Lakes and springs are more or less consciously identified by the Keres with Si-pa-pu, the place of exit from the underworld, where the Earth Goddess gave birth to the clans of men. Hence such water is the most direct path of communication with the gods of fertilization, of which a water monster is the symbol. The Keres believe that the Twin war gods received from the Sun Father bows, arrows, and lightning-bolts as weapons; in the ceremony the lightning is not a death-dealing weapon of war, but only a bringer of rain. Here we have a concrete illustration of that duality which is so characteristic of the Indian and often so puzzling to the white observer. Kroeber considers it in part, at any rate, a deliberate repetition connected with a tendency toward exacting elaboration of ceremonial. The idea here is that when the Twins meet, the clouds cause rain to fall. Hence the war captain and his lieutenant always impersonate the Twins. There are significant secondary psychologic associations illustrated by these dual concepts, for these gods are at the same time deities of war and of fertilization. In one game we find netted wheels to symbolize the war shields of the Twins, which were spun from clouds. The Hopi women, on the other hand, play the Dart and Wheel game as the magic of fertilization. Here is another illustration of the universal belief in magic power, which human activity of the right sort may influence in order that the life of man may be safeguarded and led forward to a desired goal. The K’at’sina, who impersonate the gods in the masked dances, were, according to Keres ideas, created in the underworld by Utset, an earth goddess. She sent them to live in the west, which is therefore their traditional home. They are variously described as rain-makers, as deified spirits of ancestors, or, as one writer calls them, as “a heterogeneous crowd.” Goddard says of the K’at’sina that in them we have one of the most outstanding features of the ceremonial and religious life of the Southwest: They are a logical and almost necessary adjunct to any serious attempt at dramatization by a people who are accustomed to think and to represent feelings and concepts by means of symbols. To the initiated they vicariously represent gods, and are for the time being endowed with the supernatural nature and power of the gods. To uninitiated children, and to many women, these masked men are the actual gods.[215] Enough has been said to show that symbolism plays a large rôle in Indian beliefs and in daily life.