, and its plot is simple. Nyohaiva is an insect. She comes into existence as a woman in the north end of Mohave valley, at Miakwa'orve, above Fort M
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THE NYOHAIVA TALE
THE NYOHAIVA TALE
1. Nyohaiva came to life at Miakwa'orve. [1] That place was the first one to be dry. All about, the world was still wet. She thought: "I do not know which is the best way to go. I wonder in what direction is the best place for me, so that everyone will know me and I can tell what I know. I have dreamed well. I wish to tell what I know so that everyone will understand it." Now the day and the sun and everything else already existed. Then she thought: "There is the sun. It is already gone down as
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THE SONG SCHEME
THE SONG SCHEME
As already said, the Nyohaiva singing is "short": it requires only one night to complete, probably including a certain amount of narration. I give the number of songs at each point, first as the narrator volunteered them in telling the full text, and next as he subsequently revised them in a review of the skeleton of the story. There are the usual discrepancies; some perhaps due to misunderstanding; more, probably, to his not having in mind any really fixed scheme of the number of songs at each
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THE RAVEN STORY
THE RAVEN STORY
1. It was at Ha'avulypo that Matavilya built the first house. [1] After he died, two brothers, Aqāqa, the Ravens, were there. When such birds find anything that has died, they eat it; but they would not have eaten Matavilya then, even if they had seen him. But they did not see him, for these two, the older and the younger brother, only grew from the ground where the northwest corner of the house had been, after this house had been burned down. [2] The name of the older brother was Humar-kwiδe, o
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DISCUSSION
DISCUSSION
The amount of discursive detail in this version is moderate. The number of songs in the series is around 90. No two statements by the narrator, as to how many he sang at each point, agree altogether; as is customary for the Mohave. But the subjoined table shows that a scheme is adhered to. The narrator probably intends singing about 4, or 7, or 1, or 3, or 8 songs on a given episode, and perhaps approximately remembers sets of words for each song in a group. The blanks in the first column of the
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WORDS OF SONGS
WORDS OF SONGS
The following are the words of some songs: 1. The very first song of the cycle, where the Deer are made at Dark-mountain far in the west (par. 5 ). Deer sings: inyahavek tinyamk kanavek, west it-is-night, tell. 2. First song at Hoalye-ketekururve (par. 25 ), next to the last step in the journey, and the last at which the Deer sing. Hatekulye kanavek, Mountain-Lion tell-(of). 3. Same place, second song. Ipa amaimiyak kanavek, Arrow from-above tell. 4. Same, third song. Ipui-moṭe' ipa'-maimiate ni
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THE DEER STORY
THE DEER STORY
1. When Matavilya died and Mastamho took his place [2] he gave supernatural power to Jaguar and Mountain Lion, [3] two brothers. No one saw them while they dug a hole into the ground and disappeared. They traveled underground toward the wind. [4] At Hatekulye-naka, [5] above Avi-kwatulye, [6] they emerged. Here they raised themselves out of the ground as far as their breasts, turning their heads to look around. Seeing only mountains all about, they said: "This is no place for us," and went under
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THE TALES
THE TALES
Coyote was a person like these Indians. There were two Coyote brothers, [1] little boys. [2] They started going from this country. [3] They had bows and arrows, and as they went along they shot at a mark, betting their arrows. They would throw up a bundle of arrowweeds to shoot at. The older won all the younger brother's arrows. Then he took one, wiped it on his anus, shot it up into a cottonwood tree, and said: "Will you go get it for yourself?" The little boy said: "No," and cried because the
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CONTENT OF THE MYTH
CONTENT OF THE MYTH
Another section ( D:36-42 ) is devoted to the making of the wild plants which spring up either of themselves, or through being planted, in the bottoms of the Mohave valley immediately upon the recession of the annual overflow. The Mohave distinguish between wild food plants which grow of themselves but are harvested, wild food plants which are sown, and domesticated food plants such as maize and beans. The second group, in other words, are cultivated plants which also grow spontaneously in the C
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SCHEMATIC OUTLINE
SCHEMATIC OUTLINE
A. Mastamho Disposes of Dead Matavilya: 1-6 1 . Matavilya's death and pyre at Ha'avulypo 2 . Coyote seeks fire 3 . Fly and the cremation 4 . Coyote's theft of the heart 5 . Covering of the ashes 6 . Coyote abandoned, homeless B. Avikwame, River, Desert Land and Foods Made: 7-19 7 . Mastamho promises to teach 8 . Arrival at Avikwame 9 . White-spring made for the Chemehuevi 10 . Colorado River, fish, and ducks made at Hatasaṭa for the Mohave 11 . Matavilya's ashes washed away 12 . Boat tilted to w
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QUALITY OF THE NARRATIVE
QUALITY OF THE NARRATIVE
So much for the content of the narrative: now as to its form. First of all, although the story is not accompanied by songs, it is developed according to the same pattern as the song-cycle myths. Moreover, the informant was just as insistent as the majority of narrators that he got his knowledge through dreaming. However, the approach in the telling is less formally decorative and more rational than in other narratives. There is actually less story, in the sense of there being a minimum of events
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MAIN NARRATIVE: MASTAMHO'S INSTITUTING.
MAIN NARRATIVE: MASTAMHO'S INSTITUTING.
