With them all these various myths are held in brief and repeated in set form and one sequence as are placed the beads of a rosary or on a string, each entire, yet all making a connected strand. Here, then, we see the rudiment or embryo of a sacred epic such as that of the K‘yäk´lu or "Speaker of all times whensoever." As finally published, this paper will contain the most ample explanation of all these points and many others, and will not ask, as it does today, catholic judgment and charitable interpretation. The so-called dances of the Zuñis, and presumably those of all similar primitive peoples, are essentially religio-sociologic in character and always at least dramatic, or, more properly speaking, dramaturgic. It follows that to endeavor to describe and treat at all adequately of any one such ceremonial becomes a matter of exceeding difficulty, for it should involve a far more perfect scheme of the sociologic organization as well as at least a general survey of the mythology and religious institutions of the tribe to which it relates, such as I here present, as well as an absolutely searching description of all details in both the preparation for and the performance of such ceremonial. For example, the celebrated Kâ´kâ or mythic drama-dance organization of the Zuñis, and for that matter all other of their ceremonials, are, any one of them, made up in personnel from specific clans. Thus formed, they are organized, and the actors and their parts divided in accordance with the groupings of these clans in relation to the symbolic regions of the world, or in this case literally septs. Finally, the paraphernalia and costumings, no less than the actions, songs, and rituals, are as distinctly founded on and related to the legend or legends dramatized. At this point it seems desirable that the sense in which the terms "drama," "dramatic," and "dramaturgic" are employed in relation to these ceremonials be explained. This may best be done, perhaps, by contrasting the drama of primitive peoples, as I conceive it, with that of civilized peoples. While the latter is essentially spectacular, the former has for its chief motive the absolute and faithful reproduction of creative episodes--one may almost say, indeed, the revivification of the ancient.