of supplication, and walking or dancing around them, holding them firmly to draw them upward until they had rapidly grown to the tallness of themselves, then to embrace them together. Behold! the grasses were jointed where grasped four times or six according to their tallness; yea, and marked with the thumb-marks of those who grasped them; twisted by their grasp while circling around them and leaved with plume-like blades and tasseled with grass-like spikes at the tops. More wonderful than all, where their persons had touched the plants at their middles, behold! new seed of human origin and productive of continued life had sprung forth in semblance of their parentage and draped with the very pile of their generation. For lo! that when the world was new all things in it were _k‘yaíuna_, or formative, as now is the child in the mother's womb or the clay by the thoughts of the potter. That the seed of seeds thus made be not lost it needed that Paíyatuma, the God of Dew and the Dawn, freshen these new-made plants with his breath; that Ténatsali, the God of Time and the Seasons, mature them instantly with his touch and breath; that Kwélele, the God of Heat, ripen them with the touch of his Fire-brother's torch and confirm to them the warmth of a life of their own. Nevertheless, with the coming of each season, the creation is ever repeated, for the philosophy of ecclesiasticism is far older than ecclesiastics or their writings, and since man aided in the creation of the corn, so must he now ever aid in each new creation of the seed of seeds. Whence the drama of the origin of corn is not merely reenacted, but is revived and reproduced in all its many details with scrupulous fidelity each summer as the new seed is ripening. And now I may add intelligibly that the drama of primitive man is performed in an equally dramaturgic spirit, whether seen, as in its merely culminating or final enactment, or unseen and often secret, as in its long-continued preparations. In this a given piece of it may be likened to a piece of Oriental carving or of Japanese joinery, in which the parts not to be seen are as scrupulously finished as are the parts seen, the which is likewise characteristic of our theme, for it is due to the like dramaturgic spirit which dominates even the works, no less than the ceremonials, of all primitive and semiprimitive peoples. So also it seems to the Zuñi that no less essential is it that all the long periods of creation up to the time when corn itself was created from the grasses must be reproduced, even though hastily and by mere signs, as are the forms through which a given species in animal life has been evolved, rapidly repeated in each embryo.