The Sacred Formulas of the Cherokees: Seventh Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1885-1886, Government Printing Office, Washington, 1891, pages 301-398Mooney, James
Religion
The Sacred Formulas of the Cherokees: Seventh Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1885-1886, Government Printing Office, Washington, 1891, pages 301-398
Mooney, James
Cherokee Indians -- Religion; Cherokee language -- Texts; Indians of North America -- Medicine
This formula is said by the young husband, who has just married an
especially engaging wife, who is liable to be attracted by other men.
The same formula may also be used by the woman to fix her husband’s
affections. On the first night that they are together the husband
watches until his wife is asleep, when, sitting up by her side, he
recites the first words: Sgĕ! Ha-nâ´gwa hatû´[n]gani´ga nihĭ´,
and then sings the next four words: Tsawatsi´lû tsĭkĭ´ tsĭkû´
ayû´, “Your spittle, I take it, I eat it,” repeating the words four
times. While singing he moistens his fingers with spittle, which
he rubs upon the breast of the woman. The next night he repeats the
operation, this time singing the words, “I take your body.” The third
night, in the same way, he sings, “I take your flesh,” and the fourth
and last night, he sings “I take your heart,” after which he repeats
the prayer addressed to the Ancient One, by which is probably meant
the Fire (the Ancient White). A‘yû´[n]inĭ states that the final
sentences should be masculine, i.e., His soul has faded, etc., and
refer to any would-be seducer. There is no gender distinction in
the third person in Cherokee. He claimed that this ceremony was so
effective that no husband need have any fears for his wife after
performing it.
ADAYE´LIGA´GTA‘TǏ´.
Yû! Galû´[n]latĭ tsûl‘da´histĭ, Giya´giya´ Sa‘ka´ni,
nâ´gwa nû[n]talû[n] i´yû´[n]ta. Tsâ´la Sa‘ka´ni
tsûgistâ´‘tĭ adû[n]ni´ga. Nâ´gwa nidâtsu´l‘tanû´[n]ta,
nû´[n]tātagû´ hisa´hasi´ga. Tani´dâgû[n]´
aye´‘lĭ dehidâ´siga. Unada´ndâ dehiyâ´staneli´ga.
Nidugale´ntanû´[n]ta nidûhû[n]neli´ga.
Tsisga´ya agine´ga, nû[n]dâgû´[n]yĭ ditsidâ´‘stĭ. Gû´nĭ
âstû´ uhisa´‘tĭ nige´sû[n]na. Agĕ´‘ya une´ga hi´ă
iyu´stĭ gûlstû´‘lĭ, iyu´stĭ tsûdâ´ita. Uda´ndâ
usĭnu´lĭ dâdatinilû´gû[n]elĭ´. Nû[n]dâgû´[n]yitsû´
dâdatinilugûstanelĭ. Tsisga´ya agine´ga, ditsidâstû´[n]ĭ
nû‘nû´ kana´tlani´ga. Tsûnkta´ tegă‘la´watege´stĭ.
Tsiye´lû[n] gesû´[n]ĭ uhisa´‘tĭ nige´sû[n]na.
_Translation._
FOR SEPARATION (OF LOVERS).
Yû! On high you repose, O Blue Hawk, there at the far distant lake.
The blue tobacco has come to be your recompense. Now you have arisen
at once and come down. You have alighted midway between them where
they two are standing. You have spoiled their souls immediately. They
have at once become separated.
I am a white man; I stand at the sunrise. The good sperm shall never
allow any feeling of loneliness. This white woman is of the Paint
(iyustĭ) clan; she is called (iyustĭ) Wâyĭ´. We shall instantly
turn her soul over. We shall turn it over as we go toward the Sun
Land. I am a white man. Here where I stand it (her soul) has attached
itself to (literally, “come against”) mine. Let her eyes in their
sockets be forever watching (for me). There is no loneliness where my
body is.
_Explanation._
Public-domain text, read in full here on John Shaqi.
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