1. Matavilya's death and pyre at Ha'avulypo.—Matavilya died at Ha'avulypo. [1] I did not see him when he was sick, but dreamed of him and saw him only when he died; others know of his sickness. When he died in the house, [2] they carried him west of the door. Now Mastamho was a boy about so high (about ten-year size). They asked: "What shall we do with him?" Then Mastamho told them: "Burn him. When people die I want you to burn them. That is what I wish. Now I want you, Badger, [3] to dig a hole
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SUPPLEMENT: THRASHER AND MOCKINGBIRD INSTITUTE SEX LIFE
SUPPLEMENT: THRASHER AND MOCKINGBIRD INSTITUTE SEX LIFE
86. Tortoise chosen to be approached.—Then they said: "Who is a beautiful woman? I think Pahutšatš-yamasam-iarme. Mastamho did not call her by that name, but he told us to. After a while she will turn to be Tortoise: then she will be called Kapeta." Now that woman stood there, with long hair reaching to the middle of her thighs and white paint [128] on it. The two said: "Some of you go to her. If she does not like you, she will not have you; but if she likes you, she will marry you. Go and try t
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THE LISTS OF MANUFACTURED WORDS
THE LISTS OF MANUFACTURED WORDS
The most concise analysis of the counts in paragraphs 44-47 of the story is given by a comparative tabulation such as follows. With its subjoined notes, this table probably is as explanatory of the processes followed in the distortions as is possible in the present lack of analytic understanding of the Mohave language. Underlined : jingle increments. CAPITALS: metathesized parts. * Asterisks: stems or bases not found in any Yuman language (except possibly 6, *umo-, cf. Yuma xumxuk; 7, -*tšye-, c
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APPENDIX I: MOHAVE DIRECTIONAL CIRCUITS
APPENDIX I: MOHAVE DIRECTIONAL CIRCUITS
Aha-kwi-nyamasave, V:21 , VII:9 , 10 . Ahtšye-'aksāmta (-'iksāmta), I:39 , III:4 . Amaṭ-kusaye (-yi), II:1 , VII:36 , 37 . Aqwāqa-hāve, II:9 , III:15a , 32 . Avi-hamoka, VI:A , VII:101 . Avi-halykwa'ampa, (-hilykwampe), II:16 , VII:39 , 40 . Avi-kutaparve (-kwu-), I:37 , II:24 , 26 , V:14 , VII:34 , 35 , 81 , 82 , 98 . Avi-kwame, I:1a , 5 , 24 , 28 , 77 , 98 , V:12 , 13 , 22 , VII:4 , 8 , 12-18 , 35 , 40 , 42 , 80 , 92 . Avi-kwi-nyamaθave, V:11 , VII:14 . Avi-melyehwêke, I:54 , V:22 , 26 . Avi-m
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1. PLACE NAMES
1. PLACE NAMES
Avi-halykwa'ampa, (-hilykwampe), II:16 , VII:39 , 40 . Avi-kutaparve (-kwu-), I:37 , II:24 , 26 , V:14 , VII:34 , 35 , 81 , 82 , 98 . Avi-kwame, I:1a , 5 , 24 , 28 , 77 , 98 , V:12 , 13 , 22 , VII:4 , 8 , 12-18 , 35 , 40 , 42 , 80 , 92 . Avi-kwi-nyamaθave, V:11 , VII:14 . Avi-melyehwêke, I:54 , V:22 , 26 . Avi-mota, I:101 , 102 , VII:14 . Avi-('i)tšierqe, II:26 , V:12 . Avi-veskwi, V:20 , VII:16 . Ha'avulypo, IV:1 , V:1 , VII:1 , 4-6 , 11 , 74 , 92 . Hakutšyepa, I:51 , II:11 , IV:15 . Hotūrveve,
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2. PERSONAGES, DEITIES
2. PERSONAGES, DEITIES
Kwayū, Meteor, I:37 , 74-83 , 104 , VI:B . Mastamho, V:1 , VII:1-91 . Matavilya, I:1a , IV:1 , 3 , V:1 , VII:1-5 , 8 , 11 , 20 . θarra-veyo, θara-veyo-ve, Coyote, VI:A , VII:2 ....
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3. ANIMALS
3. ANIMALS
Hanye, frog, shell-ornament, I:65 , 85 , VII:40 , 41 . Hotokoro, curve-billed thrasher, I:17b , IV:22 , VII:81 , 85-101 . Hukθara, coyote, V:9 , VII:2 . Masohwaṭ, mythical (?) bird, I:86 , IV:20 . Mahwa, badger, I:51 , VII:1 . Nume, wildcat, I:42 , V:17 ; nume-ta, jaguar, V:1 , 22 . Sakwaθa'ālya, mockingbird (or magpie?), I:25 , IV:23 , VII:81 , 85-101 . θinyere, sparrowhawk, I:25 , VII:87 . θonoθakwe'atai, I:35 , tonoθaqwataye, V:6 , yanaθa-kwe-'ataye, III:4 ; an insect....
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4. KINSHIP
4. KINSHIP
Havīkwek, younger sibling, III:11 , 15e , navīkwek, my sibling, twin, III:28 , navik, my father's older brother, I:75 , 77 ....
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5. INANIMATE
5. INANIMATE
Aksamta, a plant, I:82a , VII:37 . Hapurui, apurui, jar, V:9 , VII:76 . Karri'i, basket, I:73 , 75 , VII:78 . Kupo, carrying basket, twine-wound, VI:A , VII:41 ....
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