In a similar manner he treated the knees, hands, abdomen, back, shoulders, crown, and mouth in the order named, giving three coyote-like yelps after each application. When the first dancer had completed the work, the other took his place and went through exactly the same performance. This finished, the sick man and the buffalo robe were removed. The bearers of the arrows danced once more around the fire and departed. 132. The plumed arrow is frequently referred to in the songs of this rite. It seems to be the most revered implement and the act in which it appears the most revered alili of the night. All the other shows may be omitted at will, but the dance of the kátso-yisçàn, it is said, must never be neglected. I have witnessed other performances where the arrow swallowers reappeared with their numbers increased to six or eight. The additional dancers all pretended to swallow arrows, but they did not apply them to the patient. The origin of this alili is well accounted for in the myth (paragraphs 47, 55, and 69), and the peculiar significance of the injunction not to break the arrow is easily understood when we know how the arrow is made. 133. _Third dance._ At 10 o’clock the sound of the whistle again called the spectators to attention and a line of twenty-three dancers came in sight. The one who led the procession bore in his hand a whizzer (Fig. 56) such as schoolboys use, a stick tied to the end of a string; this he constantly whirled, producing a sound like that of a rain storm. After him came one who represented a character, the Yébaka (anglicized, Yaybaka), from the great nine days’ ceremony of the klédji-qaçàl, or night chant, and lie wore a blue buckskin mask that belongs to the character referred to. From time to time he gave the peculiar hoot or call of the Yàybichy, “hu‘hu‘hu‘hu” (paragraph 32). After him followed eight wand bearers. They were dressed like the bearers of the great plumed arrows; but instead of an arrow each bore a wand made of grass, cactus, and eagle plumes. The rest of the band were choristers in ordinary dress. As they were all proceeding round the fire for the fourth time they halted in the west, the choristers safe and the standing wand bearers formed a double row of four. Then the Yaybaka began to hoot, the orchestra to play, the choristers to sing, the whizzer to make his mimic storm, and the wand bearers to dance. The latter, keeping perfect time with the orchestra, went through a series of figures not unlike those of a modern quadrille. In our terpsichorean nomenclature the “calls” might have thus been given: “Forward and back. Chassez twice. Face partners. Forward and back. Forward and bow. Forward and embrace. Forward and wave wands at partners,” &c. When several of these evolutions had been performed in a graceful and orderly manner, the choristers rose, and all went singing out at the east.