Two other men, noted war chiefs, then take their places beside the priest, while the first two sit next them. Grasping the upright sticks at the top, the priest now sings the first antelope song, blowing upon the whistle at intervals, while all the surrounding men and women join in the song, and the four men sitting beside him beat time on the ground. Four different songs are sung in this manner, the sticks being grasped lower down at each song, until at the last song the priest pulls them out from the ground, and, holding them by their lower ends, pushes them out alternately in front of himself, while the whole company--mostly women now, as the men have gone on ahead--swell the chorus, waving their arms with a sweeping motion, as if grasping at the antelope. Then the two war chiefs place their hands upon his head as before, and he gives them the sticks, with four other hand pressures. Taking the rods, the two chiefs run forward on foot at full speed on diverging lines until they meet two horsemen, to whom they deliver the rods, and then return to the place where the priest is sitting with the women and children. In the meantime the hunters have ridden far out in a semicircle, so as to inclose a large area of country. The two hunters who have taken the rods now also ride far out on diverging lines, then turn, cross each other's paths, and return to the priest. The four songs "draw the minds" of the antelope to the priests, and the crossing of the paths typifies the surrounding of the game by the lines of hunters. The horsemen now begin to close in toward the center, driving before them the antelope and any other animals that may be within the semicircle; as they approach, the women close in from, the opposite side, and as the circle contracts, with the frightened animals running about within it, they seize them with their hands or with reatas. It is said that once, in such a drive, a woman caught a coyote by throwing her arms about its neck. No shooting is allowed within the circle, but any antelope that break through are pursued and shot outside (for other methods, see winter 1860-61). [Illustration: FIG. 103--Summer 1849--Cholera sun dance.] SUMMER, 1849 _Mayíagyă´ K`ádó_, "Cramp (i. e., cholera) sun dance." The figure beside the medicine lodge represents a man with his limbs drawn up by the pangs of cholera, which the Kiowa name "the cramp," from its characteristic feature. Compare the corresponding figure (104) from the Dakota calendar for the same disease.