The Seri building chant is suggestive. Neither Señor Encinas nor Mashém regarded it as religious or even ritualistic, but merely as a work-song designed (in the naive notion of the latter) to make the task lighter; and it seems probable that the local interpretation is correct. If so, the simple chant at once offers rational explanation for its own existence, and opens the way to explanation of the elaborate building rituals of more advanced tribes. The work-song is a common device in many lowly activities, ranging from those of children at play to those of sailors at the windlass, and undoubtedly serves a useful purpose in guiding, coordinating, and concentrating effort; to some extent the vocal accompaniment to the manual or bodily action apparently expresses that normal interrelation of functions manifested by secondary sense-effects (as when the sense of smell is intensified by exercise of the organs of taste), or, in another direction, by the habit of the youthful penman who shapes his letters by aid of lingual and facial contortion; yet it is a characteristic of primitive life—one doubtless due to the interrelations of psycho-physical functions—to not only employ but to greatly exalt vocal formulas associated with manual activities, so that words, and eventually _the_ Word, acquires a mystical or talismanic or sacred significance pervading all lower culture—indeed the savage shaman is unable to work his marvels without mumbled incantations ending in some formulated and well-understood utterance, and his practice persists in the meaningless mummery and culminating “presto” of modern jugglery. So, viewed in the light of psycho-physical causes and prevalent customs connected with vocal formulas, it would seem probable that the conventional features of the Seri jacales are crystallized in the tribal lore quite as effectually through the associated work-chants as through direct memory of the forms and structures themselves. And the simple runes chanted in unison by Seri matrons engaged in bending and lashing their okatilla house-bows apparently define a nascent stage in the development of the elaborate fiducial house-building ceremonies characteristic of various higher tribes; for the spontaneous vocal accompaniment tends naturally to run into ritual under that law of the development of myth or fable which explains so many of the customs and notions of primitive peoples.[289] [289] The law of fable in its relation to primitive surgery is formulated in the Sixteenth Ann. Rep. Bur. Am. Eth., 1897, p. 22. APPARELING