In the book of Indian music by Natalie Curtis Burlin[160] there are three songs given from Ácoma, belonging to the Corn-people, _Gátsina_ (K’at’sina), those mythological beings impersonated by masked dancers in the ceremonials. Only two words appear in these songs, _shiwanna_, meaning cloud, and _hawilana_, meaning growing corn. For the remainder, vocables only are used. It is further stated that these songs are sung in other villages, such as Laguna and Zuñi, and therefore they may not be distinctively native to Ácoma. In folk-tales, just as in the myths, we are warned against too much reliance upon explanatory significances. A single tale may involve ten or a dozen interpretations. Waterman points out that a most interesting fact in American folk-lore is the enormous distance, sometimes thousands of miles, to which a tale can travel from what it is fair to consider as its original home. Naturally the explanation will vary with local conditions, for primitive man is even more interested in and occupied by his immediate environment than are we of a later age, and we are by no means emancipated from that limited outlook upon the world about us. Waterman says very happily that if any one fact becomes clear from an acquaintance with Indian society, it is this, that the satisfaction which Indian audiences get out of the recital of a tale is not an intellectual but an emotional one. He genuinely loves to listen to a good story. The absorbing interest which primitive people take in stories as stories is one of the picturesque features of primitive life.... Explanations are decidedly less important than the novelistic elements of the plot.[161] Ácoma on its craggy height, haughtily indifferent or inimical to its neighbors, has imparted little of itself to outsiders even in the way of folk-lore or of music. Espinosa considers that the “Pueblo Indians have given very little to the great traditional treasure of Spanish folk-lore of New Mexico.... But some of them have absorbed a considerable amount of Spanish folk-lore material.” He contributes two tales and about fifty short anecdotes or fables, collected at the farm colony of Acomita by one of his students, all of which show European ancestry. I wish here to express my thanks to Mrs. N. V. Sanchez for her translation of the following selection from this group of tales. That called “San Pascual” is apparently a satire upon the Christian ritual. To the ignorant lad the figure of the Lord on the cross means only that he must be a criminal; when later He creates a feast from nothing tangible it could only be through sorcery. The Indian everywhere attributed diseases that followed the coming of the Spaniards to their sprinkling of the neophytes with holy water. Only with these three things in mind does the story of San Pascual become intelligible.